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casliveblog · 2 years ago

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Custom Toonami Block Week 127 Rundown

Inuyasha: So right where we left off last time and someone fucking left a boiling pot of water overflowing in the school kitchen and that’s a terrible idea even when there’s not dangerous dehydrated fungus demons threatening to pop out from every corner. Still the fungus demons are so laughably not a threat, they don’t even get close to attacking anyone and can basically be punched into dust so most of the episode is this funny little farce of Kagome balancing between the biggest social threat she’s ever faced and the smallest physical threat she’s ever faced. Admittedly she does have some cool moments of storming the convenience store to replace the food and ad-libbing the whole play scene, no wonder Yashahime stole this plot point to do in like a quarter of the time frame. Watching Hojo try and rush a giant mushroom that was nowhere in the script with a toy sword and having Inuyasha Wind Scar the entire gym is pretty entertaining, really gotta wonder how the school justifies all the collateral damage as ‘just part of the play’ like when I was in High School the staff flipped their shit when someone put soap in the water fountain so I can’t imagine how destroying half the auditorium is just like ‘yeah okay, things happen’. Also Kagome’s family is pretty funny with Sota carrying on the running gag from the episode with his crush and thinking he can really use Inuyasha’s attacks and Grandpa trying to use his absolutely worthless sutras on dudes in costumes while Kagome’s Mom tries to rein them both in (I didn’t realize they never gave them names until Yashahime and it’s really weird, like at least the anime made up names for Kagome’s friends when Rumiko didn’t do it for them so idk why they couldn’t pick something for her mom and grandpa). Also the classic ‘oh everyone’s in cosplay so they don’t notice the fantasy main character’ deal is pretty funny since I actually recognize a lot more anime than I did when I first watched this, I guess Japan’s a lot more lax about cameos like that than the West is.

Yu Yu Hakusho: Yusuke’s fight with Doctor continues and the guy tells him he works on One Piece rules and the only way to stop his virus is to forcefully knock him out but thanks to his powers he’s on the spirit equivalent of Trucker Anti-Sleep Pills so the only way to stop him is to kill him and they do this whole Dark Knight Joker thing and it’s hard to tell if Doctor wants Yusuke to kill him and stain his hands or if he’s counting on Yusuke just letting everyone die and not killing him in a fit of rage after which judgding by what happened in the Dark Tournament would definitely happen. Like he seems to be betting on Yusuke not doing it and genuinely fearful for his life when Yusuke looks like he’ll kill him but at the same time he keeps egging him on There’s a lot of cutting around in this episode while Yusuke agonizes over killing a human which like I mentioned last time seems kinda racist given all the virtually indistinguishable demons he’s killed but okay. To be fair at least he makes up his mind to do it relatively quickly and goes to just fucking disintegrate him with a Spirit Gun but Clone Ally Stand User guy takes the form of a sick nurse and gets captured to be a hostage before throwing acid in his face which is pretty dope but like Yusuke had the guy dead to rights so idk why he had to get involved at all unless he was just not wanting Yusuke to blow the guy’s head off but even after the acid thing they’re still basically in the same situation so idk what that accomplished really. Doctor tries to bargain with a cure for his life but Mind Reader Stand User Guy comes in to tell them the cure is fake which it’s kinda nice that all the Stand Users get something to do given they can’t really fight on their own. Yusuke decks Doctor through a window which is apparently enough to kill him after all his ‘I’m a doctor so I told my spine to not break’ shenanigans and everyone (including Keiko who is there to be a damsel but Yusuke is legit the only one who doesn’t know she’s there so what’s the point I guess it’s just for our benefit? That’s kinda silly) is cured. Genkai does Spirit CPR on Doctor to bring him back to life and is like ‘this guy doesn’t deserve it but you’d be a mopey little bitch if you killed someone and we got shit to do so don’t worry about it this one’s on me’ and the more I think about it the more I realize Bleach just kinda stole half its plot from Yu Yu Hakusho.

Fate/Apocrypha: It’s the start of the final fight and everyone has their big ‘goodbye and stay alive’ speeches before they set off with a fleet of airplanes to Semiramis’s Hanging Gardens. Everyone on the enemy side wants to punch Shakespeare in the face which is understandable given he presumably become a Heroic Spirit solely based on having the world’s most punchable face and they navelgaze for a while about if it’ll be cooler to see Shirou succeed or fail and it really doesn’t amount to anything. Shirou goes into the Bigger Cup to do Bigger Cup things and meets Iri who is apparently still the projection of the Grail’s form even in this world even though Zero didn’t happen in this AU idk how that works but he wants to summon Sakura’s Route of the original and idk what that means exactly but feel all the heavens you want kid, go nuts I guess. Anyway there’s a lot of airplanes and Atalante has her eyes solely set on Jeanne d’babykiller and won’t listen to orders to take like five seconds and blow up the planes that Achilles misses so if there’s something important there it’s all her fault. Also Chiron shoots down Achilles’s chariot with the arrow equivalent of Hellzone Grenade and has them fighting on one of the planes, though given Atalante demonstrated that Semiramis can just open portals for them and Chiron can’t fly idk what’s stopping him from just destroying the plane and dipping out to let horse boy fall to his death. Anyway yeah just kind of a fight setup episode which is fine, Sieg and Astolfo are off being gay somewhere and Mordred’s presumably got her biplane ready to swoop in at some point so we’ll see how this goes.

Speed Grapher: So this episode has Saiga being chased through the subway tunnels by Mr. Speaker Politician guy and apparently it’s really hard to kill a Euphoric with vibrations because this guy absolutely blasts Saiga to hell and despite killing normal dudes in under a minute Saiga has like three brain hemorrhages and stays standing. He uses his mini-camera to blow holes in the walls to keep running away while the guy monologues on about how Saiga just documents pain and suffering for glory and doesn’t help anyone and how only politicians and powerful people can enforce order for the good of everyone. I mean to be fair a couple of the pictures they show in this episode of like bleeding children reaching out to him do show Saiga as more focused on photography than helping the suffering but that doesn’t mean his photographs did nothing either. Meanwhile, Kagura, Friend Doctor, and Shady Doctor have been abducted by Politician guy’s friends and Shady Doctor was apparently promised Kagura for his research and when he finds out he’s not going to get her he straight up abducts her and drinks the carrier virus for Euphorics. Now all he has to do here is kiss her and get superpowers and since the bodyguards are breaking down the door while he’s doing this he has to be quick right? Except he decides instead of just going for a kiss to see if he gets extra superpowers from full on sexual assault and it’s really pretty hard to watch. It’s kind of funny how confident he is that he can fuck Kagura quickly like he’s that sure he’s a three pump chump but luckily we don’t have to find out because the guards bust down the door before he can even really undress Kagura. Still Kagura’s understandably shaken by the whole affair and it’s kind of really hard to see her go into full PTSD mode and briefly turning against Friend Doctor in a rage given it was hard enough for her to take just being forced to kiss random guys at the beginning of the series, though if it’s any consolation Shady Doctor just gets dragged out of the room with his pants down. Ginza and Saiga’s boss finds the White Eagles all dead and she looks at Joe’s membership list for the Roppongi club and sees the head of the police department is on it and since she can’t find Saiga atm she’s just like ‘well better go kill my boss’ which is kind of an odd swerve given how focused on Saiga she’s been this whole series but maybe she’s become self aware of how she’s always a step behind him. Turns out her boss is the opposite of the guy from the beginning of the series with a hand fetish and he’s the foot fetish guy that cuts off legs and mounts them in his study because we’re not done with the weird fetish shit yet. He captures Ginza and straps her into a full on sex chair so this is not a good episode for our heroines not getting sexual assaulted like geez we really hit the gas on that real quick, luckily Ginza’s probably smart/strong enough to get out of this so hopefully next episode she’ll shoot her boss in the head. Meanwhile meanwhile, Saiga’s pinned to a railroad track by Politician dude’s vibrations while a train’s coming. His eye’s on the fritz which feels weird given he DEFINITELY has not been using his Euphoria Factor as much as much as the rich weirdoes he’s been fighting but maybe it either dies quicker because it’s all focused on his eye or Suitengu has treatments for Club Member Euphorics to extend the longevity of their superpowers like he does for himself but needless to say unless Saiga gets the Eternal Mangekyo Sharingan soon he’s gonna go blind. Politician dude knocks his main camera out of his hand but luckily Saiga’s able to make his way over to him and just put his little camera right up to his chest and blow a hole right into him with the line ‘If your picture’s no good, you’re not close enough’ which is fucking badass. So now going into what looks to be the final arc Saiga’s half dead crawling through a subway, Ginza’s in a sex swing and Kagura’s going through sexual assault trauma, so… yeah not looking great.

#ooc #Toonami #Custom Toonami Block #Inuyasha #Yu Yu Hakusho #Fate Apocrypha #Speed Grapher

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avidoro · 4 years ago

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Edit: Guess I’ll put this in here since everyone is just glossing it over to look for the negative parts. I never said you couldn’t ship SessRin. I never said I was anti-SessRin. I know I tagged it as such, but it isn’t because of my opinion. I have friends who ship SessRin. I love those friends. What I mean by these statements is that the community in general is toxic because of the people in it who have caused problems for others. Like, for example, the person who felt the need to jump me about my personal ship because it wasn’t with Rin when I wasn’t even talking about a ship. Or the people who harassed the English voice cast to the point that even they were calling the SessRin community toxic. Or the people who are fighting to have any Sesshoumaru shipping blog deleted if Rin isn’t involved. I am capable of peacefully sharing Sesshoumaru with other shippers if they could be civilized. But since they aren’t, then I feel like I have the right to speak my mind. And those of you who feel the need to fight me about it are just proving my point because you’re so worked up that anyone could have a different opinion that you absolutely have to argue. That being said, I also stated that I would never have said a word about this if it weren’t for the fact that Rin is underage in Yashahime. Sunrise is trying to lie about how much time passed. They clearly didn’t do their own math. And while I’m fine with SessRin shippers who ship her as an adult, I will not tolerate the people who justify her being underage in Yashahime. Also to those trying to argue about Yashahime being canon, I would love to provide the evidence to the statement I saw, but it’s gotten lost in the sea of people arguing about the show being canon. It was something along the lines of her saying the story wasn’t canon or wasn’t hers but the three girls were and that she was washing her hands of InuYasha and other’s could do what they wanted with it. Which kind of implies it’s not canon but she doesn’t care. If I find it again I will definitely share it. But if Rumiko steps up and actually says the show is canon, then I’ll accept it as canon. But that doesn’t mean I’m okay with Rin being underage. But go ahead and continue to comment with your ridiculous arguments. New edit: @tiny-foots It’s not what I saw but I was provided this where Rumiko stated InuYasha was complete within herself meaning the story was done. She left it up to Mr. Sumisawa to write. Take it as you will, but I see that as her giving the okay for a fanfic to be officiated. But I don’t see it as canon. I suppose that can be left up to interpretation. But my personal belief is that it’s not canon. Even before all this I never even saw the original anime as canon.

I am going to start off by saying that I always said I would never be anti-ship. But if this is what it's come to then I am completely against what is happening right now.

Let's just pretend my OTP isn't actually my OTP right now. What I ship has nothing to do with this. In fact I am a multi-shipper, so don't even think about that. This is beyond more than my personal shipping opinions. InuYasha was my comfort series during a very rough time and Sesshoumaru is my favorite character because of his massive character development and redemption arc. He is an astounding character.

The fact that Sunrise has "officially" (I refuse to say canon because it's not canon. Rumiko said so. Fight me!) paired him with Rin is the most disturbing and disgusting thing they could have possibly done. Again, I am not against people who do ship them. If that's what they enjoy then that's fine.

HOWEVER!

The SessRin community is toxic AF! They have been for a long time and now they've been given a reason to really be horrible people. And that's only one reason why I'm disgusted by this entire thing. And mind you, since Yashahime isn't canon anyway, I wouldn't have cared as much if they hadn't done it the way they had. Let me break this down for you. I'm going to list why SessRin is unhealthy, toxic, and morally wrong and I'll even list some of the justifying arguments shippers have tried to use to support it and explain why they're wrong too.

Pairing Sesshoumaru with Rin destroyed his character development and redemption.

Sesshoumaru's father had a strong desire to see his son learn compassion. Toward everyone! Humans and youkai alike. He learned that lesson through both a human and a youkai. Rin and Kagura. These were the characters who were meant to teach him to be compassionate toward others. By pairing him with Rin you have taken away that compassion that he learned. It's like sticking a giant middle finger up to all the humans he was supposed to learn to respect and say he only tolerates Rin and no one else. There goes his redemption! Way to go, Sunrise!

SessRin was never meant to become a thing.

Rumiko went out of her way to create a bond between Kagura and Sesshoumaru as well as Kohaku and Rin. It's clear who we were meant to ship them with. These characters were placed as a barrier between Rin and Sesshoumaru to avoid an improper ship. SessKagu is the ONLY canon Sesshoumaru ship.

No child in their right mind grows up to fall in love with the man who raised them from childhood.

And if they do then they need to seek counseling because that's not healthy. A normal child would grow up to view that man as her father.

And how about these lame and unjustifiable arguments that SessRinners are throwing out.

"He waited until she was an adult! She's 18!"

Do some research. She is not 18! Look at the the facts that have been compiled. She is 15 MAX. She's underage!

"This was normal back then!"

No it was not! Again, do your research! Nobility groomed children to be wives, yes, but it wasn't normal. Even then the girl wasn't bedded until she was an adult. Also, would you portray a black person, in media, as an abused slave in 1800s America by your story's "good guy" and say it's okay because it was normal back then? I don't think so!

"They were meant to be together! It was a given! It was clear!"

Again, no it wasn't! Kagura was placed in the story for this purpose! She was in love with Sesshoumaru and he was falling in love with her. They are the ONLY canon Sess ship!

"Well, you're forgetting about the original series being about a 15-year-old girl getting with a 50+ year old man!"

There are so many reasons why this is an illogical statement. - InuYasha and Kagome met when they were mentally the same age. Sess and Rin met with he was mentally a young adult and she was EIGHT! - Kagome and InuYasha didn't have an official relationship until she returned from her time after three years... WHEN SHE WAS 18! - Every moment in the original story where Kagome was in an inappropriate situation she got mad and did something about it! She didn't just giggle and let the men around her ogle or touch her! - And my personal opinion, I also believe InuYasha and Kagome’s relationship was toxic anyway, so don’t try to hold that one over me. There’s a reason I’m a multi-shipper.

And one of my favorites, even from pre-Yashahime

"NO ONE is shipping child Rin with Sesshoumaru!"

Yeah? Go do a Google image search, you sickos. Edited to include this little treasure in the comments:

Who’s putting words in her mouth? She stated, in an interview plain as day, that Yashahime was not canon! She didn’t write it. An official publication does not canon make! Not to mention “the woman who changed him” is such an incredibly vague statement. If it was meant to be Rin, she’d have just said Rin. As mentioned before, she was very adamant about pushing the Kagura x Sesshoumaru ship. And Kagura definitely changed him. Was it not his compassion toward her specifically that regained his arm and gave him a sword? I’m pretty sure “the woman who changed him” was meant to be a vague statement because the canonical intention was just to leave it open to interpretation and is probably meant to be some random village woman who bonded with Sesshoumaru and ultimately completed his change.

And if, by chance, she did mean Rin, she didn’t say it was canon. Just that she was his wife meaning that is who Sunrise set as his wife in the show. Think about it? She was answering the question of “who had his children in Yashahime.” If she meant Rin, she was avoiding spoilers and giving a hint to who Sunrise chose as his wife. That’s not saying she would have picked Rin, herself. She didn’t write it. So it seems to me that you are the one putting words in her mouth.

Now tell me, if your best friend from grade school who was adopted told you when she was a teen or even an adult, "My dad's hot. We decided to sleep together." would you not find that disturbing? That's SessRin right now.

Also:

HANYOU NO YASHAHIME IS NOT CANON! THIS IS PER RUMIKO TAKAHASHI HERSELF! DO NOT TRY TO JUSTIFY THAT SESSRIN IS CANON NOW BECAUSE IT ISN'T! IT'S JUST AN OVERGLORIFIED AND POORLY WRITTEN FANFICTION!

ONLY THE MANGA IS CANON! OG SESSHOUMARU IS THE ONLY SESSHOUMARU!! That being said, I still say if you do happen to be a SessRin shipper, then you do you. Enjoy what you want. But what is happening right now does not give you a right to justify any toxic behavior that your community is expressing. Again, I wouldn’t even be mad if Sunrise hadn’t portrayed Rin as still being underage. I won’t stand to see people justify this!

#InuYasha #Yashahime #Anti Yashahime #AntiYashahime #Sesshoumaru #Sesshomaru #pedomaru #loliconmaru #antisessrin #Anti sessrin #Yashahime is not canon #anti sunrise #sessrin is toxic #sessrin is unhealthy #grooming is toxic #I would sooner ship Sesshoumaru with an actual dog than I would with Rin #Sesshoumaru is Rin's father

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ayuuria · 4 years ago

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Yashahime Translation: Animage Magazine March 2021 Issue

Please do not repost this translation without my consent! This includes screenshots of any type and amount. If you wish to share this translation, simply link to this post.

For more information regarding the use of my translations, click here.

The Two Beast Kings

At his daughters’ crisis, Sesshōmaru makes his satisfied appearance! It appears he has some kind of connection with Kirinmaru but their intentions are still unclear. In what way will the two beast kings be involved in the fate of the Yashahimes?

While chasing Tōtetsu who is the last of the Four Perils, Towa, Setsuna, and Moroha finally confront Kirinmaru. The three of them are overwhelmed by Kirinmaru’s immense power. Saving the girls from a desperate situation was none other Sesshōmaru. The impact of the clash between the two great demons shook the earth and was put to an end in a moment. While Towa and others are left pondering what the relationship between Sesshōmaru and Kirinmaru is, they somehow managed to survive the fierce battle.

The spirit of the Tree of Ages considers Kirinmaru’s existence as one that should be killed. However, looking at his actions, they do not seem to be simply “evil”. Kirinmaru intended to defeat Towa, Setsuna, and Moroha as they were “the half-demons who would take his head”. However, he could’ve buried the three with one strike of his overwhelming strength. It appeared as though he was not taking the battle seriously in episode 18.

On the other end, although Sesshōmaru saved the girls from a crisis, it looked as though he was not truly hostile towards Kirinmaru. The meaning behind Kirinmaru’s words to Sesshōmaru “I will still have you work for me” puts a weight on one’s mind.

The relationship of the two beast kings who bare many mysteries. It might be a little longer before the full picture behind their motives becomes visible.

Character Bios

Sesshōmaru A proud, ruthless greater demon whose father is the Dog General. Towa and Setsuna’s father. (A man of) very few words, he does not show his thoughts for the most part.

Kirinmaru A beast king on par with the Dog General. He was in a long slumber but was awakened by his elder sister, Zero. Apparently, he’s trying to destroy this world to a degenerate state.

Jaken A small demon who serves under Sesshōmaru. Cowardly but helpful, he placed upon himself the role of child rearing and caretaker to Towa and Setsuna who had been taken from their mother not a moment after being born.

Rin Towa and Setsuna’s mother. She accompanied Sesshōmaru for a long time as a child and has faith in him. For some reason, she is currently sleeping within the Tree of Ages.

Higurashi Towa In order to save Setsuna who had her memories and dreams stolen, she searches for the Dream Butterfly. Her explosive power when Setsuna was driven to a corner was enough to leave a scratch on Kirinmaru.

Setsuna Even in the feudal era she sometimes plays the violin she borrowed from Mama Moe. The details on how she came to wield her favorite naginata, Kanemitsu no Tomoe, will become clear?

Moroha Although she is Inuyasha and Kagome’s daughter, in order to escape Kirinmaru, she was placed in the care of the wolf demon tribe in her early childhood. She carries the sword Kurikaramaru, which she received from her master, Yawaragi.

The Mystery Behind Sesshōmaru’s Actions

14 years ago, Sesshōmaru took a newborn Towa and Setsuna from Rin and sheltered them in the forest of the Tree of Ages in order to keep them away from Zero and Kirinmaru. However, 4 years after that when Zero burned the forest, Sesshōmaru tolerated her actions. The intentions behind what he is thinking is unreadable.

The Dream Butterfly and Rin

The Dream Butterfly steals Setsuna’s dreams and takes them to Rin who is sleeping within the Tree of Ages. It seems Kirinmaru has something to do with the actions of that Dream Butterfly. What is Kirinmaru’s “profound plan” regarding the Dream Butterfly that Konton of the Four Perils spoke of? And what is the reason behind Rin’s slumber?

Moroha’s Master

Yawaragi, the wolf demon who trained Moroha who was separated from her parents and raised by the wolf demon tribe. The of two them broke their ties 3 year ago but reunited due to Konton’s trap and fight each other as teacher and student. During that battle, Yawaragi explains to Moroha how to fight without becoming Beniyasha. Putting her life on the line, she bestows upon Moroha the grand technique “Crimson Backlash Wave”.

The One Who Will Defeat the Beast King

The prophecy the Shikon Jewel once told Kirinmaru was “(The one who will destroy Kirinmaru) will be one who is neither human nor demon and can impossibly traverse time��. He seems to think it refers to Towa, Setsuna, and Moroha but the difference in strength between the three of them and Kirinmaru is obvious. Presently, it would probably be difficult for the girls to defeat Kirinmaru.

Inheriting the World of “Inuyasha”, Director Satō Teruo

Following the “Inuyasha” Rule for Shot Divisions and Presentation

— Director Satō, please tell us first the details of how you became involved in this current work.

Satō: “Inuyasha” was the first work I took part in as a freelance producer and it also taught me the fundamentals of production. Afterwards, I was the assistant director for “Inuyasha The Final Act” and because of that, they reached out to me this time asking, “We’re going to make a work that inherits the world of “Inuyasha”. Would you be interested?”.

— As a work that inherits the world of “Inuyasha”, what points do you place importance on?

Satō: Among the viewers of this work, there will of course be those who watched “Inuyasha” but reversely, I think there will be those who come to know of “Inuyasha” through “Hanyō no Yashahime”. I intentionally created the work so that when these people reach the point of wondering “What kind of work is “Inuyasha”?”, they’ll get the same taste (as “Hanyō no Yashahime”).

There’s also a task for “Hanyō no Yashahime” to “Inform the generation that doesn’t know “Inuyasha” that there’s a wonderful work by Takahashi Rumiko-sensei called “Inuyasha”.” Just like “Great Detective Conan” that’s also on Yomiuri TV, families can enjoy (the work) together as parents become nostalgic and the children have a fresh feeling. From there, it would be great if the children are told “There’s a work called “Inuyasha”.”

For that reason, I felt that I wanted to depict the characters that were carried over from “Inuyasha” in a way that didn’t feel off as much as possible. The serialization for the original work “Inuyasha” ran for 12 years and the anime continued for 4½ years, so I think everyone has a complete image of each of the characters within themselves. I’m conscious of trying to stick to that set image people have of “This person was this kind of character.” as much as possible.

— Director Satō, you were directly in charge of the storyboard for episodes 1, 2, 4, and 6. What sort of things are you mindful of as you create the images?

Satō: In “Inuyasha”, there was something like an ““Inuyasha” rule” for shot divisions and presentation. I wanted “Hanyō no Yashahime” to inherit those rules. Episode 1 for the most part depicted “Inuyasha” since then so we couldn’t exactly break away from that rule. However, starting from episode 2, if we suddenly used a different shot division method that feels as though it’s from a different work, the viewers probably wouldn’t be able to follow along. Thus, in order to show that rule from the start, I did as much of the storyboard as I could myself.

— What kind of rule is it exactly?

Satō: For example, how Inuyasha releases the “Wind Scar”. Also, I was frequently asked “Tessaiga is always written with dokkun (translator’s note: pulsing sound effect) but what is the “dokkun disposition”?” or “What is “mokomoko”?”. The pulsing Tessaiga does when it transforms is what we call the “dokkun disposition”. The “mokomoko” refers to the fluff that Sesshōmaru trails behind him. There are people who call the fluffy scarf worn during events like the coming-of-age ceremony “Sesshōmaru’s Mokomoko” and we call it “Mokomoko” at the production site too (laughs). Conversely, there are many people who give Setsuna’s mokomoko the same volume as Sesshomaru’s like in the “Inuyasha” era, and I remember at the beginning (animation character designer) Hishinuma Yoshihito-san was always correcting them like, “Please make hers more subdued than her father’s”.

— How do you do the shot divisions?

Satō: We use a sort of old-fashioned method of shot division that’s different from the current trend. Currently, there’s a lot of finely chopped, speedy shot divisions and while cutting battle scenes short is easier, we purposely make it one continuous shot so that the battle is endless. My thought process is that I want there to be traces of “Inuyasha” in that part of the screen.

Even the Effects Have Traces of the Parent Generation

— You spoke of Setsuna’s mokomoko but does she herself know of her father’s mokomoko?

Satō: I don’t think she knows. The clothes were probably given to her by her caretaker, Jaken, like “Let’s have you wear this” (laughs). Towa and Setsuna were named by Rin in episode 15 but they were babies, so they didn’t know. Probably while Jaken was in charge of educating them, he told them “You’re Towa and you’re Setsuna.”

— We heard that Moroha’s clothes is the same as Inuyasha’s “Robe of the Fire Rat”.

Satō: Yes. Just like the “Armor of the Iron Rat” that appeared in episode 16, it is made of fabric from the fire rat. Inuyasha himself is inside the black pearl and Moroha was left in the care of the wolf demon tribe, so Inuyasha couldn’t give the clothes to Moroha. However, I think the wolf demon tribe probably got their hands on something similar somewhere.

— What is the reason for Towa’s clothes being a school uniform?

Satō: It’s probably Towa’s own uniform for living in the feudal era (translators note: basically, it’s her way of dressing for the times). Her reason for dressing as a boy is because “It’s easier to fight in” after all, and it’s something I discussed with Takahashi Rumiko-sensei and (Series Composition) Sumisawa Katsuyuki-san many times. As to why we made her core like that. First, starting from her being a child that avoids the standard femininity, we came up with all sorts of thoughts like “Why not just give her an appearance with a Kyary Pamyu Pamyu like originality”. From within (those ideas), it was Takahashi Rumiko-sensei who came up with “It’s easier to fight in”. She said, “Rather than having a complex reason, wouldn’t a simple reason like this be easier to for the people watching to understand?”. That’s how Towa’s appearance and character were solidified.

— Towa’s weapon is also a little different. What she thought was the national treasure, Kikujyūmonji, was actually a fake, and she creates a blade with her demonic power at the part where it broke.

Satō: That part is probably also Sumisawa-san’s sense. Turning the broken sword into a demon sword. Even though she once obtained the real thing through Riku, the result was that she continued to wield the fake one. I think that part makes things more entertaining.

In a sense, “Inuyasha” was also a story about a sword’s growth. Inuyasha’s Tessaiga absorbs the demonic energy of demons it cuts and turns many techniques into its own. On the other hand, Sesshōmaru created the weapon, Bakusaiga, from within himself. Whether Setsuna inherited that or not is something to look forward to going ahead.

— How did you create the techniques for the three?

Satō: There are various techniques such as Setsuna’s “Scrouge of Swallows” and “Cyclone Burst” and Moroha’s “Crimson Dragon Wave”. The creation was basically Sumisawa-san coming up with the (kanji) characters and us coming up with how to portray them. We had the photographers match the shade and disposition of the effects to the parent generation and lineage. Towa and Setsuna have the same blue and green as Sesshōmaru and Moroha has the same yellow effect as Inuyasha’s “Wind Scar”.

We Want Towa and Everyone to be Happy

— Of the episodes that have aired thus far, which one in particular left an impression on you?

Satō: Episode 15 where Riku talked about the past. It was an episode that was related to the crux of the story and I think it was a crossroad of the past. The fact that it only appears as flashbacks to the three princesses who are the lead characters is characteristic. It was to the point that I was surprised on the day of the recording like “Oh, they’re not here!”. For this episode, we had Yamaguchi Kappei-san, the role of Inuyasha, do the commentary for the PR spotlight and it had an “Inuyasha” feel to it. Rin has grown-up a little bit but for her acting, we ordered that we “Want you to be conscious of childhood Rin” when addressing “Lord Sesshōmaru”.

— Episode 15 was also the episode that revealed Rin was the mother of Towa and Setsuna. What were you conscious of when depicting Sesshōmaru and Rin?

Satō: Regarding that, it was something I wondered about the most as an Inuyasha fan when my work in “Hanyō no Yashahime” was decided. Since Rumiko-sensei did not depict this, there were probably fans that had complicated feelings with how the relationship between the two is presented… In that sense, I’d say it’s best to make it so that the two can properly live together in happiness. How do I put it, it’d be hard to look at if things stay as they are.

— Director Satō, you yourself want everyone to be happy.

Satō: Correct. The moment “Inuyasha The Final Act” ended, I thought everyone would be happy, but it ended up like this… Based on the actions of the other characters, I would like to shape Sesshōmaru and Rin-chan’s afterwards in a way that everyone can agree to. Regarding Moroha, there’s the matter of when she will meet Inuyasha and Kagome. It would make me happy if you could pay attention to that part going forward.

— This month we published an illustration of Sesshōmaru and Kirinmaru (P. 42~). Director Satō, do you have any situations you would like to see in future copyright illustrations?

Satō: As a fan, I would like to see the parents and children sitting together. “Inuyasha, Kagome, and Moroha would be there and beside them would be Sesshōmaru, Rin, Towa, and Setsuna” like they had a family gathering at New Years. I think that kind of situation would be fun. However, in actuality I think that might be difficult as the dog brothers don’t get along (laughs).

— In episode 18, Sesshōmaru finally appeared before his daughters and that created major movement in the story. Please tell our excited readers some highlights going forward.

Satō: Episode 19 is a story where the demon slayers play an active, albeit not serious, role. You could say it’s a breather episode and it feels as though the tempo is completely different from episode 18. However, please enjoy it while relaxing (laughs). Following with episode 20, Shiori-san, the half-demon who appeared in “Inuyasha”, will make an appearance. It is an episode where she and Setsuna will interact. Sumisawa-san thought that in order to depict half-demons, this was something that couldn’t be left out and Inuyasha walked down this path as well. Then, the final chapter begins in episode 21. Things will move all at once. Zero, who started appearing in episode 14, will especially be a key person going into the final episode. Please pay attention to her relationship between Kirinmaru and Sesshōmaru.

Having Takechiyo Around Is A Big Help!

“Takechiyo is fun to move. As a therapeutic mascot character, just him being there is a big help and he has room for growth going forward. From the start, Takechiyo was born from “having a character that could be messed with in some way or another like Shippō” but he feels completely different. Also, with Fairouz Ai-san’s tenacious acting, he has grown into a very good character. Apparently, he’s a favorite of Sumisawa-san (laughs).” (Satō)

Sesshomaru’s on A Different Level! The Role of Sesshōmaru, Narita Ken

Episode 18 was his first appearance outside of flashbacks. The impression I got was that it’s as though Sesshōmaru thinks Kirinmaru is “Not an opponent worthy of my time”. That’s why I didn’t even insert a breath and imagined that “he could easily win this” during the scene where they crossed blades. I also checked with sound director Nagura Yasushi-san like “Would you like me to insert a breath?” but he said, “No need”. On the other hand, Kirinmaru was taking breaths so I really think Sesshōmaru is on a different level. Even my impression of Hosoya Yoshimasa-kun was… the level is not the same. Just kidding (laughs). Hosoya is quite adorable so it was fun doing (the scene) with him. What will become of the relationship between Sesshōmaru and Kirinmaru is something to look forward to going ahead.

Today’s Diary

This month we visited Sunrise’s studio #1. The selection begins in the conference room lined with plastic models of Sunrise’s works. Hishinuma-san, what do you think seeing all these works we have collected? **

“We created “Hanyō no Yashahime” with the intention of simply gearing it towards the children of today, but there’s a wide age range of contributors. From elementary schoolers to those in their 50s, I can really feel that the work is loved by everyone. It seems there are many people whose deep-rooted support for us stems back to the “Inuyasha” era.”

Which character is the easiest for you to draw?

“The one who’s easy to approach is Moroha. There’s a part of her that resembles her father (Inuyasha) so at first, I was conscious of copying (him). However, over time, I gained the ability to bring out her uniqueness.”

Who is the most popular on-site? (translator’s note: aka the studio)

“I’d have to say there’s a lot of staff who say, “I want to draw Moroha!”. When the plans were stood up, Towa and Setsuna were the two protagonists but Takahashi Rumiko-sensei’s design of Moroha was so appealing that the 3 of them became the main characters you see now. That’s why I want the on-site staff to love on Towa and Setsuna more! Especially for me, I want to continue to sympathize with Towa and watch over her growth with the emotions of a foster parent. Of course, the parent that gave birth to them is Rumiko-sensei.”

The main story is finally approaching its climax. Please show us your enthusiasm.

“My main job right now is designing and copyright illustrations but the staff are working hard towards the climax that will be at the end of March. The story development is going to be hardcore, but I would be really happy if you continued to support us. Look forward to it!”

** Back story: This month’s Animage held an art contest for Yashahime with the judge being animation character designer, Hishinuma Yoshihito. Also, this page has a “One point lesson” on how to draw the 3 girls. However, that one is heavily image reliant so I will not be translating it (I do not post scans as much as possible).

#yashahime #hanyou no yashahime #yashahime: princess half demon #translation

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inukag · 4 years ago

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I've seen some people say that Yashahime is canon only to the OG anime, but I'd make the argument that it's not even that! Think about it:

While the Inuyasha anime did mess around with the manga lore or make up their own here and there, they still did bring to attention some lore that they CLEARLY ignore/retcon in Trashahime. Like in one of the 1st episodes of the OG anime where Myoga explains how Tessaiga was made to protect Izayoi, Inuyasha's mother. Yet, later on in Yashahime we find through a flashback that Touga apparently had Tessaiga long before he met Izayoi? What?

I actually talked about this next one with @loveyou-x3000 a long while back, but remember Hosenki l? Remember on how in the OG anime we found out he was the one whole created the black pearl that was in Inuyasha's eye? Well, I apparently found out that by Yashahime's logic, the black pearl was created by Izayoi's or somebody's tears? I'm sorry, but how does that make sense? (Correct me if I'm wrong there)

They even ignore the lore they created themselves from the OG anime, like when InuKag give Moroha the lip stick shell that was destroyed by Naraku in the Anime-only episode "Tragic Love Song of Destiny". What, am I just supposed to assume that InuYasha's been walking around with a bunch of his mother's old make-up stuff this whole time? And that he never thought to give one to Kagome, his wife, even tho he gave it to Kikyou and his own daughter?

Let's also not forget what the director has said in one of the recent interviews about demons apparently throwing their kids out in the wild as a "test of courage and cowardice", AKA Demon parents apparently not caring about their kids and abandoning them similar to how lions apparently treat their cubs. This absolute bullshit because not only is this not true in the manga, but the OG anime itself has shown several examples of demons caring about and raising their kids!!! Think about Shippo's dad, that little cat demon's dad when Inu trained with Totosai, Kuroro (demon cat that looks like Kirara), that demon dad who got his head chopped off by Hokudoshi, and even that insect demon that Jeniji killed who went out to teach its offspring how to hunt and feed! Its important too note that a good chunk of these parents are anime-only characters.

Hell, even the demon parents who didn't get to raise their kids still gave a fuck about them!!! Just look at Shiori's dad who clearly had every intention of raising his kid and even when he was dead STILL came back to protect her from her grandfather! What about Jeniji's dad who left his farm to his son so that both he and his mother would have a place to call home!?

What about Touga who sacrificed his own life so that his hanyou son could live??? (And that was from one of the movies mind you, so its anime lore.)

So now your telling me that the demon way of parenting was to leave your kids out in the middle of the woods when they're not even old enough to hold up their heads by themselves? If the OG anime series and movies followed that logic, then Touga wouldn't have even bothered to save Inuyasha's life on the night of his birth. Better yet, Touga could've just left Inuyasha in that fire, but saved Izayoi. He wouldn't have even bothered to give InuYasha his name if he just figured that his son failed his "test of courage" for being in that fire that he surely would have perished in if Touga didn't get there in time.

Also, and you can correct me if I'm wrong, but didn't Yashahime's director HIMSELF (who worked on the OG anime too) say that a certain pairing that I won't name was never depicted as romantic in the original anime series? We all know it wasn't in the manga, but a while back I swear I read an interview where the director said it was never depicted in the anime either. Clearly, Yashahime threw that out the window, too.

And finally, I don't think I have to mention the retconning of all if the OG cast's character developments that were CLEARLY SHOWN IN THE OG ANIME!!!!!!!!!!!!!!!

And that is why I don't think Trashahime can even be considered canon to the anime either. I rest my case.

(Sorry for the long post. I just had to vent and get that out of my system)

Don’t worry about venting! I agree with what you said there, I would love to add more plotholes and inconsistencies that are in Yashahime to your list but... I get exhausted just thinking about it lmao

The Tessaiga retcon is especially bad. First, like you said both in the anime and manga it is said that Tessaiga was forged for Inuyasha’s mother, who in Sunrise-canon was born 200 years ago, but in Yashahime Toga had Tessaiga and was using a perfect meido zangetsuha 500 years ago to destroy the comet...

^^ He literally has Tenseiga on his hip even though Tenseiga was created to take Meido Zangetsuha out of Tessaiga lmao

You’re not wrong about the black pearl and Hosenki. Hosenki II says in chapter 298 that he and his father “cultivate” the pearls, it has nothing to do with tears, and Inuyasha’s father commissioned the black pearl before his death...

The rouge / lipstick is not even a different rouge, they imply in episode 15 that it’s the same one Inuyasha gave to Kikyo, but Riku somehow found it and gave it to Hosenki II for some reason.

That raises SO many questions... When did Riku find the pieces of the rouge? Was he spying on Kikyo and Inuyasha this whole time?? How did he know the rouge belonged to Izayoi?? Is he a time traveler?? Why did Riku and Hosenki II even work together to create the new black pearl?? Is this ever going to be addressed??

Oh man the interviews... I get a headache every time I read them. Personally, I don’t really think it’s ooc for Sesshomaru to set up some kind of rite or trial for his hanyo daughters to prove their strength. I never imagined him being soft and loving with them, especially not with the way he treated Inuyasha. But like you said, it’s definitely not a universal yokai thing, we all know that. Sesshomaru is just Like That lmao. I still don’t understand why his “rite” had to take 14+ years, why it involves Kirinmaru and Zero and what it has to do with Inuyasha, Kagome and Moroha...? If he wants to make his daughters go through that, that’s his business, there’s no need to also ruin Moroha’s childhood by letting her parents rot in the border to the after life when he could get them out whenever he wants (since he can go through the gate to the afterlife thanks to Tenseiga).

Other hilarious things that Sumisawa mentioned in the last interview: - Moroha knows Sesshomaru’s scent because he’s famous amongst demons - Everyone call the girls “yashahime” because Treekyo started the trend (no one was there to hear Treekyo except the girls...?) - Kirinmaru met Jesus Christ and Buddha at some point

And probably other stuff I’m forgetting... I’m so tired lol

#ask #long post #anti yashahime #creative-hanyou-girl #sorry i realized you're talking about the OG anime but i'm taking evidence from the manga #those scenes are pretty much the same in the anime if i remember correctly

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kisant · 4 years ago

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Welp, just read the translations of the summaries of the upcoming episodes of Yashahime. The only thing that it does is further confirm that Naraku was the real hero of the original series, because his victory would have prevented Yashahime from existing. Sure, it would have been sad to see Inuyasha’s group die at the end, but at least they would have found peace in the afterlife and Pedomaru would be rotting in hell like he deserves.

Like seriously, Naraku did a lot of bad things in his life, but at least HE didn’t sexually abuse the children in his care. The bar is so low that even the murderous spider incel can clear it from hell, and Pedomaru can’t. In fact, Pedomaru also succeeded at ruining everyone’s lives, especially Inuyasha’s and Kagome’s, and caused greater suffering in less than 20 episodes than Naraku did in more than 200. So, really, who’s the real villain here? Not Naraku, that’s for sure.

Good thing Yashahime is and always has been a badly written and badly drawn animated fanfiction depicting the pedophilic fantasies of that one pervert at Sunrise that thought it was perfectly fine to have adults propose to 11 year old girls. 11 year old girls that one adult had been raising since she was 8. Because what could be better than to groom I mean Raise your very own childbride GF to be perfectly submissive little angel who knows her place and would never ever defy her lord and husband??? Why, yes, having her give birth at 15 and then fall into a coma!!!!

Anyway, Yashahime and everyone involved in this shitshow’s production are absolutely disgusting and I will not be acknowledging it as canon. Good thing the Inuyasha anime ended in 2010 with the Final Act, that the main characters had happy endings that didn’t butcher their characterizations, and that none of them were pedophiles!

I truly feel bad for the Sesshomaru fans that had to see their favorite character dragged through the mud and turned into someone who would sexually abuse and impregnate his preteen ward, because his image as a character who started out cold and unfeeling but slowly learned to care about others and protected vulnerable children even when it didn’t benefit him in any way has been destroyed by Yashahime.

Sessrinners can go fuck themselves, though, you’ve always been disgusting and will always be, and the fact that an anime-only sequel has your shitty ass, self-insert pedoship in it doesn’t make YOU any less revolting for shipping an 8 year old girl with her adult guardian, and seeing their innocent interactions as romantic moments that would turn into a romantic/sexual relationship as soon as her age had double digits in it. On this planet, we call those things child grooming, child marriage and statutory rape.

In fact, Yashahime has done a very good job at removing all the trappings sessrinners liked to use in their self-insert headcanons and fanfictions in order to justify the ship (adult Rin! she has grown up into an independent adult and has developed her own personality away from Sesshomaru! She’s feisty and competent and can stand on an even ground with him! He respects her, allows her to make her own decisions and cares for her wellbeing!) leaving us with the bare and horrific truth:

That Rin was a young teenager when her adult guardian (whom she hero-worshipped after he saved and protected her during her childhood) started a sexual relationship with her, got her pregnant, took the resulting children away without letting her make any decisions about their future or even hold them, abandoned the babies in a forest, didn’t give a shit when they almost died and disappeared for 10 years, and didn’t care to fix Rin’s “illness” that left her in a magical coma soon after he took their children. Rin has never had autonomy, agency, or the time/ability to grow into her own person, and was used as a babymaker by her adult guardian and then discarded after she was done birthing his children.

If anything, the entirety of Yashahime is a whole-ass Anti-Sessrin manifesto that shows very well how horrifically unbalanced and abusive a romantic relationship between Sesshomaru and Rin would be.

#inuyasha #yashahime #anti yashahime #anti sessrin #pedomaru is not my sesshomaru #pedomaru is an abomination and the true villain of the story

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sesskagarchive · 4 years ago

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I'm sorry to bother you, but I've read a couple of widower!kagome fics, but I can't the one I'm looking for. I was wondering if you would be willing to compile a rec list for a widowed Kagome, since I would love to see if I can find that fic I read, and maybe find some new ones too. The one I'm looking for had Kagome marry Seehomaru after Inuyasha died, because Reasons (reasons mostly being they were single parents). But I'd be open to just about anything along those lines.

Thank you for your time. I appreciate it! ♡♡♡

No bother at all, my dear! Here’s some that I could find and so sorry to have kept you waiting for so long, RL has been busy!

- Admin Chie & Admin Sage

By the Sword by Miss Kagura

Posted on: Dokuga, FFnet Rating: MA Summary: Live by the sword, die by the sword." After Inuyasha's untimely death at Sesshoumaru's hand, Kagome is forced to embrace a lifestyle she never wanted, only to find a future and a goal she wants more than anything. SessKag. Status: Abandoned

Duty of the Heart by Goddess of the Moonlit Sky

Posted on: FFnet Rating: K+ Summary: Alternate Universe: He knew what he had to do. His brother was now gone leaving behind his grieving widow. So Sesshomaru did his duty and married his brother's wife. But he never expected to love her.

Even Angels Fall by MoonliteCrescndo

Posted on: Spark, FFnet Rating: NC17 Summary: After the death of her lover, Kagome must enlist the help of her personal bodyguard, Sesshomaru, to solve the mystery of why anyone would want to attempt to murder her father. With danger afoot and mystery aplenty, can romance ensue?

Family Ties by Fluffy’s Lady

Posted on: Spark Rating: MA Summary: Inuyasha loved Kagome, Kagome loved Inuyasha. Both of them loved their daughter. What will happen when Inuyasha dies and Sesshomaru comes to take care of Kagome and her daughter out of family duty? Only time will tell... Status: Abandoned

Flower, Bird, Wind, Moon by thetroll

Posted on: AO3, Dokuga, FFnet Rating: MA Summary: After InuYasha's untimely demise, Sesshomaru finds himself saddled with more problems than he cares to deal with. But duty and honor hold him firm in the new path his life has taken, even though it means that he must find a way to restore the wife InuYasha left behind back to life after she has retreated so far within herself that no other can reach her. Six-shot because evidently I can't stick to the four-shot I'd intended.

Forbidden Child by inumaru_rapture

Posted on: Spark Rating: E Summary: After the war with Naraku... Kagome is alone, traveling the Feudal Era with no will to survive--save for the child growing in her... Rated for death/angst Status: One Shot

Honor Bound by NomDePlume

Posted on: AO3, Dokuga, FFnet Rating: MA Summary: Kagome is faced with a harsh reality after Inuyasha dies unexpectedly, leaving her alone to defend their small child. Without any options left, she is forced to seek Sesshoumaru's aid Status: Hiatus

I Will Never Forget by Lady Fae

Posted on: Dokuga Rating: T Summary: The death of a loved one can be a cause to much sadness and pain. Her decision in returning to the future ends when the well is magic-less, and the one to help her is the Lord of the West. Even as a relationship of some sort is starting to form, can he deal with the fact that she cannot forget her first love? Can she adapt with him and learn to forget InuYasha? Read & find out! Status: Abandoned

In My Brother's House by Yabou

Posted on: Dokuga Rating: T Summary: Widowed once, Kagome is bound to an estranged husband with little chance at love. With a few lessons in love, can Sesshoumaru hope to conquer her weary heart? Status: One Shot

Life After Loss by Chie

Posted on: AO3, Dokuga, FFnet Rating: MA Summary: This was not the happily ever after Kagome had always dreamt about. This could not be happening to her, not after everything they had gone through... She never knew that her whole world could screech to a complete halt in a blink of an eye.

Nothing Worth Having by CaliforniaCougar

Posted on: FFnet Rating: T Summary: 10 years after the death of Naraku and 8 years after the death of Inuyasha, Kagome goes to the Castle of the West in search of happiness. What she gets is an assassination attempt, a plot to destroy the Western Lands, and... romance? One thing is for sure: nothing worth having ever comes easy. SessKag Status: Abandoned

Of the Mourning by Kagome Yuki Niwa

Posted on: Dokuga Rating: T Summary: With the death of Inuyasha she was losing her sanity and possibly her life and the life of the child growing within her womb. Left with little choice, her friends call upon the most unlikely of saviors and hope that he can prevent further tragedy by completely disregarding the consequences of his aid. A story told in snippets Status: Abandoned

Out of the Ashes by Lynn

Posted on: Dokuga Rating: MA Summary: Sesshoumaru gives Kagome back her life when she is killed. With everyone else gone, the well is closed, and the only one she has is InuYasha's son and his brother what will the miko do? Status: Abandoned

Sesshomaru and His Love by Kimberly Morris

Posted on: Dokuga Rating: MA Summary: Kagome is now a widow. Sesshomaru vowed to Inuyasha that if something would happen to him that he would take care of Kagome, since she is his sister-in-law. He would had an obligation to her anyway. Will love bloom? Or will they stay apart? Also there's also an unexpected surprise for Sesshomaru. There'll be a new foe to contend with. Who is it? Why is it after them? Read and find out!

The Fall of the House of Taisho by Kanna37

Posted on: Dokuga, FFnet Rating: M Summary: After a few moments, he murmured, "We are the last, Kagome. I felt it were best if we went together, rather than singly, and alone. Was I wrong in this belief? Would you have preferred to die alone?" 3rd Best Darkfic Dokuga 4th quarter 2010.

Whiskey Lullabye by Sesshoumaru's Fiend

Posted on: Spark Rating: PG13 Summary: *{Edited}* Brad Paisley and Allison Kraus Song: Whiskey Lullaby [Song Fic] Rated PG-13 For Suicide Status: One Shot

YASHAHIME! A Palatable Option by susie

Posted on: AO3, Dokuga, FFnet Rating: T Summary: This is me working through my sequel anxieties with my fantasy version given the info we have received thus far. For SESSKAG week 2020, day 5: horror. (and later, days 6 & 7 will be added!!) enjoy...

You and I by Reira

Posted on: Dokuga Rating: M Summary: It's been thirteen long years since the well closed. Suddenly Kagome is widowed and her life is turned upside down when a Mr Taisho offers her a job. A grieving Kagome must suddenly face familiar faces she thought she would never see again. Status: One Shot

#Anonymous #sesskag #requested rec list #sesskag fanfiction archive #admin Chie

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loveyou-x3000 · 4 years ago

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Ohhhh thanks for the Toga and Izayoi as it is so cute!!, maybe you can do Moroha being awesome and tag team fight with mum or dad?

Ok so this one... well, it got way out of hand. This isn’t quite a tag team fic like you asked -- I’m learning I go pretty off course with prompts, guys, I’m sorry -- but it is an InuYasha-and-friends-reappear-in-the-midst-of-battle-fic. None of this really lines up with what’s currently happening in Yashahime, but whatever. Nothing in Yashahime makes sense anyway!

Tag List: @liz8080 @superpixie42 @dangerouspompadour @thebishopkate @lavendertwilight89 @sistasecbhere @thornedraven @ladycelestite @clementinesgulag @keichanz @zelink-inukag @heathersmusings @horriblehowl @animeandfilmotaku @bulba-baby @heavenin--hell @captainyukicho @rightoveryonder @hopidoodle @itsyogirlcaitlin @digital-art-monster @all-my-cuffs-have-buttons @cammysansstuff @glow–bunny @cyncyn981 @nellyvampdragon @sticky-llama-perfection @karina-inuphantom @neutronstarchild

Prompt me!

Riku had them cornered.

Of all the bastards Moroha had ever faced, he was perhaps the biggest bastard of them all, with his smug little smirk and his pompous way of speaking, acting every inch of a lord's son that he said he was. And Moroha had met a lot of that sort, too; stupid, scrawny little lordlings who pretended they were better than her because they had money and "better blood," whatever that meant, even when they were asking for her help against the demons that scared them half to death.

The only thing that made Riku any different from them was the fact that when he picked a fight, he at least had the balls to see it through to the end. Sure, the fight he’d picked this time was against them, and if they weren’t careful he was probably going to kill one of them before sunrise, but hey-- he wasn’t relying on anyone else to do his dirty work, and Moroha could respect that.

Jumping up and back to dodge a spearing attack of rock that he'd summoned from the ground, Moroha landed in the relative safety of the of the Tree of Ages, hidden amongst its branches. He controlled the elements, so far as they could tell: he could move the ground, shape water, spark fire, and guide the wind-- though the last of those abilities didn't seem to work well when he was around Setsuna. Towa had noticed that the last time they'd fought; he’d flung a cutting gale of wind at her when Setsuna, quiet as she was, had grit her teeth and swung her naginata so high and hard that she'd blown Riku straight off the edge of a mountain, redirecting his attack back onto him with twice the efficiency.

Setsuna had always been able to shape the air for her Cyclone Burst, but that? That she’d never done before.

But now they weren't on a mountain, Setsuna was injured, and Towa was trying to protect her sister from all the attacks Riku was launching at them. They’d both been robbed of their pearls not so long ago and without them, their strength was fading fast.

"Dammit, dammit, dammit—"

Moroha scrambled inside her pockets, withdrawing the little clamshell that held her pearl and her grandmother's lipstick. On her shoulder, Myoga jumped up and down, protesting— but she already knew everything he was saying. Yes, she wouldn't last long in a full demon state, but maybe it could give Towa the opening she needed to cut the pretty bastard down. All she had to do was distract him.

While droplets of blood dripped from her wrist and onto the tree, Moroha swiped her pinky across the red rouge. Readying herself, she took a deep breath, concentrating all her energy and—

Riku spun the wind and Setsuna spun it back, distracting her. Where one gale met the other, a glowing scar struck through the open air, and the tree beneath her feet gasped.

A tree couldn't gasp, of course, but it was trying very hard to, rocked with an energy that demanded everyone's attention. Energy pulsed beneath the pads of her bare feet and Moroha startled, clicking the clamshell shut as the Tree of Ages trembled. Myoga held on tight to her ear as she tried to steady herself, claws digging into the bark; and once she did that, the voice of the tree screamed in her ears.

"You won't be free!"

It was the Tree— that priestess, Kikyo, who apparently her mother was, or had been, or something; no one really seemed to agree on the difference and Moroha thought it was all stupid, anyway. How could someone be someone else? But Kikyo (who was not really Kikyo, and also not her mother) screamed and raged and tried with all her might to keep a seal from breaking. Someone was screaming back at her.

"You're not her, you wrinkled old bitch!"

The clamshell in her hand trembled and the well in the middle of the clearing pulsed with yoki once, then twice, reminding her of long summer days and thunderstorms. Red robes and white hair.

"LET ME GO!"

Moroha had never noticed the seal before, but she noticed it now: pink and black and sickly purple, like a bruise, pulsing from an old fletching notch in the tree. Towa screamed for her, but it was too late; the notch cracked, the seal broke, and a pulse of reiki shot through her so hard it made her teeth rattle and purified the rouge right off her pinky. Riku jumped back and his and Setsuna’s winds spun out, and Towa lurched aside, trying to avoid the pink-white light that was now spilling out of the mouth of the dusty old well in the middle of the clearing.

The hate that had been embedded in the Tree of Ages - the onyrō, if the echo of a dying priestess could be called that, left there in the power of her arrow - died an abrupt, sudden death, and all the sudden everything that ghost had been trying to hold in and destroy began to break free.

"What's happening?!"

It was a scream to no one as leaves began to rain down from the branches, even though Autumn was months away. There was a sudden burst of wind then, swirling of its own accord, unguided, and new scents came in an onslaught: reiki, yōki, and something in between; pain, anguish, hate, and unbridled sorrow; storms, iron, metal, tears, and flower blossoms. All of them were mixed and strange and rainbow-colored, until the first body came soaring out of the well.

A yōkai with brown furs, jet black hair, and piercing blue eyes shot straight out of the lancing light and into the night sky, seeming to hover in the air above them before he plummeted back towards the earth. Somewhere on Kirara's back, Kohaku called out a name:

"Koga!"

Once, there had been a battle in this clearing. Kohaku had told them as much. After all three of them had been spirited away to safety as infants, their parents and their friends had fought a strange enemy here. The only one to walk away unscathed from it had been that enemy— and Sesshomaru, whom no one had seen since.

Everyone else had disappeared from this very spot, leaving behind only a stunned monk and his family of demon slayers.

Koga - whoever he was - cracked the ground as he landed, and Riku cursed and cursed, flinging expletives in languages she didn't even know. He held up his hands and Moroha's stomach bottomed out, feeling that strange pull that only the rainbow portal had, but a gale of wind knocked him off his feet; again, sourceless, but it dispersed his strange powers.

"What the fuck happened?!"

Then there was another voice, another scent— and it nearly sent Moroha falling out of the tree.

"I saved your life, you mangy wolf!"

A man dressed in red climbed out of the well, shining silver against the moonlight. There was a woman unconscious on his back, chin pillowed against his shoulder; another girl lay sleeping in his arms.

Behind him, the Butterfly of Dreams fluttered up into the sky and all the light in the well faded to nothing.

"You sealed me in a tree, you flea-infested— shit!"

Koga bailed to the left to avoid a trail of fire that shot across the field and Towa slammed her sword in the ground to protect herself, letting it buffet against that wall of yoki until it extinguished itself. Setsuna's naginata fell to the ground beside her as her strength failed her, though she was far off from dying. There was something else on her face— exhaustion, maybe.

Hisui and Kohaku's voices were a mangled mess of names as Kirara brought them to the ground. Kohaku went first to the sleeping girl, taking her in his arms; Hisui went to the hanyō and the miko, wide-eyed and incredulous.

Moroha knew who they were. She couldn’t not know who they were.

“Shit,” InuYasha cursed, adjusting the unconscious Kagome on his back and drawing a sword that sang like a storm, streaking through the night like lightning. “How long has it been, Hisui?”

“InuYasha?”

Moroha was frozen, gone completely silent, watching the young demon slayer speak to her Father. Myoga was gone. Kohaku tried to shake the girl in his arms awake, softly calling her name.

“Rin?”

InuYasha waited impatiently for an answer. Eventually, Hisui found it.

“Fourteen years.”

“...fuck.”

And then there was no more time for talking as Riku attacked again, suddenly incensed, aiming the brunt of his attacks straight at Kohaku and Rin, flinging fire aside at the twins as he did. Moroha lurched when she saw Towa wasn’t going to be able to withstand the attack this time, but then the winds kicked up again, blowing the fire aside, and a scar blazed in its gale once again.

InuYasha swung Tessaiga and Riku disappeared in a burst of white light.

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lostinwoods · 4 years ago

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Yashahime is probably testing my last strand of patience, which is very close to being snapped into unrecognition.

This sequel is just like a bad decision of drugs and pregnancy that will destroy your life.

No seriously, jokes aside, the show is getting the most unsatisfactory one in a long run of anime history. I would admit that there have been many shows as bizarrely undefined as this one, but, none which places itself in such a whorl of disappointment when compared to its beautiful predecessor.

Inuyasha was a story of hoping against all hopes and having your most beautiful fantasy fairy-tale fulfilled. That was what made Inuyasha so special. If not the characters and the character developments, then the story itself. What an appealing concept of heart and redemption. It was beautiful.

Honestly, when the sequel was being released, I never had any expectations of it matching its predecessor, but I never expected things to run so...south. I had honestly never expected a show with not-connected plot points, bad character settings, ridiculous butchering of past characters and an all round mess.

From the very beginning, the show really started out strong with mysteries and beautiful sceneries, but things as such could go so far! The mystery has lost its interest, the og characters seem to have been mercilessly abused, InuKag have to give up on their what almost 10 years of proof of love, Rin is away from our Sesshomaru-sama and Sesshomaru has been almost ruined beyond recognition. Nothing is good about this!

For a fan of a series like Inuyasha, who literally bit their nails off in between the suspense of will-they-won’t-they and Naraku’s evil plans, I can say for myself, I am not pleased when Kagome has to very regretfully say goodbye to her newborn daughter and Sesshomaru is scaling the steps to commence a brainless fight against the central couple.

I had waited for a tops of what 10 years or more for a better outcome of Kagome’s adventures, and as a person who loves Kagome since my childhood, I am not happy when a woman with such a pure heart actually goes through even worse grief than losing Inuyasha to Kikyo.

Sesshomaru is a completely different story, One of the greatest character to have been created in anime history losing his absolute character solidity of honor and intelligence truly makes me sad. He does not deserve losing his Rin for a third time or having to join forces with a supposedly evil force like Kirinmaru, He does not deserve such faltering in character settings where he might have very well left his own children in a forest fire. He is not like that, he can never be like that. Sesshomaru will kill himself even before he leaves his own children unprotected like that, no matter if it was test of courage or not. But, the thing which is being projected is by far the scariest. If by any chance the anime is trying to portray that he left his children so that he could begin his scuffle of saving Rin from whatever had happened to her. Then, I am sorry to say this, but Sunrise never really understood his character. Sesshomaru would never let Rin go, I agree. But, he knows when to let go! He is a very superiorly mature character and knows what is right, and our Sesshomaru-sama would never choose such an option!

The kids are absolutely being neglected as of yet. All without parents and also denied of their memories, are abandoned like orphans. It is heartbreaking. Even if the twins are daughters of Rin, I would say that the family of the four deserve far better things, for even little Rin has gone through a lot. The little girl lost her own parents and was ravaged by wolves, died twice and was a pawn in Naraku’s horrendous plans for God’s sake. She doesn’t deserve being locked up in a tree, spirited away from her family.

The storyline is probably the worst I have seen in a long-long while and I am stopping this agony. I am sorry, I would not be posting much on Yashahime anymore till Sunrise decides to give up any answers, and they better be satisfactory.

#inuyasha #yashahime deserves justice #anti-yashahime #anti yashahime

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cynthiaandsamus · 3 years ago

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Custom Toonami Block Week 70 Rundown

Code Geass: So Lelouch is gonna go join Nunally’s ‘let’s all hold hands and get along’ area but literally no one wants to go after Euphy murdered everyone last time. You’d think there’d be at least one dumbass like “Maybe it won’t be a massacre.” But yeah Zero’s like “Oh well I just happen to have a million people I can give to the zone if you exile me and let me go scott free” and everyone’s like “that’s a super shitty thing to do but okay” so then Zero tells Suzaku that culture is stored in the titty and all the one million people do their I am Spartacus thing and wear Zero’s costume which had to be a logistical nightmare, like Zero’s outfit already is pretty expensive with the fancy clothes and the helmet and shit and some of them are randomly customized even though that defeats the purpose like how do you do this on a terrorist budget in a few days without anyone in the government finding out. Like “we received an order for a million pounds of the thing used in Zero’s helmet on the black market” seems like it’d stand out. But yeah, the million Zeros get away, partially because of the “dogs playing basketball” rule that they’re all Zero because their culture of being Zero is stored in their titty which wouldn’t hold up in court but also because if they just kill a million people who’re just trying to leave that’d be bad for the government, not that they’re not used to genocide and being hated as Imperialists but Suzaku specifically doesn’t want that on his and Nunally’s hands while they’re trying to actually do shit for Japan for once. Feel like there’s probably a good cause for peaceful detainment and not letting them just walk out but it’s not like they’d find Lelouch or whoever the supposed second Zero was anyway even if they strip-searched everyone since he was never there and if it isn’t Lelouch the only thing that makes him Zero sight-wise is the mask.

Inuyasha: So yeah we get the conclusion of Shiori’s story for Inuyasha and I just can’t help thinking about how nice it is that she went on to help a lot of other half-demons in Yashahime because of an act of kindness that Inuyasha showed her right here, really good ripple effect shit. But yeah Shiori gets pissed that her grandpa killed her dad and Kekkaishi YEETs him and his followers out of the barrier so Inuyasha can backlash wave the lot of them. We still got fifteen minutes left though so even after Inuyasha says he’s not going to murder a little girl for a powerup that’ll get power crept in a few seasons, Shiori offers him the blood coral crystal to break to give him the powerup instead as thanks for not fucking murdering her. We can’t have the climax of the episode just be Inuyasha smacking a crystal ball though so Taigokumaru’s spirit yeets itself out of the crystal and fights with Inuyasha and attacks Shiori but her dad makes a barrier to bounce him off of so Inuyasha can kill him a second time and get the Red Tessaiga. There’s some navelgazing about how life as a half demon is rough but how Inuyasha thinks that hardship will be good for Shiori and he’s rooting for her in his own way and in Yashahime we see he’s right and all in all that’s pretty nice. Anyway next time we have the Panther Demon filler arc which is honestly probably one of my favorite filler arcs in Inuyasha so that’ll be fun.

Yu Yu Hakusho: Yusuke continues his fight with Suzaku and Suzaku splits himself into seven, which this doesn’t seem to be the Multi-Form or Shadow Clones deal where it divides his energy, each one seems as strong as the original so that’s just kind of broken. Keiko pulls a bait and switch on the zombies which neither Suzaku nor Yusuke see coming despite watching the whole thing on Spirit TV, guess Suzaku had the camera point at the door instead of on Keiko for some reason even though the point is to make Yusuke watch her die. Anyway Yusuke flashes back to Genkai telling him he’s a little bitch that always doubts himself and splits his energy across multiple plans instead of having the confidence to go for something with everything he has and make it work instead of holding back in case it doesn’t. This and remembering his mom crying over his death and all the relationships he’s formed makes him go Super Saiyan in what I can only describe as a Fully Body Shotgun which I don’t think ever comes up again. He knocks down all the Suzakus but it’s just time to start the real fight since Yusuke’s lifted his limiter again like he does in every fight.

Fate Zero: So the clusterfuck in the middle of Saber and Lancer’s battle continues to grow as Iskandar just fucking dares everyone to come at him and five of the seven servants actually do. Gilgamesh is all like “Ugh, why do I have to do this shit, breathing sucks, I’m a king, someone breathe for me.” And tries to murder everyone with spears and shit but turns out Berserker is Darth Vader this time around and uses the force to steal his stolen weapons until Rin’s dad is all like “Dude you’re showing the whole world our fucking moveset, get the fuck out of there. Which given that Gilgamesh is an archer which are supposed to be independent and he’s a fucking snobby asshole, even with a Command Seal I’m surprised that worked. Also Waver’s racist teacher is all “hah wow, I was supposed to have Rider and the token teenager character stole it from me” and Iskandar’s like “I like this kid that’s ride or die with me even though he cries all the time way more than someone who doesn’t even step onto the battlefield you stuck up prick” and then Lancer and Berserker double-team Saber (giggity) and Lancer’s not happy about it because he was fighting Saber first and doesn’t wanna just jump her with Darth Vader but more Command Seals are thrown around until Iskander runs over Darth Vader with his fucking Lightning Chariot and that’s kind of shitty because Racist Teacher man wasted a Command Seal to have Lancer attack Saber for like five seconds before making him retreat. Bug Dude is also kinda freaked out that Berserker just kinda went for Saber meaning she must be pretty pissed at Saber about something anyway so basically everyone runs away and nothing is really accomplished, we didn’t even really need Kiritsugu’s sniper shit or Assassins’s Ninja Bullshit for this everyone’s just had enough and goes home. Also Caster is a creepy yandere simp for Saber but really who isn’t in this series.

Konosuba: So Aqua’s ready to sit in a lake for a few hours to make some money but for the first time in her live her divine booty is not enough to solve this problem. She gets traumatized by getting attacked by demon alligators and Kazuma and co. are honestly uncharacteristically worried about her and ready to try and help her. Meanwhile generic isekai protagonist has a crush on Aqua despite already having his own harem of bland girls and wants to steal Aqua back but basically the whole group is so totally anti-White Knight they can see right through his shit and turn him down. Kazuma beats him up in the most Kazuma way possible and steals his magic sword, proving that not only is he not doing anything to defeat the devil king but he’s actively sabotaging those that are. Aqua fucking decks the guy and blackmails him so she’s rich now and Kazuma’s rich from selling his OP Isekai Cheat Sword. Also the Dullahan dude is back for revenge about bombing his castle and Kazuma’s like “Wait were we still doing that? Thought we stopped, oh well everyone in this world’s problems are our fault somehow so it sounds about right.”

Sailor Moon Crystal: So this time we get Makoto’s story who’s probably my favorite thus far because her job is punching shit and making sure Usagi doesn’t die from the hundreds of things ready to hit her on a daily basis. I have sort of found a redeeming trait for Usaig in that she’s willing to reach out to anyone and everyone, like she’s not what I would call traditionally ‘nice’ but she is friendly and that ability to pull disparate people together does kind of make more sense for why she’d be the leader rather than the other girls who have useful but more specific talents. But yeah continuing with the trend of things teen girls like trying to destroy the world, haunted bridal shop that also reveals Makoto’s tragic backstory of being a more believable version of Tall Girl. Makoto transforms and beats up the Bride lady with a combination of Zenbonzakura Kageyoshi and Azula’s lightning bending, no fair that she gets two powers but I guess she is the tough one so it make sense. Now we’ve basically got the whole crew except for the one that we already know is active but hasn’t joined the group yet so we’ll see how this goes.

Durarara!!: So Mikado’s in deep shit after stealing the girl away that half the town is looking for, all because he has it hammered into his head that whenever a girl asks for his help he has to give it. There’s a bit of discussion about the nature of the Dollars that I’m sure won’t be important later but both Izaya and Celty show up outside Mikado’s school and he’s kind of in an awkward position since there’s nowhere he can really go but home and lead them to the girl. So he decides to find out about them, or at least Celty, Izaya’s just kinda along for the ride. He gets Celty’s backstory and agrees to take her to the other girl only to get jumped by Yagiri thugs and pull out some Death Note animation internet shit that has even Izaya stunned, Mikado about to actually become the main character of this anime for a bit.

#ooc #Toonami #Custom Toonami Block #Code Geass #Inuyasha #Yu Yu Hakusho #Fate Zero #Konosuba #Sailor Moon Crystal #Durarara!!

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setsuna-maru · 4 years ago

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Chapters: 6/? Fandom: 半妖の夜叉姫 | Hanyou no Yashahime | Yashahime: Princess Half-Demon (Anime), InuYasha - A Feudal Fairy Tale Rating: Teen And Up Audiences Warnings: Creator Chose Not To Use Archive Warnings Relationships: Rin/Sesshoumaru (InuYasha) Characters: Rin (InuYasha), Sesshoumaru (InuYasha), Setsuna (Hanyou no Yashahime), Naraku (InuYasha), Jaken (InuYasha) Additional Tags: Time Travel, Alternate Universe - Time Travel, Alternate Universe - Canon Divergence Summary:

After his fateful third encounter with his half-brother, Sesshoumaru meets, not a human girl, but an involuntary time-traveler. Determined to right the path he would've strayed from, the course of history is changed. Years later, an intoxicating scent blows in with the cold gust of a new spring and Sesshoumaru will cross paths with the woman who would've shaped his future.

And possibly still could.

Chapter 6

Sesshoumaru hasn’t seen or heard of the spider hanyo since they left him in pieces years before but he knows that tell-tale miasma stench anywhere. The fact that Naraku managed to survive is somehow less surprising than the fact that he’s confronting Sesshoumaru in person, rather than using a puppet. Or sending one of his detachments.

Everyone is coming out of the woodwork, he mentally scoffs. First he catches wind of that human's scent and now back comes Naraku and his whole bothersome existence.

That human woman was turning out to be just like her would-be daughter; a bad omen.

"Naraku," he acknowledges his newly-reappeared enemy. Sesshoumaru tries to keep his voice as neutral as possible while still maintaining an aura of obvious contempt. Jaken immediately springs into action, cursing the spider and making threats on behalf of his master.

"I'm surprised you've decided to show your face again.” A face that had not visibly changed since their last confrontation. Other than being healed and fully-intact, Naraku looked much the same from the days when Sesshoumaru had become entangled in his complicated web. The one that included Inuyasha and his companions, among countless others.

“When I, Sesshoumaru, and Kirinmaru of the Dawn confronted you years ago, you fled with your tail between your legs and did not return."

Sesshoumaru had never believed Naraku defeated for good. They had only succeeded in chasing him back into hiding. Inuyasha and his band of friends had attempted to hunt him down and finish what the two daiyokais had started but with no luck. Whatever crevice the threatened spider wedged himself into had proven too dark and deep to find.

"Only one of us here has a tail, Sesshoumaru," comes Naraku's reply.

Sesshoumaru smirks. "You'd think with all your downtime Naraku, you would have better comebacks prepared."

"You’re one to judge, Sesshoumaru,” he scoffs, then chuckles. “Why—You famously have a way with words."

"How dare you insult Sesshoumaru-sama!" comes Jaken’s squawking defense. "He is a man of brilliant eloquence. That you’re ignorant of that is only based on the fact that such a great yokai would never waste his oratorical gifts on the likes of you!" Jaken shakes his Nintojo at the spider demon during his speech for emphasis.

"Oh?" Naraku responds, skeptically. "And who does he share them with? You, little yokai?"

Jaken sputters as he tries to come up with a response.

"Well, there's uh...uh...there is no one truly worthy of my master's poetry, you see! No one with whom he can converse on his own level—"

"Jaken!" Sesshoumaru interrupts him, having had enough. "Silence."

The imp stiffens and ceases his useless chatter.

"Naraku; should Kirinmaru and I need to deal with you again? Is that the reason you've returned from whatever sinkhole you crawled up from?"

"Threatening I, Naraku with the superior Beast King?"

The spider's tone is ruthlessly mocking and Sesshoumaru narrows his eyes slightly as he imagines his claws bursting out the back of that boned armor.

Where did this vermin get off, having that attitude? Like he hadn't been scared into hiding for all this time. Like they hadn't had him on the verge of death.

"Go, Sesshoumaru," he teases. "Tug on Uncle Kirinmaru's hakama and tell Father's friend he needs to fight a battle for you again. I'm sure he's in a charitable mood."

"This coming from one who so often relies on manipulating others into doing his dirty work for him," Sesshoumaru counters. “Aided or not, you were confronted with raw power and strength. Not detachments and trickery.”

"Trickery'" Naraku repeats. “Manipulation of others.” His tone is placidly condescending. ‟You are no stranger to these, Sesshoumaru.”

"It’s true,” Naraku admits. “I, Naraku, will use anyone and anything as a tool. But you, Sesshoumaru, are a great daiyokai. Shouldn’t you have more faith in your own abilities?"

“You’re correct that I’m a daiyokai,” he responds coldly, masking his rapidly dwindling patience with this interaction.

“Unlike you, I don't derive my power from thousands of demon parasites. But all that means is that you have no right to say anything to me. You’re a disgusting thing, Naraku." He adds, "Like all hanyos.”

Naraku is undeterred by the pushback. Being much too aware of Sesshoumaru's insecurities, he moves to a subject he's certain remains a sore spot.

"I see you still don't carry Tessaiga at your hip. Am I to assume your half-brother, Inuyasha, retains possession of your father's fang?"

Sesshoumaru’s mouth tightens. He hears Jaken gasp; appalled by the audacity of invoking Inuyasha’s ownership of the Tessaiga.

"So it's me you've come to first to announce yourself, and not my hanyo brother," he points out. "Should I be flattered? Am I, Sesshoumaru, your new obsession?"

“It was curiosity that brought me to seek you out first," Naraku says. "Was it not a human woman I discovered you conversing with the other day? It seemed like she had an awful lot to say to you.”

Sesshoumaru fights to keep his face impassive. Unless Naraku had used a puppet, he should have been able to smell him or any of his detachments if they had been that close. Just what form of Naraku had been watching—And from where?

“Humans are numerous and unavoidable, even to this one,” he responds, careful not to protest too forcefully.

Naraku persists. “She approached you without fear or hesitation.”

“Are you really expecting I, Sesshoumaru, to explain the behavior of a human?” Again, he treads lightly, measuring his response. He will use no more words of explanation than necessary. For a moment, he wonders why. It's not as if he's trying to protect her.

He’s not.

Sesshoumaru thinks back to the encounter by the river. The damn woman had been so eager to talk . Would she talk to Naraku?

On the chance that she did, whether willingly or by force, what of it? Even if she told him all about Setsuna, she was entirely unaware of the girl’s true nature.

And if Naraku managed to surmise that information regardless...well, it might actually work to Sesshoumaru’s advantage.

Let the spider think he’d found a weakness of his to exploit. Let him try to use it against him. Sesshoumaru would stand proud, smugly belittle him for having such a ridiculous idea and show the fool just how little he cared.

Sesshoumaru's hand goes to the battle sword at his left side. In one swift, fluid motion, he unsheathes Sōryūjin and makes a swipe at Naraku. His target dodges the blade and floats into the air.

"Run to Uncle Kirinmaru," Naraku taunts him, his dark curling hair rising in a curtain above his pale head. "You'll find I, Naraku, will be ready for him."

With that, the spider hanyo flew away, drifting off into the horizon.

"Why, the nerve of him!" Jaken huffs.

His vassal looks up at him, radiating with outrage. "Sesshoumaru-sama, will you go after Naraku? He's getting away!"

"No, Jaken," he says to the imp's consternation. Sesshoumaru needed the opportunity to consider what action to take. Naraku was nothing but a pest, and if he was going to insist on infesting their lives once more, Sesshoumaru would destroy him for good. With or without the Eastern Lord's help.

Sesshoumaru asked Setsuna no further questions and ceased any appearance of cordiality. As far as he was concerned, this is where his business with her ended. He told her so, and in language he imagined to be as devastating and offensive as the situation deserved.

(Years later, he’ll try to recall what exactly he said to her. He’d wanted to make it brutally clear just how he felt about the existence of half-demons but, for some reason, he hadn’t really wanted to insult her personally. In the end, he can’t remember if the generic condemnations he’s thinking of are things he’d actually said to her or lines he’d taunted Inuyasha with around the same time.)

Tainted blood courses through your body...A hanyo whose mother is a human is a disgrace to all our kind...Don’t come near me again, stick to humans—It suits you...Infinitely vulgar beings...I won’t fall to a weakness of the heart...What can half-demons do? You’re useless to me...

His contempt for humans and half-demon’s had stock phrases.

Sesshoumaru had needed something to keep his mind occupied during long days of fruitless hunting for the Tessaiga. It was easy to become fixated on what had left him in that situation in the first place.

For her part, Setsuna seemed deeply unimpressed.

His cruel rejection of her is met by vacant boredom. If anything he had said had gotten under her skin, her face denied it. Inuyasha would have called him a bastard and made several clumsy attempts on his head by that point. Again, he was forced to recognize part of himself in her stoic refusal to be baited into a reaction.

“Are you finished?” she asked, after one last condemnation of her as existential terror.

“Do you understand that we are not to come into contact again? That you are to act as if we have no relationship to one another?”

“It’s not as though that’ll take any getting used to," she replied sardonically.

“Kirinmaru,” he reminded her. “Leave him to me. You’re not to seek him out for any reason.”

Setsuna shrugged. “He’s no business of mine. I already told you; I declined that offer.”

“Then there’s nothing else to discuss. We should not cross paths again.”

With that, he turned his back on her. As far as he knew at the time, that might be the last he'd ever see of the girl; her back against the tree, arms folded, her face defiantly expressionless.

Would she ever make it back to her own time, to her sister? Sesshoumaru certainly wouldn't be worrying himself with such concerns. The only thing he cared about was that she stayed out of his way and didn't draw any attention to herself.

Farewell, Setsuna; you're on your own.

He wondered once more if he should go the extra step of ending her life. It would be the most convenient thing to do. He decided against it, telling himself it was because she still possessed pertinent knowledge of future events. Things it would help to know but hadn’t yet occurred to him to ask about. Never mind the fact that he’d just deliberately set that bridge on fire.

His rationalization complete, Sesshoumaru’s thoughts turned to what to do about Kirinmaru. He wasn’t sure if it would be wise to confront him. Damn Inuyasha—The Tessaiga was wasted on him. What use did the hanyo have for such a powerful sword? What had their father expected his eldest to do if it ever came time for him to confront the Lord of the East?

His desire for his own powerful fang was stronger than ever now. Totosai, the old geezer, would still refuse to forge him one. There were other swordsmith’s—None as good as Totosai, but Sesshoumaru wielding would more than make up for any deficiencies in craft.

He wondered if his Other had ever succeeded in taking Tessaiga from Inuyasha. Or had that demoralizing failure only pushed him even further from his intended path?

Setsuna might've known the answer to that; if he had thought to ask about it. But it doesn’t matter and it’s not worth dwelling over; he's already returned to the correct path; the roads have already diverged. He was the real Sesshoumaru and it was what he did from here on out that truly counted.

All the same, the image of Setsuna's face lingered in his mind; it’s fine details memorized against his will. Pieces of their conversation play back to him and the voice that says "we’re complete strangers" with nothing indicative of caring is her own low one.

He thought back to Tessaiga; that sword meant to be inherited by a half-demon; the sword that had protected Inuyasha's human mother. It's the only semi-rational explanation for what his Other had done but...perhaps, Setsuna’s birth had been an experiment. A last ditch effort at taking Tessaiga for himself.

Lack of compassion for humans was supposedly what had repelled Sesshoumaru from wielding it with his own hands. Would he really have gone that far in pursuit of his father’s fang? If the experiment had proven to be a failure then, that would explain why his other self and his progeny were strangers.

There was a part of him that would like to believe in that scenario but, ultimately, he can��t. (Hanyo or not, he would never abandon his children.) But again, it doesn’t matter. Whatever the reasons for what the Other had done, that future wasn’t his anymore.

Regardless, as things stood then and there, Tessaiga remained stubbornly outside his grasp. He still would need a blade sufficient enough to battle any opponent; from his lowly half-brother, to Naraku to, potentially, Kirinmaru.

Sesshoumaru had a notorious swordsmith to seek out. Kaijinbo would craft him an impressive blade, he was sure of it. He just needed to locate a suitable fang.

#SessRin #SessRin Fanfiction #SessRin Fanfic #bye bye butterfly #bye bye butterfly chapter 6

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musicinthebranchesoftheveins · 4 years ago

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Okay this is a totally random, one-time fan theory post about Yashahime, but...

Inu no Taisho's tomb was sealed in a black pearl in Inuyasha's eye. Setsuna's eye pulsed when she was fighting. Was Myoga instructed to seal something in her eye too? Their father tested his sons throughout the series, like with the swords and caring for humans and respecting human life. I wonder if the swords gain powers on their own. Maybe Sesshomaru and Inuyasha have made swords of their own to pass down or they're capable of doing so in the future. Maybe the Meido Stone is supposed to bring someone back again. Clearly the Tenseiga and Meido Stone tested Sesshomaru and I think they test the twins. I wonder if Setsuna is confused about Sesshomaru and actually hates him (kind of like how he struggled with Inu no Taisho). Sesshomaru received the sword after Totosai attached it to a tree and left a little note for him and maybe that's how Setsuna gets the sword she's carrying (is it Tenseiga or not though?). She has forgotten about Towa and maybe THAT could be part of what makes her eye pulse. Whatever altered her memories. Maybe Sesshomaru has a test for her to prove her wrong. OR, Sesshomaru is tested to care for humans again once his daughters need him or they're in danger. I hope one of them doesn't need to be resurrected from death, like Rin did.

I could be wrong but Inu no Taisho had three powerful swords and they destroyed So'unga after killing Takemaru of Setsuna. (Why is Sesshomaru's daughter named Setsuna when Takemaru was Inu no Taisho's enemy?)

Inu no Taisho left a great arc for Sesshomaru and Inuyasha to complete in the first place. They both had intentions of being powerful and Sesshomaru wanted to defeat his father and their father knew that. By giving them swords that could only be tested based on their abilities to value or protect human lives, it gave them character development. This was conceived before Naruku even came into the picture. Inuyasha had to perfect Meido Zangetshua and Baksaiga came from Sesshomaru's own body. The Meido Zangetshua technique can send an enemy to the netherworld and Baksaiga can destroy anything it touches. Obviously they used them for a good cause in the end, which was to destroy Naraku. So there has to be a bigger foe that separated most of them from each other this time around.

The Shikon Jewel, Naruku and the swords really drove the first story and I wonder what happens this time around.

#inuyasha #hanyo no yashahime #yashahime #again i could be wrong #i'm a little obsessed #i love this effin series so much

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ayuuria · 4 years ago

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Yashahime Translation: Livedoor News Interview

Please do not repost this translation without my consent! This includes screenshots of any type and amount. If you wish to share this translation, simply link to this post.

For more information regarding the use of my translations, click here.

The New Story That Continues the World of Inuyasha, Anime “Hanyō no Yashahime” Director x Producer Interview

With the Resolve to Reopen the Concluded “Inuyasha” World in Their Hearts. The Behind-the-Scenes Production of “Hanyō no Yashahime”

For 12 years from 1996-2008, “Inuyasha” (original creator: Takahashi Rumiko) which was serialized in “Weekly Shōnen Sunday” (Shogakukan) was a feudal fairy tale that depicted the heart of the battle between demons, humans, and half-demons for the Shikon Jewel.

Anime “Inuyasha” broadcasted from 2000-2004 followed “Inuyasha the Final Act” from 2009-2010, after the original work was concluded. It is a timeless masterpiece that is now loved around the world.

Continuing that world of “Inuyasha” is the new original anime, “Hanyō no Yashahime”, which began broadcast in October of 2020. Many Inuyasha fans were surprised at the shocking set up that the daughters of Sesshōmaru, a popular character in “Inuyasha”, would be the protagonists.

With everything from the production, background music, and cast performance having an Inuyasha flavor mixed in, being moved from seeing the new characters and the “Inuyasha” characters coming together on the TV screen, to the absolutely unclear mysterious developments, the hearts of fans around world have been grabbed once again.

Since broadcast began, despite having completed one cour (translator’s note: Cour = 3 months or 13 weeks/episodes), the full picture of the story still cannot be seen. We carried out an interview conversation with director Satō Teruo and producer Naka Toshikazu regarding the things of interest about the work up until now and ahead.

We Prepared a Device That Would Allow Inuyasha Fans to Enjoy (the show)

— One cour has passed since broadcast began. Are the responses reaching you?

Naka: The response is incredible. Especially on social media.

Satō: You’re right. I’m also on Twitter, so I get reactions from all over the world. I truly get a sense that it’s work that’s receiving a lot of attention.

When I look at comments on the official (Twitter) account, most of them are from overseas. Not only do I once again realize that “Inuyasha” boasts a worldwide popularity, I do my best while feeling the pressure of “Hanyō no Yashahime” being a work that inherits that world.

— Apparently the one who suggested the project was Suwa Michihiko of ytv Nextry, who was the producer for anime “Inuyasha” and “Detective Conan”. How did you two feel when you first heard about the project?

Naka: “We’re going to do a story that’s been neatly concluded once before again!? How!?” is what I felt at the beginning.

From the moment I first heard about it, I was still floating around what kind of story it would be. “I might make it a story about Sesshōmaru’s daughter.” was as far as I had gotten. I thought “If I’m not mistaken, if we make it like that, then there might be something to do”.

Satō: There were talks of “wanting to do it” for 2-3 years and Rumiko-sensei, Suwa-san, and the “Inuyasha” staff had mulled over the idea.

It’s just that not only was the story of “Inuyasha” itself was very neatly concluded, after “Since Then” (the special edition (chapter) depicting the after story) we had Rumiko-sensei tell us “There’s nothing left to do in “Inuyasha””.

There was a rather heavy responsibility in touching that and as an Inuyasha fan myself, it made me really think about “In order to create a new story out of a work that was neatly concluded, what sort of form does it need to take?”

I think Inuyasha fans would watch, so I felt that I wanted to release something that everyone would agree to as much as possible without breaking their (idea of) “Inuyasha”.

— In terms of the target audience for “Hanyō no Yashahime”, do you consider Inuyasha fans the main target? Or do you focus on the new audience that does not know “Inuyasha”?

Naka: For us, we want people to like the new characters so in that sense, we keep in mind the new people.

It’s just that a lot of time has passed since “Inuyasha” was broadcasted and I think among the people who watched “Inuyasha” back in the day are people who have become parents. I think watching it as two generations, parent and child (Mom and Dad who liked “Inuyasha” and the children who are touching it as a new work), is the most ideal.

Satō: The voice actresses who voice the three princesses (Towa, Setsuna, and Moroha), are from a generation that watched “Inuyasha” right when they were kids. They chit-chat while recording every week (laughs).

It would be great if the new target group could go back and watch “Inuyasha” because of “Hanyō no Yashahime” and think “There are demons that appeared in “Hanyō no Yashahime” too”. On the reverse side, I would like those who watched “Inuyasha” to enjoy “Hanyō no Yashahime” from the point of view of “It’s the demon from that time”.

For that reason, we inlayed different devices and components into the story.

Naka: We periodically put in devises that would make people who like Rumiko-sensei’s other works smile a little bit. Like the hoodlums who appeared in episode 2 or the monkey gag in episode 9.

— In other words, while still keeping in mind those who don’t know “Inuyasha”, you are of course creating a work that Inuyasha fans can enjoy as well.

Satō: Making sure we don’t destroy the image of “Inuyasha” characters is at the forefront of our minds, especially when we bring them out into the “Hanyō no Yashahime” world. This is so that people watching don’t think “That’s not the kind of character they were”.

Of course, when we bring them out, we always have Rumiko-sensei review the scenario. She’ll tell us “It should be fine if it’s like this” and apply that to the scenario which is how we’ve been doing it.

Naka: We’re careful so that when “Inuyasha” characters take the mound, they don’t eat into the spotlight of the new characters while also not losing their “status”.

— Among the fans, the way the broadcasting order of “Hanyō no Yashahime” to “Great Detective Conan” is similar to “Inuyasha” to “Conan” became a popular topic of conversation. Was that formation something Yomiuri TV-san was particular about?

Satō: The order is the same as when it was broadcasted during the golden hour of 19:00-20:00 (7-8pm on the 12-hour clock). We’re grateful that they’re nostalgic about it.

Naka: I don’t know if they were particular about it or not, but it was decided from the start that it would be broadcasted during that timeframe (before “Conan”). It’s possible that it just turned out that way, but from the production side, it felt “just like before” in the end.

Satō: It’s like (Yamaguchi) Kappei-san (role of Inuyasha and also Edogawa Conan/Phantom Theif Kid in “Great Detective Conan”) has 2 consecutive appearances (laughs).

Naka: Not only is the connection between the timeframe the same, but also when we heard that SixTONES would be doing the opening for the October cour, we thought the flow looked the same as “Inuyasha” since it would be a group from Jonny & Associates that would be singing (Editor’s note: In the past, V6 and Tackey & Tsubasa were in charge of the theme song for “Inuyasha”).

In the end, we’re also curious as to how the structure is the same as during “Inuyasha”.

A Character Cannot Come to Life Without Working Out the Fundamental Aspects

— Next, we will ask how story the of “Hanyō no Yashahime” was created. We just heard from Naka-san that “When I first heard about it “I might make it a story about Sesshōmaru’s daughter.” was how far I had gotten”, but were there any different ideas regarding the direction after that?

[Characters bios written following the question but I’m skipping it]

Naka: We proceeded with that intention as is.

It’s just that even if it’s a daughter, we couldn’t quite settle whether the daughter would be twins or an only child. We couldn’t decide until right on the line of “If we don’t decide what sort personality the character will have at this stage, we may have to relook things including the broadcast timing” (laughs).

Satō: We pretty much decided after directly talking to Rumiko-sensei.

— What did Rumiko-sensei tell you?

Naka: Regarding the character persona, she pointed out things such as “With only the setting, you don’t know why they speak that way” and “Why they dress like this doesn’t feel right to me”.

Especially with Towa, it took a long time for Rumiko-sensei to understand and agree to the part where “She dresses like a boy because she’s this kind of persona”. That’s where we struggled the most.

Satō: For Rumiko-sensei, apparently, she understood Setsuna and Moroha straight down like “So this is the kind of child she is”.

However, only with Towa did she say, “If you don’t clearly boil down and solidify how she will grow and what sort of foundation she’ll have, the story development will become blurred wouldn’t it”.

With that point, it was a lot of work deciding Towa’s character.

Naka: Not just the settings, but we had Sumisawa Katsuyuki-san (in charge of series composition for “Inuyasha” and now this work as well) vigorously write the scripts for episodes 1 and 2 and show Rumiko-sensei “With this story flow, Towa will respond like this” and “We’ll use this language”.

With that, we put things in order in a “But, we probably don’t need this kind of language after all, right?” kind of way.

— It was explained in the story that Towa dresses like a boy because “It’s easier to fight in”, but is that one of the settings that was solidified like that?

Naka: Yes. The result of coming up with different reasons and many ideas was that we ended up settling on a conversely simple reason.

Satō: Rumiko-sensei casually said “Isn’t “it’s easier to fight in” good enough?” (laughs). We were turning up a lot of different rationalizations. (translator’s note: Not confident on this sentence) For example, “As a girl, there was something she didn’t like”.

But it also became “I don’t think that’s true” …… It made us realize it was fine to have something simple and straightforward.

— So Rumiko-sensei was involved with the character persona starting from the foundation.

Satō: I learned a lot from speaking with Rumiko-sensei as I was creating the characters. Rumiko-sensei’s way of thinking is very logical and upfront. For example, “Because (she’s) this kind of child, (she) behaves like this” or “(She) Won’t say something like this”.

That’s why, people who view the work will see their foundation. In my head, I knew “If you don’t work out the fundamental aspects, the character won’t come to life” but I came to realize that once again.

In the anime, there were many people who put out ideas starting with Sumisawa-san, but I thought it must be a lot of work for Rumiko-sensei to create a manga while consulting with the editors.

We’re Mindful of the Composition that “Towa Sets the Story in Motion”

— With the characters solidified, did you receive any orders from Sumisawa-san as you planned the story?

Naka: With “Hanyō no Yashahime”, it started with Sumisawa-san first writing the scenario that would become the first manuscript.

In that regard, we discussed with him things such as “Keeping in mind of the development ahead, please pay attention to this part” or “Please put this device in”.

More precisely, there was a lot of discussion about Moroha’s position at the beginning. There was the fact that Moroha was the easiest character to move, but we wanted him to keep in mind as much as possible that she (Moroha) should show her concern for Towa and Setsuna in a way that ensures they’re at the forefront.

Satō: To the writer, Moroha is like a “Mini Inuyasha”. Hence there was a tendency to naturally center the story around her.

However, Sesshōmaru’s daughters, Towa and Setsuna, are the protagonists this time so we wanted (the writer) to keep that in mind.

Because Moroha is easy to understand with her character and Setsuna is a female version of Sesshōmaru, when their vectors become conspicuous, Towa appears overshadowed no matter what. “The protagonist getting overshadowed by those around them troupe.” is something that happens in original works.

That’s why we’re conscious of the composition of bringing Towa into the center and using her to move the story whenever possible. That’s the part we especially placed importance on when putting together the story.

— Next, please tell us the appeals of the three protagonists. Starting from Towa please.

Naka: Regarding Towa, she inherited Sesshōmaru’s silver hair, has a boyish outfit, and has an outward appearance that would make girls think she’s attractive.

However, her values are surprisingly modern, and she has a naiveness about her which Setsuna calls out within the story. I don’t think there have been many characters who have been balanced like this thus far.

Although, at the current phase, there’s a point that what the goal behind her actions is might still be a little weak.

Satō: Just as Naka-san said, Towa has a half-hearted kindness and naiveté; how that will change as she travels with Setsuna and Moroha. Please look forward to that growth as you watch the story.

I think there are people who get impatient seeing Towa’s current indecisiveness (laughs).

What will that kind of protagonist experience and how will her feelings change from that. It will make me happy if people think “Towa’s changed; she’s matured” at the end.

Naka: I think having lots of room for growth is what gives her that protagonist feel. Conversely, Setsuna is a relatively standard character. However, on the one hand, she does have a kind side.

Satō: She does show a little affection after all (laughs)

Earlier I said “a female version of Sesshōmaru” so I think her nonchalant kindness is the same as his. The vector of her character direction is easy to understand which is her appeal.

— It seems Setsuna coldly pushes Towa away, but also shows concern for her. Despite saying, “The curse of the Dream Butterfly doesn’t need to be broken”, she goes along with Towa’s search for the Dream Butterfly.

Satō: Just as the line “I can’t readily accept that” in episode 3 said, Setsuna cannot accept Towa as her sister.

However, I believe she understands Towa’s virtues as an individual. We would like everyone to pay attention to how Setsuna draws the line of “I can understand Towa’s good qualities, but I can’t acknowledge her as an older sister” and the point at which that line is crossed.

Will the day ever come where Setsuna will address Towa as “Towa nee-chan” ……

— It feels as though the distance between them is getting shorter, like when she almost went along with Towa’s high-five in episode 11.

Satō: Little by little. Within that, we would like for you to please look forward to how their feelings intersect when the time comes.

Naka: In that episode, it looks as though she gets along with Towa, but when Towa tried to lay her head on her lap, she didn’t allow it. I was watching with great interest like “So that’s where she draws the line” (laughs).

— Next, Moroha.

Naka: Moroha is pretty much just what you see (laughs)

Satō: She’s a hybrid of Inuyasha and Kagome. If her theatrical elocution is like Inuyasha’s, then her actions are understandable like Kagome’s.

In that sense, I think she’s a character that viewers can easily connect with. There’s also the fact that currently, all the gag lines are relatively being placed on Moroha (laughs).

Naka: In earlier episodes, her level of participation was high but lately she’s been in charge of punch lines (laughs). For example, when they didn’t take her to the battle in episode 10 or when she got caught up in Setsuna’s attack in episode 11.

Earlier, we discussed how “We were careful not center too much around Moroha” but it put us at a disadvantage as a result and I feel a little bad (laughs). However, Moroha will be taking charge in episode 16 next week (1/23/21) so please look forward to that.

Satō: Not only will Moroha play a very active role, but it is also an important episode that depicts the environment that she grew up in. Why she has to collect bounties and what kind of relationship she has with Jyūbee will be touched upon. If you watch that, I think you’ll come to understand her actions up until now like “So that’s why she was doing things like that”.

From a composition standpoint, episode 15 revealed Towa and Setsuna’s past, episode 16 will reveal Moroha’s backbone, and furthermore, the story of Setsuna’s childhood will come hereafter. If you watch that far, the full story of this will work will become clear for the most part.

The first cour was a period of planting seeds, but now going forward, the composition is set up so that the fruit of the tree will ripen and fall, so please continue to look forward to it.

The Casting of Miroku Was Entrusted to the Sound Director for “Inuyasha”

— Next, please tell us about the casting. On what points did you decide the cast group?

Satō: It was fundamentally decided through auditions. If we don’t progress the script to some extent, sound director Nagura Yasushi-san can’t determine the direction of the roles, so when the script amount had accumulated, we gathered up people who could picture the characters and carried out the auditions from there.

It was right about the time when the COVID crisis was escalating, so we worried if we could really start broadcasting in October.

Naka: The balance between the three was the deciding factor. After we narrowed it down from a number candidates, we took a “If this person did this character, then the balance would probably become like this” kind of view and decided from there.

Satō: There’s going to be a lot of dialogue between the three of them not matter what, so in order to avoid having similar voice tones and similar ways of speaking, we created the characters based on that assumption.

Towa’s thought process and actions are modern and Moroha acts on her emotions. Conversely, Setsuna is always calm and collected like Sesshōmaru and makes decisions after observing the entirety of the situation. Then she’ll look for the best solution and take action.

Because each of the characters has that kind of nature, we ordered Nagura-san to look for a balance that enables you to easily tell the three of them apart when they’re conversing.

– Did you not look at it from a standpoint that the voices should or should not sound similar to those of the parent generation like Sesshōmaru, Inuyasha, or Kagome?

Naka: That is a point that we were not at all concerned about. We proceeded with a viewpoint that the person should match the outward appearance, the actions within the story, and the nature of the character.

When balancing the three of them, balancing the twins seemed difficult, so from there we decided on Moroha first as her position takes a step back. We decided on Towa and Setsuna at the end after looking at the balance between them and considering Moroha for a second time.

— What were the key points in selecting the cast outside the three girls?

Naka: We left it up to Nagura-san. There were times when he asked for our review and opinions.

For example, there was an idea for Riku (CV: Fukuyama Jun) to have a more feminine voice. But when we spoke to director Satō, he said “A masculine image”, so we went with that direction.

— The Miroku that Yasumura Makoto-san, who replaced the late Tsujitani Kōji-san, played was a hot topic but did Nagura-san decide on that casting as well?

Satō: Regarding Yasumura-san, we asked Tsuruoka Yota, who was the sound director for “Inuyasha”, to decide. We thought that fit more under the category of “Inuyasha” rather than “Hanyō no Yashahime”.

Of course, I’m sure the viewers knew (the voice) was going to change, but we received a lot of feedback saying “It’s Miroku-sama!” and “It doesn’t feel out of place at all!” when episode 1 was broadcasted.

I was in Tsujitani-san’s care many times as a sound director prior to him playing Miroku. I was still a newbie producer back then but even when I met him after that at the “Inuyasha” set, he spoke to me like “Hello~”

I was producing while my heart was pounding hard. During testing, when I was panicking because I couldn’t match up the lip-syncing, he reached out to me like “We’ll do the syncing so it’s fine”. The figure of him reaching out to me so nicely is strong in my memory.

It was such a shame that he died so young. However, this time Yasumura-san, who was also his junior at the same agency, is working hard as his successor, and I think he was casted well.

Naka: Director Satō, you said “The air around Yasumura-san is completely different now compared to when I worked with him in other works”.

Satō: In episode 1, it seems he was really nervous having to record with the cast of “Inuyasha” who are high level seniors.

He was relaxed to some extent in episode 13 which was Miroku’s episode. He said to me “I’m sorry about before when I was extremely nervous” (laughs).

Creating Scenes in A Way That’s Distinct from the Popular (Methods)

— In order to make viewers feel that this is a work that inherits the world of “Inuyasha”, do you do any devising on the production side?

Satō: I would say scene creation. We don’t really get onboard with the popular trends. We split the cuts and show things the way they did in “Inuyasha” in order to smoothly give it that “Inuyasha” feel. I think it’s distinct from what’s popular nowadays.

This might be weird way of saying it, but it’s like we’re using an old-fashioned way of creating. By purposely doing things in a “Works from about 10 years ago felt like this” sort of way, it brings out that “Inuyasha” feel.

For other parts, Sumisawa-san directs the theatrical elocution and we have the same sound team from “Inuyasha” working, so no particular explanation is needed. In that aspect, they’re making it a lot easier for me (laughs).

For me, “Inuyasha” was the first work I did as a freelance producer. Not only was it a work that taught me the fundamentals of producing, but I also learned (how to make) storyboards from “Inuyasha”. In that sense, it’s a very memorable work.

— At the beginning, you said you “Put in devices that connect to “Inuyasha””, but between episode 9-12, demons that appeared in “Inuyasha” were continuously making appearances and it became a topic of discussion.

Naka: That section was the “devoured by Mōryōmaru” series. We had to speed through things in “Inuyasha the Final Act”, so I brought out those demons thinking “If we could just use the demons that we couldn’t properly show back then, even just a little”.

Satō: After fall for Meiōjū, we only had the scene of Mōryōmaru taking the armored shell (laughs)

Naka: We explain that “The demon that appeared this time is actually in “Inuyasha”” on the official Twitter account. It would be wonderful if there are people who take an interest in “Inuyasha” after watching “Hanyō no Yashahime”.

Satō: I think there’s also a wonderful world laid out in that work, so we would certainly love for you to watch “Inuyasha” while enjoying “Hanyō no Yashahime”.

Picking Out Noteworthy Episodes and Explaining Them!

— From here, we will have you look back on episodes that have already aired. We have picked out a number of impressionable episodes, so please tell us some secret (behind the) production stories, memorable recordings, and scenes that left a lasting impression on you.

Episode 1: Inuyasha Since Then

Satō: It was like a “class reunion” (laughs). Although, we couldn’t have everyone record together due to the COVID crisis.

We had everyone take turns recording but they were all was greeting each other like “Oh my god~!” as they passed by one another. Likewise, it was a teamwork that went without saying.

Jaken (played by Chō-san) was adlibbing a lot and that situation made me really think “This is “Inuyasha””.

The first episode was mainly “Inuyasha” basically, but at the very beginning and end, we had the story connect to episode 7 of “Hanyō no Yashahime”. In that sense, the episode was pretty much full “Inuyasha”.

Naka: While we had director Satō do the storyboard and production, I saw the storyboard and felt “Ah, it’s “Inuyasha”. It will be okay”. Like feeling relieved (laughs)

Satō: When 10 years goes by, the producers from back then aren’t around anymore. The people I worked with are now at the director level. Explaining something like the rules of “Inuyasha” from square one to the new people is a hassle, so I was like “I’ll do this myself” (laughs).

The surprising thing is, we had the same group of people from 20 year ago with chief animation director Hishinuma Yoshihito (in charge of character design in “Inuyasha”. In this work, he oversees animation character design) and the animators from back then. It felt as though “Ah, nothing’s changed”.

I remember working while saying “Back then, I never thought we would do something like this 20 years later”.

Episode 2: The Three Princesses

Satō: You could say this episode was episode 1 for “Hanyō no Yashahime”.

Due to the COVID crisis, we couldn’t have the three princesses record together and it made me realize how important it was for everyone to record together. Even though it’s a conversation, when you have one person record first and the other person responding while listening (the recording), it changes the mood and rhythm.

Nagura-san tried to match up schedules so that the three princesses could record together as much as possible, but in the end, we couldn’t record with everyone. In a sense, episode 2 was very memorable to me in that it left the impression of “So we’re going to have to record like this from now on”.

I think all the works that started airing in the fall were in the same situation, not just “Hanyō no Yashahime”. Since we were recording in chunks, it became necessary to pay even more attention than before to ensure that we didn’t forget to record anything.

I’m grateful to everyone involved that we somehow managed to air every week, despite these difficult times.

Naka: The first demon that appears in episode 2, is a point where we kept “Inuyasha” in mind as we pulled Mistress Three Eyes from Mistress Centipede.

I think it was an episode where we appealed that “We’re aware of the “Rumik World”” by putting in the hoodlums mentioned earlier and Towa’s gag face.

Even though the original “Inuyasha” leaned a little more to the serious side, I think Rumiko-sensei’s taste of allowing a little bit of leeway while not shaking off just that (aspect) is there.

This time as well, including the broadcast time, there were views from inside stating that they didn’t want to make (the episode) too serious. However, director Satō had already added that kind of relaxedness even before that was directly said. He splendidly created that balance that wasn’t too serious.

Episode 7: The Apple Meeting

Satō: Riku, who appears in episode 7, is a character we aimed to have revitalize the story by plopping in a new character just when the story was about to get stuck in a rut. Rumiko-sensei also uses this technique; for example, Kōga and Mugen no Byakuya in “Inuyasha”.

I spoke with Sumisawa-san at the beginning, expressing my desire to introduce a new character to revitalize the story before viewers could start thinking “We’re going to just keep watching this journey?” as they watch the three princesses progress on their journey. He’s a keyman who stirs up the story.

Plus, the three Yashahimes are girls, so there was also the idea of having a romantic component like with Inuyasha, Kagome, and Kikyō. Although he ended up having the feel of a pick-up artist as a result of trying to add that component in (laughs).

Naka: Episode 7 is an episode that connects to episode 1. We intended to put in the device of connecting episode 1 to another episode when we organized it, but after watching episode 7 I thought “It connected pretty well”.

I think it was nicely organized as it turned into a spoiler episode where you found out why Towa was there and what Setsuna and Moroha were doing while Yotsume was telling the old tale.

Satō: Going forward, Riku will gradually involve himself with Towa, and we wanted to show why that is over a number of episodes.

I think you’ll understand to some extent in episode 15, but he’s a character that you don’t know which side he swings to (friend or foe?), so he’s a character to look forward to in that sense.

Episode 13: The Delicious Feudal Monk

Satō: It was a parent child episode with Miroku and Hisui (CV: Urao Takehiro) that we added with the desire to develop Hisui. He is the son of Miroku and Sango (CV: Kuwashima Houko) and I think everyone was wondering what Miroku was currently doing, so we thought it would be nice to introduce what Miroku was up to here and depict the parent-child relationship.

Naka: It’s an episode where Hisui finally plays an active role. It was a feeling of sorry to have completely kept you waiting in the first cour. I am glad we were able to give him an active role to some extent. Moroha ended up going somewhere else though (laughs)

Finally, Setsuna stole the show at the end when her true power was released. I think it brings out Miroku and other “Inuyasha” characters in a good manner while still having highlights for “Hanyō no Yashahime”.

Episode 14: The Mastermind Who Burned the Forest

Satō: This is the episode where the truth behind the fire that attacked young Towa and Setsuna is revealed. It’s a real binding episode you could say, and I think it’s a story that could be put in a modern setting.

Also, from this story, the distance between Towa and Setsuna that we talked about earlier will somewhat destroy a line, I think. There’s Towa who shows her anger towards Homura, the one who tore them (the twins) apart, and Setsuna who has some thoughts from seeing that.

If you can feel that, I think how you view episode 15 will change.

Naka: I thought Towa’s comparison to a smartphone at the beginning was a little off as she doesn’t understand the concept of jealousy (laughs).

Also, something that I thought was strange after rewatching episode 14 was how the gardener and the cook were fine with working in such a dangerous place (laughs). I thought it was amazing even though they’re just regular humans.

Demons and humans unexpectedly coexist in this world. In a sense, you could say it’s very open-minded for a demon. Demons were depicted in all sorts of places in “Inuyasha” too, so it was an episode that made me realize once again that it’s this kind of world.

Episode 15: Lunar Eclipse, The Sorrowful Parting of Fate

Satō: Why did Towa and Setsuna have to grow up separated (from their parents) when they were young? This is the episode that answers that and depicts the continuation of the brief flashback in episode 8.

Why Sesshōmaru and Kirinmaru confronted Inuyasha and Kagome becomes clear. With this, I think you can start to understand Sesshōmaru’s actions.

Naka: This episode was a little different. To begin with, we thought that patrons would be happy to see Inuyasha and the others at the end of the first cour, so we organized it so that the past would be discussed at this timing.

It’s just that it felt completely independent from the main story and Riku just suddenly narrates it, so I’m sure viewers were surprised. Riku was in there as like the navigator.

The three Yashahimes don’t particularly know this, and this episode was purely for the viewers. It would be great if everyone looks forward to what’s to come while keeping this in mind.

— Thank you very much. Lastly, please give a message to our readers who are looking forward to what’s coming up ahead.

Naka: Cour 1 has just ended and we have entered cour 2, so from here on you will learn the things that you wanted to know. Please see for yourself how Towa, Setsuna, and Moroha will grow as you look forward to the mysteries being unraveled.

Satō: After episode 15, “what each character must do” will continuously become clear, and it will become a story that pursues that. On top of that, it would make me really happy if you could enjoy watching what will happen to the three (girls).

#yashahime #hanyou no yashahime #yashahime: princess half demon #translation

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ayuuria · 4 years ago

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Yashahime Translation: Animedia Magazine February 2021 Issue

Please do not repost this translation without my consent! This includes screenshots of any type and amount. If you wish to share this translation, simply link to this post.

For more information regarding the use of my translations, click here.

The Yashahime’s Broadly Smiling Sweets Party

Towa, Setsuna, and Moroha endeavor to slay demons that bother villagers. With each having a unique personality, the three felt disorganized at first, but by showing their cooperation skills by being in sync in battle, they have now grown into a reliable “team”. These girls are still 14-year-olds. During their journey they have silly conversations and admire convenient tools that they brought from the modern era… Even though they do not have heart fluttering episodes, there has certainly been an influx of scenes where one can feel their pure side. Therefore, this time we once again focus on the charms that the girls themselves have instead of as the “demon fighting Yashahimes”. Also, what do the three of them actually think of each other? Including these points of curiosity, we had director Satō Teruo speak.

(Illustration Description)

Gifting treats that Towa brought from the modern era! Moroha seems like she would like anything but Setsuna surprisingly likes candy?

(Character Bios)

The Always Energetic Mood Maker: Moroha

Inuyasha and Kagome’s daughter. She is a bounty hunter who slays demon bounties. When she puts rouge on her lips, she becomes the “Country Destroying Beniyasha” and goes on a rampage.

The Martial Artist Girl Raised in the Reiwa Era: Higurashi Towa

Sesshōmaru’s daughter and Setsuna’s older twin sister. She time traveled 10 years ago and was raised in the modern era. She is currently struggling to take back Setsuna’s sleep in the feudal era.

Satō Teruo Speaks! The Depth of the Three Yashahimes’ Relationship

Cool, Cautious, but Kind: Setsuna

Towa’s younger twin sister. Like Sesshōmaru, she has a calm, collected personality. Due to having her sleep stolen by the Dream Butterfly, she has no memories of her childhood and is unable to sleep.

Going through battles with demons, the relationship among the three has deepened. Now in dangerous situations, their faith is to the point that they can trust their backs to each other. It is just like them to acknowledge each other based on ability rather than blood ties.

They butted heads but they have become comrades that can trust each other.

Setsuna treated Towa coldly as she concerned herself with her as her older sister, but it seems Setsuna has softened up recently…!?

What do they think of each other?

“Hanyō no Yashahime” Interview with the Evangelist of Love, Director Satō Teruo

Focusing the on the birth of Towa and Setsuna in upcoming episode 15

— Please tell us what you think is the charm for Towa, Setsuna, and Moroha each.

For Towa, her little sister, Setsuna’s, existence is absolute in the end. She regretted letting go of her hand when they were kids, and now after overcoming months and years, you can feel her gallantness as she tries to behave like a big sister. While Setsuna has a cool aspect to her like Sesshōmaru, towards Towa’s behavior, she periodically acts affectionate which makes that part of her cute.

Moroha has a part of her that is exactly like Inuyasha, so the animators move her just like him. Then she carries a comedic expression at the front of those movements, so I think that’s what makes her entertaining.

— Among the episodes that have aired thus far, is there anything that left an impression on you?

Towa losing the power of her demonic blood on the “Night of the New Moon” depicted in episode 12. Towa inherited the phenomenon that occurs in half-demons that was depicted in “Inuyasha” and while it didn’t happen in the modern era, it did happen once she returned to the feudal era. I think it was a fun episode, even in the sense that it was familiar to those who know “Inuyasha”. Black haired Towa had an appearance that sort of resembled her mother, but I had character designer, Hishinuma Yoshihito, come up with the ideas on that front.

— It seems Sesshōmaru is heavily involved in the three’s past, so how do you capture his way of life?

I feel that he’s a very smart person. He’ll do whatever he can to get things done and always chooses the best course of action. When you look at that in a partial way, you can’t tell what he’s thinking, but I think everything is his own shortcut. In a sense, I think he’s an earnest character.

— New characters like Kirinmaru and Riku are also of interest.

Kirinmaru ruled over the demons alongside Inuyasha and Sesshōmaru’s father, the “Dog General”, so from a position standpoint, he’s an existence who’s pretty high up. Regarding the settings, I got together with series composition writer Sumisawa-san (Katsuyuki) and we compromised on his character such as how he would interact with the Yashahimes and how he’ll move towards the end.

Currently, Riku is still a mysterious character but his existence is important. His relationship with Towa is also of interest and even if it’s not of a romantic nature, the air (around them) does suggest that they’ll be getting closer so it would be great if you could look forward to what will happen.

— Riku, who is getting closer to Towa, is a character with a unique position that has never been held before.

Rather than the reason as to why he gets close to Towa, you’ll gradually figure out his hidden side. Towa ends up trusting that Riku but there’s a part of him that she can’t hate; essentially, he has an honest side to him so that’s where the drama between them will stem from.

— As they are now, Towa and others seem to be no match for Kirinmaru but what secret methods will make the three of them stronger?

How high can each of them raise their individual latent abilities… I would say. Inuyasha demonstrated his “hidden power” in previous battles so I think it’s also possible for the girls as they’re half-demons. In episode 13, there’s a scene where Miroku seals Setsuna’s demonic blood but unless she becomes able to use that power at will, she will be no match against Kirinmaru’s overwhelming strength. Going forward, the girls will be depicted getting stronger so seeing the three of them grow in battle will be a highlight.

— Lastly, a message for our readers!

The details on why Towa, Setsuna, and Moroha grew up separated from their parents will finally become clear in episode 15. It will flow so that what Sesshōmaru wanted to do and why he acted the way he did will gradually become clear, so I would like everyone to please pay attention to it as one climax.

Valentines Situation Research Team

Sweets Q&A with Satō Teruo

Q. What sweets do the three like?

A. Towa likes apples, so I have a feeling she likes apple type treats like apple pie. Surprisingly, Setsuna might like simple things like ohagi (translator’s note: It’s a Japanese sweet that consists of rice wrapped in sweet bean/azuki paste). Moroha seems like she would like typical things like chocolate.

Q. What if the three of them received Valentines chocolate?

A. Towa would just accept it normally as “food”. The meaning behind it wouldn’t matter. Setsuna would probably slash the person. How to put it, others can’t get close or they won’t reach the point of giving it to her (laughs). Moroha would convert it into money. Hence, the more expensive the chocolate, the better. She may even take what Setsuna didn’t accept and sell it.

Popularity Power Research for Towa

Swooning at her compassion towards the weak.

She cannot stand by when someone is in trouble. She exhibits that big sister trait not just to Setsuna but other people as well. There are times where she will throw herself into danger but that is what makes Towa cool.

Popularity Power Research for Moroha

A master of winning the hearts of others.

Good manners are irrelevant to Moroha. The figure of her doing as she pleases and smiling innocently would make anyone feel as though they were close to her. That is Moroha’s strength. You cannot hate her even when she is a little bit of a cheapskate.

Popularity Power Research for Setsuna

Keeping cool no matter what situation.

Setsuna supports the Yashahime team with her collectedness and fighting strength. She does not really show her emotions, but there are times where she gets lost in thought on sleepless nights. Naiveness that peaks out from within her coolness. That is also Setsuna’s charm.

#yashahime #hanyou no yashahime #yashahime: princess half-demon #translation

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ayuuria · 4 years ago

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Yashahime Translation: Animage December 2020 Issue (Part 1)

Please do not repost this translation without my consent! This includes screenshots. If you wish to share this translation, simply link to this post.

For more information regarding the use of my translations, click here.

This month’s Animage article was quite loaded with 6 pages of content. It consisted of an illustration with Kohaku and Hisui (2 pages), an interview with Kimura Ryōhei and Urao Takehiro (2 pages), and an interview with Uru (2 pages). That being said, this translation has been split into two parts.

Part 1: Interview with Kimura Ryōhei and Urao Takehiro Part 2: Interview with Uru

Click Here to read Part 2

The Demon Slayers Have Arrived!

While butting heads with each other, the strength of unity between Towa, Setsuna, and Moroha slowly increases. Watching over and supporting those three girls are the uncle and nephew demon slayer combo.

Towa, Setsuna, and Moroha return to the feudal era from the modern Reiwa era. Lately, they have been slaying more demons together. In episode 5, they defeated one of the “Four Perils”, Tōkotsu; in episode 6, they subdued the demon cats nesting in the old temple. Each has a different goal: Towa’s is to break the spell of the “Dream Butterfly” cast upon Setsuna, Setsuna’s is to fulfill her duties as a demon slayer, and Moroha’s is to defeat demon bounties in order to pay off her debt. However, from spending time together, their teamwork seems to be slowly improving.

Supporting the girls’ efforts are demon slayers Kohaku and Hisui. The two of them show concern for Towa and the others by doing things like taking care of Towa who came from the modern era or providing hints to Setsuna on demon subjugation. Especially Kohaku who has relations with their parents in that he joined forces with them to defeat Naraku. Given that, that could be more reason why he pays attention to the girls. Starting from the reason why the Tree of Ages requested the three girls to “Defeat Kirinmaru and Sesshōmaru” to the existence of Rin sleeping within the Tree of Ages, the circumstances surrounding the three girls is full of mystery. Surely Kohaku and Hisui’s existence will become of help to the girls as they overcome trials.

(Character Bios)

Kohaku When he was a boy, it was said that he “Wasn’t suited to be demon slayer” but now he serves as the head of the clan. He was the one who accepted Setsuna as a demon slayer.

Hisui Miroku and Sango’s child and a demon slayer who fights with Hiraikotsu as his weapon. He did not know Setsuna was a half-demon until he was told by Kaede in episode 3.

Higurashi Towa In order to free her younger sister, Setsuna, from the spell of the Dream Butterfly, she returns to the feudal era. Due to having lived in the modern era for so long, she is somewhat hesitant about fighting demons.

Setsuna A demon slayer who had her sleep and childhood memories stolen by the Dream Butterfly. While she pushes away her elder sister, Towa, who for some reason involves herself with her, she also seems to be concerned for her (Towa).

Moroha In order to repay her debt, she bounty hunts. When she puts on rouge, she becomes “The Country Destroying Beniyasha” and displays unparalleled strength but she falls asleep less than a minute later.

Miroku A monk who previously traveled with Inuyasha. Defeating Naraku, the Wind Tunnel in his right hand disappeared. After the battle, he married Sango and became the father to three children which includes Hisui.

Sango Kohaku’s older demon slayer sister. She previously traveled with Inuyasha and her weapon at the time was Hiraikotsu. She had three children with Miroku: Kin’u, Gyokuto, and Hisui.

That Kohaku Became a Dignified Adult

The Role of Kohaku: Kimura Ryōhei “Kohaku is a character that also appeared in “Inuyasha” but he matured well. When one’s impression of him changes this much, I don’t have to keep Akko-san (Yajima Akiko who voiced Kohaku in his boyhood) in mind so he’s easier to play which is nice. As of now, he has the impression of an adult who doesn’t get into a tight spot or loses composure. They handle him with dignity so I think I can play him without worry.“ (translator’s note: Not sure if I translated that last sentence correctly…)

Kohaku During His Boyhood

Sango’s younger brother. He lost his life to Naraku’s trap but was revived with the power of the Shikon Jewel shard. At first, he was being controlled by Naraku but he regained his memories later on.

Kohaku and Sesshōmaru’s relationship

In the story of “Inuyasha”, Kohaku was always in danger of demons targeting the Shikon Jewel shard. At one point, Sesshōmaru saves Kohaku who had been captured by Byakuya of the Mirage and afterwards, Kohaku accompanies Sesshōmaru on his travels. Normally Sesshōmaru does not get close to others but he did not object to Kohaku travelling with him. It could be that to Sesshōmaru, Kohaku was someone that he could allow to stay near him.

What Did He Inherit from His Father, Miroku?

The Role of Hisui: Urao Takehiro “While Hisui is a little older than Setsuna and the others, he has quite a calm impression. It’s just that he is still young, so he has an unknowing and inexperienced side to him. His uncle is teaching him in that regard. I think Hisui’s strong personality resembles his mother, Sango. The lecherous side of his father, Miroku, hasn’t appeared in Hisui yet so I wonder what I’ll do if he has that kind of a side to him (laughs).”

The Reliable Uncle and the Inexperienced Nephew

— From the start, what sort of impression did you have of the work, “Inuyasha”?

Urao: I’m definitely part of the “Inuyasha” generation. I think I was in upper elementary school when “Inuyasha” started broadcasting. I really liked it and I would watch it every week while eating dinner. The first CD I ever bought with my own allowance was V6’s “CHANGE THE WORLD, Inuyasha first opening song” too.

Kimura: I think I was in high school at the time, so I was right on the cusp of the age for watching anime on a daily basis. I felt it was about time I moved on. It’s just that in regard to “Inuyasha”, it left the impression that it was a work that could be enjoyed not just by kids but also by high schoolers and older. In addition to it being the work of Takahashi Rumiko-san, the creator of my absolute favorite “Ranma ½”, I was working in the industry at the time but I enjoyed it as a viewer.

— Which character left an impression on you?

Urao: My favorite was Shippō. In any case, he’s cute. At the time, I was a real scaredy cat so whenever the demon battles began, I would always look away from the screen (laughs). Within that, Shippō was a comforting existence. I also liked the romantic comedy, so I enjoyed watching the exchanges between Miroku and Sango.

Kimura: The one who left an impression on me was Naraku. At a glance, he didn’t really feel like a final boss. When you look at Sesshōmaru, you know “This guy is strong”. But with Naraku, it’s like “Is this guy strong? What?!”. He could probably win in a fist fight but that air that he has of not allowing you to punch him is something I actually found creepy.

— The current work continues the world of “Inuyasha” but apparently, you were offered the role rather than auditioning for it.

Urao: I was extremely happy. I knew the work, “Hanyō no Yashahime” was being created before it was discussed with me so I was looking forward to it as a regular viewer. It was then that I was asked to play Hisui and I was really surprised and honored.

Kimura: I didn’t know that they were moving forward with this work so I was all the more surprised (laughs). It’s not often that you get to be involved in an anime that you watched as an average viewer during your childhood, so I was happy. I had a connection with Rumiko-san from a previous work called “Kyōkai no RINNE” so I’m thankful that I get to have another connection via this work of completely different nature. If I had to say, though they’re the same in that they’re works by Rumiko-san, “Ranma ½” and “Kyōkai no RINNE” left a strong comedic impression. However, I was very excited to take part in the fantasy adventure world that is “Inuyasha”.

— How did you feel about the concept of “Continuing the world of “Inuyasha”, drawing the story of the next generation”

Kimura: Continuing a great work is exceedingly difficult so I don’t think it’s something that should be done at a moment’s notice. It’s just that “Inuyasha” was a big hit work that was drawn by the famous artist, Takahashi Rumiko. It was watched by many and loved for a long time. If the staff who created a work of that level decided to do a continuation, there’s no way they could create something half-hearted. Upon receiving talks, I just reminded myself to that level on my own and thought “It will definitely be okay!”

Urao: The generation that watched “Inuyasha” in real time are now adults and there are some that have children. That’s why I think “Hanyō no Yashahime” is a work that can be enjoyed by two generations. Adults can watch a new story together with the kids while explaining to them “”Inuyasha” was this kind of story”. I’m hoping I will be able to assist that kind of work. Actually when episode 1 aired, my high school senpai contacted me saying “I’m about to watch it with my son”.

— That’s a wonderful story. When playing the roles of Kohaku and Hisui, do you keep in mind Kohaku’s boyhood days in “Inuyasha” or Miroku and Sango who are Hisui’s parents?

Kimura: Actually, I don’t keep that in mind one bit.

— I see.

Kimura: For example, even if I were to keep Akko-san (Yajima Akiko who voiced Kohaku in his boyhood) in mind, if asked if I could come near that, the answer would be no (translator’s note: not too sure I got the translation of this sentence right). It’s just that when I was told that Akko-san said “Oh my~ he’s become a fine man”, I was relieved. I’m glad she didn’t think “Tsk!” (laughs).

Urao: I completely mindful of that! Especially in episode 2 when shouting while throwing Hirakotsu; I recorded the voice of Kuwashima Hōko-san (the role of Sango) saying “Hiraikotsu” and the whole time I was riding the train, I listened to it and did image training.

Kimura: I see. It certainly is something like a signature move.

Urao: First, I thought I needed viewers to acknowledge “Hirakotsu!”. Also, since the image of Miroku being able to calmly assess and explain the situation was strong, I’m really conscious of that in explanation scenes. I rewatched the anime and researched the way he spoke.

Kimura: There’s a lot of scenes where Kohaku and Hisui give explanations on demons while splitting lines (amongst themselves).

Urao: Indeed.

Kimura: Kohaku and Hisui probably meet up beforehand. Something like “I’ll explain up to here” (laughs).

Urao: Responding “Then I’ll explain the next (part)” is something they might be doing (laughs).

— How do you view each other’s characters?

Urao: Kohaku has always been a person who’s known that he was being manipulated and yet still moved in secret; but I also got the impression that he had a strong heart. It means that Ryōhei-san is playing someone like him and it’s really reassuring. As an average viewer of “Inuyasha”, I’m deeply moved that “He’s become a reliable man!” and as Hisui, I feel that “He’s a reliable uncle.” Calling him “Uncle Kohaku” felt kind of fresh (laughs).

Kimura: The impression I got from Hisui was “He’s a good young man.” Although I can say the same for the main three and not just Hisui. At the beginning, I wondered how Kohaku and Hisui would balance out but thanks to the scenario, lines, and Urao’s acting, it became “While he’s gaining experience as a demon slayer, there’s still a part of him that’s inexperienced.” That’s why I was able to grasp the balance between the two naturally instead of being strangely conscious of it. I became convinced of this in episode 2 in their first appearance scene.

He Can’t Use Any Other Weapon? Hisui Is Still in the Midst of Growing (as a demon slayer).

— Next, please tell us your impressions of Towa, Setsuna, and Moroha.

Urao: Even though they were raised in the feudal era, all of them have some “modern era girl” touch to them. Like the chattering ambiance (laughs). Also, I think each of them has an aspect that they inherited from their parents. Setsuna is the daughter of Sesshōmaru; you can feel that Moroha is Inuyasha’s daughter; Towa’s easygoing aspect gives you the sense that she was raised by Sōta.

Kimura: In a sense, Towa is the hardest to grasp. I think that gives her that protagonist feel.

— You feel she is hard to grasp?

Kimura: She’s full of energy and has an overflowing sense of justice but she has moments where you don’t know what she’s thinking. There, other characters and the readers get tied up… I think you see that a lot in protagonists of thrilling shōnen manga. I think Towa has that sort of precarious aspect. Heck, a modern middle schooler going back to the feudal era; that’s when you think something’s wrong with them (laughs). However, the story won’t progress if you don’t have that and it’s because they’re like that that they can remain the protagonist. Setsuna is cool and of few words but it’s easy to see what she’s thinking. I think the energetic Moroha is the easiest to understand.

Urao: My favorite of the three is Moroha. I can really feel that she inherited Inuyasha’s blood. Like how she’s a little hasty and the way she talks.

Kimura: The way Moroha’s voice actress, Tadokoro-san (Azusa), skillfully plays her is nice. Listening to her talk at a nice tempo feels good. Also, the voice actress for Setsuna, Komatsu-san (Mikako) is able to properly incorporate a sense of inexperience to a character that is prone to appearing boorish; I thought that’s her for yah. With this work, this is my first time working with Matsumoto-san (Sara) who plays the role of Towa and she’s good at acting! During today’s test recording when she said the line “Setsuna!” she got directed once, but the “Setsuna” in the actual recording came out sounding good like bam! I feel something like a synergy effect as the three work each other up which I think is splendid. It seems that the three cast members get along really well too.

Urao: The three of them act wonderfully don’t they. Just, I wonder why Setsuna is somewhat cold towards Hisui (laughs). As of now, Hisui calls Setsuna’s name the most but she looks away from him a lot… I hope they can close the distance between them moving forward!

— Kohaku and Hisui’s role is sort of like a guardian to Towa, Setsuna, and Moroha right.

Kimura: That’s right. It’s like the two of us are watching over the three girls.

Urao: We are sending them to slay demons after all. Hisui should’ve gone with them (laughs).

— In episode 5, due to Hiraikotsu not being effective on the demon they were taking on, Hisui had to stay behind.

Kimura: You know, Hisui is a pro so make him be able to use other weapons! What is he going to do when he doesn’t have Hiraikotsu on hand! (laughs)

Urao: You’re right (laughs). He might get more from here on. He is in the middle of growing (as a demon slayer)!

— Hisui’s development from here on is something to look forward to (laughs). Today (at time of the interview) is right after the televising of episode 1 but Urao-san was posting live on social media. You reacted to the line “Don’t cry Hisui~”

Urao: That’s the line that Hisui’s older twin sisters (Kin’u and Gyokuto) said. Hisui was still a cute baby!

Kimura: They seem strong if they fight as twins. I wonder when the grown-up sisters will show up. Could it be that they’re part of the demon slayer team?

Urao: I’m sure they will make an appearance. The content within episode 1 made “Inuyasha” fans very happy. You could feel the “Inuyasha”-ism everywhere. For example, the program sponsor background image, heads mercilessly flying off, and the background music that makes you go “When this music plays, the demon can be defeated”; everything was nostalgic.

— Yasumura Makoto’s role as Miroku was a topic of discussion as well.

Urao: I was moved. He played the role he inherited from Tsujitani Kōji-san (played the role of Miroku in “Inuyasha”) with great respect. He made me think it was actually Miroku and as his son, I got fired up even more.

— Lastly, please give us your thoughts on the illustration of Kohaku and Hisui published in this month’s issue.

Kimura: Both of them look so reliable!

Urao: Yeah, they look cool. When I see them like this, they really look alike. Uncle Kohaku has a big scar on his nose but I wonder if the one who gave him that scar will make an appearance in the future? The freckles he had as a kid are gone too which is impressionable.

— In the future, is there a situation you would like to see in a copyright image?

Kimura: This is a staple but Kohaku and Hisui in swimsuits?

Urao: (laughs) For me, I want to see the whole family lined up. Like a family photo with the parents, Hisui, the older sisters, and Uncle Kohaku.

Kimura: I like that! The family getting together doesn’t seem like something we’ll get to see much in the actual show. Also, I might want to see the two’s desperate expression. As of now, Kohaku and the others have an air of composure about them; it would be nice to see their forms in action. I’m sure something like a strong enemy will appear and the figures of them fighting valiantly will be drawn in the show. However, there are three protagonists, so our turn probably won’t be for a while (laughs).

Which scene up to episode 6 left an impression on you?

Kimura: Mistress Three Eyes that Nabatame-san (Hitomi) played was scary. She was a formidable foe. She looked just like the demon that first appeared in “Inuyasha”; it was amusing that they continued that.

Urao: Apparently, she’s the grandchild of Mistress Centipede.

Kimura: That confirms a second and third generation. The part where “That thing also had children!” is surprising too though (laughs).

Urao: For me, it had to be the scene where Hisui and Kohaku make their first appearance that left an impression. To think the day would come where I could ride Kirara and throw Hiraikotsu… I was deeply moved like we’ve crossed over eras.

Kimura: Even if you encounter a wonderful new work, it’s not often that you get to experience the same things the people playing the characters in the wonderful preexisting work felt.

Which character are you curious about?

Urao: Kirinmaru who has that mastermind aura. How is he going to move from here on?... There’s a person named Kirin Osamu-sensei in the modern era too so I’m curious as to the relationship between that.

Kimura: There’s no way that that’s the only screen time Hosoya-san (Yoshimasa who plays Kirinmaru) is getting. There’s this feeling of expectation that he will appear again.

Urao: Yeah

Kimura: Not only is there a chance that his existence is connected to the feudal era, but maybe there’s a possibility that he’s actually someone’s descendant? Well, we know absolutely nothing about the scenario ahead so we can just say whatever about the (plot) progression from here on (laughs).

#Yashahime #Hanyou no Yashahime #Yashahime: Princess Half-Demon #translation

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ayuuria · 4 years ago

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Yashahime Translation: Da Vinci Magazine December 2020 Edition

Please do not repost this translation without my consent! This includes screenshots. If you wish to share this translation, simply link to this post.

“Hanyou No Yashahime” Tripartite Cast Talk

Matsumoto Sara X Komatsu Mikako X Tadokoro Azusa

Inuyasha and Kagome’s daughter and Sesshomaru’s two daughters play an active role in “Hanyou No Yashahime”. As an original anime with no original work (translator’s note: As in not an adaptation of something like a manga or light novel), the subject is the next generation of “Inuyasha” done in the same style. Being “Inuyasha” fans themselves, we had the three lead voice actresses talk about the charm of the series.

The main character design was done by Takahashi Rumiko!

Towa

A 14-year-old middle school girl. 10 years ago, she time traveled from the Feudal Era to the Modern Era and became the adopted daughter of Kagome’s little brother, Souta. Upon reuniting with her younger twin sister, Setsuna, after she time travels to the Modern Era with Moroha, Towa decides to return to the Feudal Era. She is Sesshomaru’s daughter.

Setsuna

14 years old. Towa’s younger twin sister. A member of the demon slayers led by Kohaku. She has lost her memories of her childhood and is unable to fall asleep. She has the gold rainbow pearl in her left eye. While she does not believe Towa is her older twin sister, she travels with her as she tries to take back Setsuna’s memories and sleep.

The 3 of you reacted shocked with “What you mean daughters?!”

Moroha

Commonly known as “Monster Killer Moroha”. A 14-year-old bounty hunter. When she puts on rouge stored in a shell with the red rainbow pearl on it, she becomes “The Country Destroying Beniyasha” and goes on a rampage. While she is Inuyasha and Kagome’s daughter, she does not know her parents and has lived mostly on her own apparently.

Komatsu: When the work was announced, the world was shocked like “Sesshomaru has a daughter?!” and we were the same. When I opened the audition documents, it was written that the setting takes place over 10 years after the conclusion of the original work and that Setsuna, who I was auditioning for, is Sesshomaru’s daughter. I thought “What does this mean?” and reflexively grabbed the last volume of the manga.

Matsumoto: I was handed Takahashi Rumiko-sensei’s character design and a simple correlation diagram. In regards to Towa, who I auditioned for, it was also written that all that was known was that she is Sesshomaru’s daughter. I was given lines without knowing the context or anything so I wondered what to do. However, at the same time, I was so happy to the point that I was like “The “Inuyasha” world is coming back!”

Tadokoro: I completely freaked out (laughs). Also, my manager knew I was big fan of “Inuyasha” and calmly told me before I looked at the audition documents “Azusa, you absolutely can’t miss out on this. This a huge opportunity.”

Komatsu: A lot of pressure!

Tadokoro: Then when I looked at the documents, I saw that Moroha, who I was auditioning for, was the daughter of Inuyasha and Kagome. After getting excited like “They had a child~!”, I saw Towa and Setsuna and screamed “I will be upset if they’re not XX’s children!” (translator’s note: they’re referring to the mother)

Komatsu and Matsumoto: I know!

Tadokoro: As a fan, I worried endlessly but as a voice actress, I thought I couldn’t miss out on this. However, when I went to the studio audition, I was told “Keep the base but try to say these lines a little more like a middle-aged man”. I became flustered like “Even though she’s a 14-year-old girl?” … I felt like I didn’t respond properly and was really down going home.

Komatsu: Me too. Maybe it was because I was pulling too strongly from Sesshomaru’s image but I was told “Not only coolness but we would also like for you to show the cuteness of a 14-year-old” and I couldn’t make the switch the very well. I didn’t get the reaction that I got the part at all.

Matsumoto: I over considered the setting of (Towa) wearing a boy’s uniform and I was told “Don’t make her a boy”. After that no matter how many retries I did, the direction I took didn’t match up… I cried a lot when I got home like “I totally bombed it”. That moment, I realized that I had really wanted the part and was surprised. “Inuyasha” was a work that was more special to me than I thought.

Overcoming different boundaries, their feelings melt together

Komatsu: For me, “Inuyasha” was also a textbook on love. Especially the relationship between Inuyasha, Kagome, and Kikyou. It’s a little hard for kids to understand and I thought, “Why does Kikyou always get in the way?” and “Inuyasha too, make up your mind” but in a certain scene, Kagome asks Inuyasha “I… What exactly am I to you?”. In between the feelings of it can’t be helped that he overlaps her face with Kikyou’s and this has nothing to do with her, she properly checked what her existence meant to him. Seeing that, I realized. Not only in love but that’s important in life in general as well.

Tadokoro: It’s so cool isn’t it? She acknowledged all her feelings of jealousy and hate towards Kikyou and still saved her on top of that. She showed us her resolve to properly face her heart and Kikyou and accept them. It was so cool that I cried. Then when I became an adult, I came to understand Kikyou’s feelings and it hurt.

Matsumoto: Well she was also a victim… I think when you read “Inuyasha”, you become emotionally attached to each individual character because depictions that give you a sense that they’re “alive” are inlaid in all sorts of places. For example, the scene in volume 1 where Kagome offers food to Inuyasha whom she had just met. While Inuyasha makes his wariness known, he takes a bite of the radish in the next frame. I always laugh like “Even though you say it’s annoying, you’re still eating it!” but at the same time I feel that it’s really “like” him. From those ordinary depictions, over time we accept “something” without realizing it. That accumulation turns into a big emotion that overflows when you get to the important scenes.

Komatsu: At times when those complexly wrapped emotions sublimate, even sad endings become beautiful. For example, Kagura. Even though she was born from Naraku, she was guided to good through Inuyasha and the others who were supposed to be her enemy. Kagome and Kikyou’s relationship too but ally or enemy, good or evil, all sorts of borders are crossed and seeing drawings of humans and demons coming together I think is the charm of “Inuyasha”.

We haven’t been told the answers to the mysteries

Matsumoto: Continuing onward to “Hanyou no Yashahime”, the character I play, Towa, passed through space-time and got sent to the Modern Era at age 4. However, possibly because she was raised by Kagome’s little brother, Souta, even though she is Sesshomaru’s daughter, I feel like she’s also similar to Kagome.

Komatsu: While blood inheritance is important, the person who raised you has a big influence as well. Also, what environment you were raised in. Setsuna lost her childhood memories due to certain circumstances. So of course, she doesn’t remember her older twin sister, Towa, whom she got separated from at 4 years old. Due to that hole and being raised in an environment where you could be killed by anyone at any time, she gives off an air of not allowing others to get close to her. But just when you think that, there are times where you can feel that she’s actually kind and that makes it heartrending.

Matsumoto: Feeling she (Towa) needs to fill in the 10-year void with Setsuna who became like that, the highlight is seeing their relationship change as Towa closes the gap between them. Add Moroha in and there’s a lot of chattering.

Tadokoro: Moroha speaks in a vulgar manner (translator’s note: it actually translates to abusive language but abusive didn’t sound right to me) but in reality, I have a feeling that she truly enjoys traveling with the two of them. To her, those two are probably the first friends she has ever had. That form is so precious and I feel lonely when I wonder what sort of environment she grew up in. I wonder why she’s desperately earning money by slaying demons. We were only told who she was raised by but at this time, we have not been told things like happened to Inuyasha and Kagome.

Matsumoto: This includes who Towa and Setsuna’s mother is. This is something fans have been wondering the most but the answers will be revealed eventually and I have faith that this work will properly continue on what was drawn in “Inuyasha”.

Tadokoro: That’s why we would like everyone to watch over them until the very end and love the 3 Yashahimes as they survive with each of their individual strengths.

Komatsu: While there are a lot of cheerful episodes, there will be times when the inlaid depictions within those episodes will be collected in an instant which I think people will enjoy. For that, we will give it our all!

We Asked Takahashi-sensei!

Q: What did you especially focus on when doing the character design?

A: Series composition writer Sumisawa (Katsuyuki) requested me to draw the image of Towa as a white Sesshomaru and Setsuna as a black Sesshomaru. Upon reading the scenario, I designed them incorporating their father’s facial look. Moroha was the same, being Inuyasha and Kagome’s child. As such, I made it so that Inuyasha’s mischievousness came through.

#Yashahime #Hanyou No Yashahime #yashahime: princess half-demon #translation

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