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ayuuria · 3 years ago

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Yashahime Translation: Animage Magazine June 2022 Issue

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Thank you everyone for all your support over the past 2 and a half years. Sadly, I believe Animage has stated on their Twitter that this will be their final interview on Yashahime.

The Journey Will Continue!

Even after finishing their fierce battle with Kirinmaru, the Yashahimes still continue their demon slaying journey. The more time they spend fighting and laughing together, the stronger the three’s solidarity becomes!

No matter how strong a demon is, Towa and Setsuna have gained the strength to fight them, having also done Sesshōmaru’s “trial of courage and cowardice”. In addition, while being a quarter-demon with no brethren (as in there are no other quarter-demons), Moroha obtained irreplaceable comrades.

The battle with Kirinmaru and Zero was long and agonizing, but it brought about just as much major growth within the Yashahimes. If it’s the three of them now, they can likely live indomitably in this chaotic feudal world.

However, it seems the three princesses are still trying to aim higher. Just before travelling to the Land of Iyo (now Ehime prefecture) to slay demons, Setsuna told Hisui her aspiration of “While I’m at it, I’m thinking of traveling to various places as I train.” It’s possible that perhaps in the near future, the girls will become well-known as “The strongest girl trio” instead of “the daughters of the great demon, Sesshōmaru” and “the daughter of the half-demon, Inuyasha, and the legendary priestess, Kagome”.

Let’s have a peek into one act of Towa and Co.’s journey. After finishing their work in the Land of Iyo, they’re all in the middle of happily enjoying a relaxing time at *Dōgo hot spring? This kind of peaceful moment seems like it will also strengthen the girls’ bond further!

(*Translator’s Note: Dōgo Onsen is a real place located in the city of Matsuyama on the island of Shikoku. It is considered one of the oldest hot springs in Japan)

Character Bios

Towa Her personality is such that she is not reluctant to sacrifice herself for the sake of others like encouraging Rion while her own kon was being chipped away. From now on, we would like her to treasure her health as well.

Setsuna Using the “Yukari no Tachikiri”, she can see and cut threads of fate that connect people and objects. However, she doesn’t notice the thread of feelings Hisui has for her?!

Moroha She previously lived on her own while shouldering loneliness, but is now surrounded by her parents and reliable comrades. Her slightly shy side is something she inherited from her father, Inuyasha.

Riku He considers Towa a special existence. He showed an embarrassed but happy expression when he first met Towa after reviving.

Takechiyo The former young lord of the Mamidaira clan who was driven out of his position due to a family squabble. Despite the turmoil being resolved, he chose to boisterously spend every day with Moroha and the others and didn’t return to the island.

Character Design Descriptions

Towa’s Kimono Form Towa, who wore a school uniform that was a combination of both genders, also wears the kimono she got from Rin in a boyish manner, wrapping her chest with a *sarashi. The white fabric with the navy-blue pattern has a refreshing impression.

(*Translator’s Note: A bleached cotton)

Setsuna’s Kimono Form A kimono drawn with a vivid yellow base and a purple stream pattern. It paints her with a soft, bright impression as she normally gives off a cool aura. Unlike Towa, she dresses like a girl.

Moroha’s Kimono Form A coordinated outfit that combines the complete redness of Inuyasha’s Robe of the Fire Rat via the kimono, and a green like that of the school uniform Kagome once wore via the obi. It’s probably something Kagome tailored with love.

Riku’s New Outfit Riku received Rion and Kirinmaru’s kon and haku and revived; his new outfit design gives you a foreign impression in some respect. His tunic and stole (shawl/scarf) vividly remind one of Rion’s eyes and hair color. His earring is on the right ear!

Sango A youthful Sango. As the best skilled demon slayer, she played a very active role in overwhelming the demons using the “Jet Black Hiraikotsu” that she and her daughters, Kin’u and Gyokuto, made.

I Want to Pursue the Three Princesses’ Journey” Animation Character Design and Chief Animation Director, Hishinuma Yoshihito

The Difficulties of Customizing for Animation

— Please tell us how you feel now that you have completed 4 cours of work.

Hishinuma: I feel relieved to have finished. However, more than that, I bare a large regret of “If I had done it more like this!”. As the animation director for the main story this time, I couldn’t look at an entire episode completely and there were parts in the second half that didn’t go the way I’d hoped due to the schedule arrangement. Being the chief animation director doesn’t mean I get to see all the cuts, even for a single episode, so I start work by selecting and prioritizing things like “which characters will cry”. If possible, I would’ve liked to have put my hand in all the cuts though…… Truthfully, I’ve also been reflecting and feel that my task going forward will be to figure out how to improve my work from here on.

Also, right as soon as we finished work for the final episode, we had the company move. The company was unified in April, so we’re in a new office building.

— When I visited the former Sunrise Studio #1 in the latter half of March, the Hanyō no Yashahime team acted like normal. It seems you all stayed behind for as long as you could and worked!

Hishinuma: Hence why we didn’t really have time to immerse in the lingering memories right after we were done and a little while after, I had this feeling well up of “Oh, it’s over……”. After that, I couldn’t muster up the energy to draw something for a while. Like maaan, I don’t want to do anything kind of thing (laughs).

— You became an empty shell I see. Was it the same when you finished Inuyasha, The Final Act as well?

Hishinuma: Inuyasha was a work that had an *origin work to begin with, so I knew how it was going to end. Hence, I was able to prepare myself emotionally in the second half. I was the animation director for the final episode of Inuyasha, The Final Act but even I have a feeling that part of me worked on it indifferently. Even though I of course felt desolation, I don’t think I felt as exhausted as I am now…. Perhaps what I should say is it’s slowly getting hard on me age wise (laughs). I mean, I’ve only got 3 years left until I turn 60. However, when I look around, I see people of the same generation as me trying their best on the frontlines, so there’s no way I can rest.

(*Translator’s note: As in it was based off something)

— It’s a lifetime service! Alright then, please tell us again what you thought when you first saw the character concepts that Takahashi Rumiko-san (original author of Inuyasha) drew for Higurashi Towa, Setsuna, and Moroha.

Hishinuma: I originally heard that it would be “the twin’s story”, so I thought only two character (concepts) would be produced but there were three. From the costume, my big shock over ‘it’s Inuyasha’s daughter!’ was the first thing. With Moroha around, I felt that the world would expand quite a bit and make things interesting.

From an animation character designer perspective, I thought how we would consolidate Towa was a (key) point. In the beginning, there was a plot where “she was caught in a fire when she was a child and there’s a trace that part of her bangs was burned” but then it was like “No no, there’s no way that could happen as the hair will grow out and change” (laughs). Though there was the part where I was at a loss as to how to put in Towa’s characteristic hair streak, she somehow came out protagonist-like, I think.

— When you generated the characters for animation from Takahashi Rumiko-san’s drawing, was there anything you kept in mind in your head, Hishinuma-san?

Hishinuma: This is actually hard! The balance in Rumiko-sensei’s drawings is very exquisite. If you take it in a realistic direction, it’ll become different from the nuance of the original drawing. That being said, if you make it too manga like, then it looks cheap. Since there’s fighting drama, the characters must also be able to withstand the heavy story. Making allowances for that was truly difficult.

Although, I did work on Inuyasha for a long time, so I thought it wouldn’t be so far removed from that. At first, I wasn’t sure if Rumiko-sensei would give us any concepts, so I tried test drawing like “In the event that there’s nothing, does that mean I’ll have to think of something?”, but I’m truly glad she drew such lovely concepts.

— Hishinuma-san, you design all the characters except the three princesses, correct?

Hishinuma: That is correct. Though, speaking my true feelings, I wish I had received concepts for them as well. But of course, I couldn’t ask Rumiko-sensei for concepts of all the characters as she’s got her own work that’s currently being serialized (laughs). Also, if Rumiko-sensei had, for example, done a concept for Takechiyo, I think he would’ve turned out a different character. I really was worried that I would be told “That’s not Rumiko-sensei’s lane!”. However, with the help of his voice actress (Fairouz Ai-san who plays Takechiyo), I think he turned out to be a really good character. Though people constantly used him as a means of transport as they pleased, he very much had a presence within the story.

What Are the (Design) Points of the New Outfits Exhibited in the Final Episode?

— Takechiyo played a very active role as a mascot character that softened the atmosphere of a heavy story. Even for this special illustration, Takechiyo’s feet are cute.

Hishinuma: Even if it is a hot spring, there’s no way I could draw them completely naked, so I tried to have his feet stick out a little bit. Having him use his tail as a pillow to rest his head on was my personal fixation point (laughs). Whether he can actually do that though, I don’t know.

— As a cat lover, you were also fixated on Kirara, right Hishinuma-san?

Hishinuma: In the main story, Kirara did not accompany them to slay demons in the Land of Iyo. Towa and Setsuna did ride her when they departed though. It’s just that in this illustration, the space above Setsuna’s head was open and desolate, so I had little Kirara make a special appearance (laughs). It’s great that Kirara can be perceived in a variety of ways based on how people see her. The same expression can make her appear sharp or seem like she’s staring blankly. I personally love cats, so it was really fun to draw Kirara.

— The smiling faces of the three peaceful princesses as they take a foot bath is great. These outfits are the ones that the three princesses wore in the ED and final episode (episode 48, “A Future that Continues on for Eternity”). Please tell us their design points.

Hishinuma: I thought about dressing the three of them in kosodes that people typically wear in the feudal era. Moroha was dressed as a priestess in the ED but in the final episode of the main story, I felt that it would be strange for her to be dressed as a priestess with the way the scene was flowing, so I created a new outfit.

— The length gives a vivid reminder of Kagome’s mini skirt from the Inuyasha era.

Hishinuma: If I’m right, I feel like Director Hishida Masakazu said, “Short length would look good on Moroha”. I did add variation to the trio’s silhouettes, and I think Moroha currently looks cute with this amount. The green that’s similar to Kagome’s sailor style school uniform on the ribbon around (Moroha’s) stomach was an idea that the color scheme designer put in. I also realized “This ribbon, it’s the color of Kagome’s uniform!” and thought it was a good idea.

— What about Towa and Setsuna’s outfits?

Hishinuma: Regarding Towa’s kimono, the pattern was carried over from the Dog General’s costume. Towa and the Dog General overlapping was even shown in the main story, so the idea formed from there. She was holding an *uchiwa in the final episode, so I had her hold it in this special illustration as well. For some reason in the final episode, there was a designation in the storyboard for an uchiwa.

For Setsuna, I expanded on the image of the kimono she wore during her childhood, but looking at it again, there’s also some resemblance to *Gobodō-sama (Sesshōmaru’s mother). In terms of the color, Setsuna tended to wear dark colors like shades of blue, so I decided to go in the complete opposite direction.

(*Translator’s note

Uchiwa is a type of Japanese fan. You typically see people, both young and old, holding one when they’re dressed in a yukata.

Gobodō is a very respectful way of saying your/his mother.)

— The yellow that seems to also link to Sesshōmaru’s obi is lovely. Please also tell us about Riku’s new outfit. This one has a slightly Western impression.

Hishinuma: As Kai was originally “a villain with the same appearance as Riku”, he was established with a dark image. However, his role changed, and he became Riku’s disguised form for when he appeared in the end game; since that was the case, I made the colors brighter. I didn’t consciously make it Western style, but he’d always been wearing a regular kimono, so I wanted to make a small change around his neck. Although I don’t know whether it’s accurate to the times, the area around the demon slayers’ necks is also like this, so I thought it was fine. When in this outfit, there’s a small element where the design of the earring is different from usual, and he wears it on the opposite ear.

He Racked His Brain Over What to Do About the Age Feel of the Inuyasha Characters

— It appears that for the plot of the ending, there were views amongst the staff that sided on “extinguish Riku” or “revive him”. Which side were you on Hishinuma-san?

Hishinuma: I was on the “revive him side”. If not, Riku would be pitiable, and it would be too lonely for Towa. Rather than wanting them to get together in the future, it’s more like it’s probably good to have someone nearby who can watch Towa. Afterall, as (a piece of) entertainment, you want it to end in good form. That’s why with Hisui too, it’s like “Do your best!” (laughs).

— I’m sure Hisui is going to receive a lot of special training from Kohaku from now on.

Hishinuma: Speaking of Kokaku, I wanted to see more sibling interaction between him and Sango. Kohaku is someone who has lived through very severe circumstances and for me personally, he’s also a character that I like a lot.

— That reminds me, Sango is forever young isn’t she.

Hishinuma: I mean…… I can’t mess with that visual!! When I thought about whether I should draw her slightly more middle aged since a couple decades have passed since the story of Inuyasha, I thought that’s probably not what everyone wants to see after all. Also, regarding Miroku, I was told by the origin work side “I would like for him to not grow a beard”. That’s why I thought ‘I guess I can’t make it feel like they’ve aged conspicuously.’ Thus, it shaped out that I inserted just one wrinkle under one of Miroku’s eyes as it would’ve been conspicuous if it were under both eyes, and Sango stayed roughly the same as before. If I had been required to “make it obvious that Sango aged”, I still wouldn’t have been able to draw it.

— Kagome, who was trapped in the black pearl, and Rin, who was asleep in the Tree of Ages, still (look) young, so there’s that balance too.

Hishinuma: That’s right. However, I was quite troubled with Rin. With how young she is, even when you line her up next Towa and the others, she doesn’t appear motherlike, no matter what. The origin work side pointed this out too, so I drew her eyes a little bit narrower to make her look more adultlike, such as in the final episode and what not. However, I don’t think a woman abruptly becomes a mother just because she gave birth to a child. I think she gradually becomes a mother as she raises her child. In that sense, Rin is just starting that process of becoming a mother. That’s why I quibble in my own way like “It’s fine if she’s somewhat childlike right now!” (laughs).

— Well then, going through the series, please tell us a scene that left a particularly lasting impression on you.

Hishinuma: What was memorable was the scene where Moroha reunited with Inuyasha and Kagome (episode 38 “Kirinmaru of the Dawn” and episode 39 “Parent-Child Reunion”). The key frame animator and the animation director really did their best to maintain the quality there, so I feel glad that it was done properly. I’d also have to say the final episode. You see, the final episode was the only one I was able to watch on air in real-time. Work was done and the studio couldn’t be used because the office building was being surrendered, so it was during that time that I was able to watch the on air (broadcast) at home. Watching the episode in a format where the eye catch was properly inserted as well as the program sponsor and commercials was somewhat moving.

Totally looking back, I have a strong impression that Sesshōmaru appeared in a lot more scenes than I thought. Afterall, as a chief animation director, there’s no way I can’t not put my hand in when it comes to Sesshōmaru. I thought “He has too much screentime, give me a break already~! (cries)” (laughs). Of course, even if you omit the work aspect talks, I personally wanted to see more of the three princesses’ adventuring figures in a place that’s distant from the Inuyasha world. Of course, Hanyō no Yashahime exists because of Inuyasha so it can’t be helped, but when it turns to the parents’ story, it gets heavy no matter what. I want to see a travel story of just the three princesses.

— Thank you very much. And now lastly, a message to the fans who’ve supported you this far!

Hishinuma: Personally, I did have some regrets and such, but if all you fans were able to enjoy (the story) up to the final episode, then I’m happy. I’m very happy that you all favorably rooted for the three princesses more than I imagined. Thank you for watching until the very end!

Sketch Description

This is Hishinuma-san’s rough sketch. The pencil lining is lively and depicts Towa and Co.’s travel diary. It seems that *Ehime’s tangerines weren’t around yet during the Feudal Era, so it’s setup that Riku supplied them from somewhere. The coloring of the completed version (Pg 57) was done by Hishinuma-san’s wife, Hishinuma Michie. “When working as a married couple, we can consult each other while working like “Do you think I can do this part like this?” which is convenient (laughs)”.

(*Translator’s note: Ehime Prefecture located on the island of Shikoku)

**Today’s Diary (Interview Diary)

This time, we visit Bandai Namco Film Works which was newly established in April. The sparkling conference room for interview receptions was decorated with rows of figures and plastic models from successive generations of Sunrise’s work.

First, please look at the collected postcards and provide a general comment.

“I can tell all of you worked hard in drawing these, so I feel truly grateful. This was a work with a lot of characters, but I’m deeply moved seeing them all drawn equally.”

Among the many characters, which character was the easiest for you to draw Hishinuma-san?

“Every character has a point that you must be careful of, but characters that aren’t that many heads tall like Takechiyo, Shippō, and Akuru are fun and easy to move.”

Reversely, was there a character you struggled with?

“Sesshōmaru was the one I had to pay attention to the most. Because the story can lose its persuasiveness if Sesshōmaru’s drawing is ruined, there’s no way I can’t not follow-up on him as the chief animation director. In addition, Kirinmaru was in a final boss kind of position, so it was necessary for him to have a presence. These fathers were more of a handful than the three princesses who were the protagonists.”

Lastly, a word to the fans please.

“I think when you draw as a job, you tend to forget the enjoyment of drawing a picture. Seeing everyone’s postcards this time, I tightened up, remembering my original intention. Putting this feeling of gratitude for being able draw pictures for a living and receive support like this in my heart, I would like to keep doing my best going forward!”

Hishinuma-san stated that for the most part, he normally doesn’t draw color illustrations. “When I see everyone’s various coloring techniques, I honestly think it’s amazing.”

(**Context Behind This Section: Animage magazine held a Hanyō no Yashahime art contest with Hishinuma-san as the judge. Hence the postcards they’re referring to are the contest entries.)

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

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stecesworld · 3 years ago

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Sooo.... I gotta say.

THIS NEW PICTURE OF RIN, SESSHOMARU AND THE GIRLS SHOULD NOT BE CELEBRATED!! I REPEAT IT SHOULD NOT BE CELEBRATED!

NOT BY SHIPPERS AND ALSO NOT BY ANTIS NO ONE SHOULD BE HAPPY THAT THIS DRAWING EXSISTS!

Every single person in the fandom should be pissed beyond words that this trash picture EXSISTS!

Why? BECAUSE IT'S A SLAP IN THE FACE TO EVERY SINGLE INUYASHA/YASHAHIME FAN IN THE WORLD!

First!: it's a big Fuck you from Rumiko herself. Because she is clearly making a drawing to be as intentionally veauge and manipulative on purpose. So that the battle between the fans continues and that keeps Yashahime relevant! That keeps getting it publicity. Then people who are brand new to the franchise begins watching this shit excuse of a "Sequel" believe this is what Inuyasha is all about! It taints the orginal series! Those who like it and not understand how wrong and bad it is, thanks to never having seen the orginal. Will start buying merch meaning, money in not only sunrise but her own pockets! Then those who don't like it will hear of the orginal and thanks to this piece of trash being thier Introduction into the series will automatically think the original is trash as well and not even bother giving it a try. Missing out on a truely wonderful series!

2nd!: It shows that Rumiko dose not give a flying rats ass about how her fans feel or gives a care about the franchise it's self! Because she is she continuing no encouraging the fighting between sides with this. I mean come on! Why kind of creator dose that to thier fanbase? That Kemono that Rin is wearing is clearly meant to be seen as a nod to Kagura. True it's missing the circles so it's not an exsact match. But the coloring and lay out of the kimono is supposed to be similar enough that you will get a Kagura message.How you Interpret that message is up to you. But we should all be completely 💯% in agreement that even if it's not kaguras exsact clothing it's close enough for us all to know what it's supposed to represent. Kagura. Whether it's a slap in the face to sessrinners and "making a statement that she's against sessrin" or a back hand to Antis by saying "I support sessrin and now here's Rin Cosplaying" It dosen't matter it's obvious that it's meant as a Kagura statement in some way!

WTF Rumiko!? What kind of sick SOB are you? That you would draw something so blantinly Fan Hate?

Not only is it fan hate but really bad Fan Hate look at how aweful that was drawn. We all know that Rumiko can draw way better and this clearly shows that she was only half assing it to churn out something acceptable. She didn't put any thought into this, she didn't put any effort into it. (( Asside from the blatant middle finger that is Ringura/Ragura))

3rd!: As a Rin stan I am fuming. Why!? Why dose Rin have to wear that!? Why can't she have something of her own?something that doesn't scream I'm A LITTLE GIRL! Or something that doesn't smack you in the face with KAGURA!! Something that makes her a person, a valued chara? A kemono that is new and seas Adult Rin. With whole new patterns/color palette. Something that when we fans see it we think, "Oh That's Rins' new Adult clothing." Something unique only to her that couldn't be mistaken for anyone else's or traced back to when she was a child. Why can't Rin be Rin!? Why dose she have to be, The New Kagura?! Why dose she have to be a plot device?! Why dose she have to be a Statement!? Why can't she just be a character!? Everyone else gets to be characters. Even the Wounder twins. Even that stupid pin wheel of time carrying mofo gets to have more personality. Flashbacks! Like Morohas' shitty mentor gets more thought and love put into them than Rin dose! STOP SHITTING ON RIN!

In conclusion..

This is getting praise!? This is getting love!? We all should be more pissed off than sesshomaru was when Mōryōmaru mocked Kaguras death.

THIS IS FAN HATE! ITS FUEL TO INTENTIONALLY STOKE THE FIRES OF WAR BETWEEN US AND DIVIDE US FURTHER! AND BRING THEM MORE REVENUE! RUMIKO DOSEN'T CARE!

And that, is the true purpose of this drawing. Nothing more nothing less...and that is not something to celebrate.

I will be here in the corner morning what has become of Rin and this fanbase at the hands of these monsters.

#anti sessrin #anti sunrise #anti yashahime #antisessrin #antihistamine

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lilyginnyblackv2 · 4 years ago

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Things About Rin in Yashahime Episode 1:

1. She is wearing a yellow and orange kimono, which may be a newer kimono that she got from Sesshomaru, but was an interesting choice color wise. I say this because the color and design, even if it is a newer or bigger kimono, is reflective of the kimono she wore when she was younger and still under Sesshomaru’s direct care. That is a link that is meant to be made in the viewers minds. Though, the creators also likely went with this choice in color and pattern for the kimono so it would be very easy to know that was Rin right away.

2. This episode seems to squarely divide the adults from the kids. Kohaku is tasked with keeping Hisui safe and Shippo is ready to protect the twins, but I sincerely doubt that Sango would have felt safe enough to leave her children and Rin solely in the protection of those two. It’s only when she notices that Sesshomaru is standing over the house that she knows that her children and the other kids will be kept safe.

Shippo, Rin, and even Kohaku seem to be kept in the “children’s” category, since we have Sango stating to Miroku that they should return to the kids towards the end of the flashback, after Root Head has been defeated. All of the adults were out fighting,even Kaede and Sesshomaru (who, while he didn’t fight, he was keeping the danger at bay and was outside of the house), all of the children were kept inside (even Kohaku was ushered inside after having took part in the battle a little bit, though his existence is more “in-between,” which makes sense, since he is a teen by now).

3. Let’s take a quick look at this bit:

It’s an image of Rin’s introduction in the episode. In the English they translated it to something like “A Girl Who Adores Sesshomaru.” Now, I checked out the RAW version to see what Japanese word was used for “adore.” The answer is 慕う (shitau). Shitau is a word associated with love, in general, but not necessarily romantic love (though romantic love could blossom from it, but it isn’t commonly associated with romantic love). Here are some of the possible English meanings/translations of the word from Jisho.org:

1. to yearn for; to long for; to pine for; to miss; to love dearly; to adore

2. to follow (someone)

3. to idolize (for virtue, learning, status, etc.)

When I did some research into the word though, it seems that many Japanese people tend to associate the word with familial bonds (younger -> older for siblings, child -> parent, etc.). Over on the Japanese dictionary site (weblio), which gives the definition for the word, all of the examples involve a familial connection or love.

And on this site (called smcb.jp) various Japanese give their own thoughts and feelings on the different words that the OP asked about (all connected to love in some way). Many noted that it had to do with familial connections or of admiration for a teacher, upperclassman, or senior member, etc.

Over on Hi Native post, there is a post on shitau that states the suggested translation of the word is actually “admire,” which I feel would have worked here with Rin (I actually think it would have been more fitting than “adore,” but “adore” works okay too). And there is another Hi Native post, which provides examples, all of which use either familial bonds or a bond between students and teachers. And there is also a Hi Native dictionary post on the word, going in depth on the usage of shitau. It notes that the word doesn’t mean love, but can mean something like “I adore you.”

Essentially, shitau is a word that is heavily connected with “looking up to someone.” Now, a romantic love could form from that, sure. But this seems more heavily connected to the “looking up to” that someone does for a parent, older sibling, or someone who can teach or help them grow in some way (a teacher or senpai). It also implies that the person being looked up to is respected by the person looking up to them.

Edit: I originally had links in the post (and you may still find that version floating around), but made an edit and got rid of them so that the post will actually show up when searched/in the tags. You can easily search and find all of the things I mention above though in concerns to 慕う (shitau) and its meaning in Japanese.

Basically, what I’m getting at, is that this first episode really isn’t painting Rin in a romantic light or potentially romantic light at all. It’s presenting Rin as a child who admires Sesshomaru in a similar way that a child admires an older sibling, parent, or teacher. We are given imagery (a kimono in the same color and style as her one from the series), words (her being lumped in with “the kids”), and a descriptive word that connects her with children and loving admiration.

She isn’t being presented as a young woman to us and her love isn’t being shown as romantic either. Could things change? Yeah. Would I personally want this dynamic to change to romantic? No thank you. I feel that the choice to make this the first episode and the first impression that new fans to the series / franchise will have is also important to take into consideration and note.

#hanyou no yashahime: sengoku otogizoushi #Rin #Sesshomaru #Inuyasha #yashahime #Japanese language #just some interesting things to note #long post

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trashahime · 4 years ago

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What can I say, I'm bored, stuck in quarantine because I have the 'rona and making up stupid, rambling theories is my only entertainment.

I was rereading the RT interview about Sess's wife and I had a thought.

Most of us are assuming the wife and the mother are the same woman but maybe they're not. And I don't mean a polyamorus situation either.

I've said before, I think Sunrise is going to try to placate both sides of the Sessrin debate. I think the mama is not Rin but she will have a romantic relationship with him in Yashahime. Or it will be implied.

Intially, I thought the twins came first then the Sessrin. But then I hatched my "the twins were meant to be in the modern era" theory and realized the opposite might be true. Maybe Sess marries Rin after the events in Yashahime. He might even have additional children with her but not the twins. Maybe this relationship only comes about because of the events in Yashahime.

Rin is a human and is going to die eventually. Maybe by the modern era Sess is ready to have a relationship with someone else.

I have heard the argument that it can't be some random stranger because the audience won't be invested in her. I don't think that's true. I mean, think of Jinenji. He had very little screen time but is beloved by almost every one. (As my sweet gentle maybehorse boy should be *smooch*)

However, it has also been said the mama is someone we already know. And that the twins's relationship mirrors the parents.

Enter my very farfetched reincarnated! Newgirl theory. If a miracle happens and it's true, I think newgirl will probably be more like her former self and may actually have memories of her prior life. It won't be like the Kikyo/Kagome situation at all. I really think the Mom may be a reincarnated Kagura.

There is a lot in Setsuna's ED background that hints towards the kagura dance. And Towa looked a lot like a white haired child version of Kagura in the beginning. And there is also the fact that the very first time we meet Towa, she is draped with a kimono with the same pattern as the blanket the infant was wrapped in. The infant is associated with Kagura.

I've seen Sessrinners dismiss all that evidence as delusional antis seeking anything to disprove mama!Rin. Maybe it is all red herrings and Rin is the Mama, but I think Sunrise hinted towards Kagura on purpose.

I've also seen people insist there's tons of evidence towards mama!Rin. Maybe I'm missing it, I've only seen the same three points: Rin is the only one Sess cares about. Birthing Kimono. And Christmas tree hair.

IMO, the so called birthing kimono is easily dismissed. I can't fully discount the hair thing because all of us are comparing hair styles to an absurd degree. (and i love it)

To me the only one that has real weight is the first. RT said the wife really changed him. Maybe changed him to the point where after Rin's gone, Sess will be able to love/care for another. And I think someone as sweet and loving as Rin would want him to find love again. She's not that selfish.

Tbh, I'd rather Sessrin not be made canon. Partly because I did see them as family but also because the ship has some disturbing undertones that I don't think should be validated by being made canon in a show watched by so many young children.

However, given the mass popularity of the ship, and the way Sunrise marketed the show, they have to throw Sessrin fans some kind of bone or they risk alienating a huge part of the fan base. Whether I like it or not, Sessrin in some form will happen in Yashahime. But so will probably Sesskagu.

#yashahime #inuyasha #Kagura #rin #sesskagu #Sessrin #hanyo no yashahime #baby mama drama #moderndaytwins

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caithyra · 4 years ago

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Yup, it’s a kosode

Okay, after seeing soooo many posts about Rin’s “white robe” or “birthing kimono” or whatever despite not making any efforts to follow Yashahime, I thought I should just tell y’all what it is:

It’s a KOSODE! (Though one with weirdly long, fluttery sleeves. But then again, some of the clothing in Inuyasha is weird, particularly when it comes to sleeves. They seem to like the aesthetic of furisode, which is probably THE one kimono worn by women that cannot be a “birthing kimono”, at least not on a societial, cultural level, lol.)

More specifically, it is a kosode that functions the same way as shifts/smocks/chemises functioned in the medieval, Western world: As underwear that protects the more expensive, regular clothing from being stained by sweat and grime from the body. It also served as nightwear, just like a shift/smock/chemise!

ALMOST EVERYONE WEARS ONE IN THE SENGOKU PERIOD. Which was also, incidentally, part of Japan’s medieval period.

Inuyasha. Sesshoumaru. Kikyou. Kagome (miko clothing, you may have noticed that they wear two layers of white robes? The one under is the kosode). Kaede. Naraku. Kagura (rarer colored example, at least in the anime). Kanna (another white-on-white). Hakudoushi. Byakuya. Izayoi. InuPapa. SessMama. They aaaalll wear it (at least in the manga, I don’t interact with the anime anymore).

Basically, if it is a white robe with small sleeve-openings and no other robe beneath it and it happens after the Heian period (when it became a thing) but before the Edo period (when it became more and more like a modern kimono), 95% of the time it is a kosode or it is the 5% of historical inaccuracy/artistic license or a rare exception.

In fact, kosode started out as underwear in the Heian period and in the Sengoku period it became both underwear (the simple ones without anything under it) AND outerwear (dyes, patterns and/or decorated) worn at the same time. Eventually, during the Edo period, it morphed into kimono and immediately after that, during Meiji, it was the kimono we all know and love today.

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abouthoundsandlittlebirds · 4 years ago

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Hanyo no Yashahime - Butterfly Analysis + Random Thoughts

After watching episode 22 of HnY, I’ve noticed that during this season, Sunrise chose to play around with butterflies, being it visual concept or just the symbolism of this insect.

According to this source, butterflies symbolises: hope, the soul, rebirth, joy, change, freedom and even the lack of mother’s nurture, since it’s an insect that has to survive alone since birth.

As far as I’ve seen, the major plot twist until now imo, is Setsuna having butterfly wings when she turns into a full-yokai. With the explict narrative of HnY told us by the characters (leaving theories and speculation aside), we are made to believe that Towa and Setsuna are half-demons, having human and dog-yokai’s blood in their veins. By this fact alone, it makes no sense for Setsuna to have butterfly wings. I’ve seen some people saying that is because of the presence of the Dream Butterfly in her life, but look at the different types of the representation of butterflies we have seen so far:

Clearly, Setsuna’s wing doesn’t match with the Dream Butterfly’s wing (even if Towa says so), but it’s close in shape with Zero’s kimono. However, if we compare Rin and Kagura’s kimono pattern, they have the same butterfly shape, that remind us a lot of InuKimi’s, that is just a little bit different. Yet, if we look at the angle where Moroha is, we can see that Setsuna’s wing develops a new shape, close to Rin and Kagura’s one.

Here is another angle for comparisons reason:

Now, what got my attention in this analysis is the color of the wings. At first I do thought it looked like the Dream Butterfly’s color, but only because it is purple. However, the purple we can see in the Dream Butterfly is another. Setsuna’s wing in this case is closer to Kagura's butterfly pattern on her last kimono, InuKimi and Gaga Gozen’s kimono color.

We actually know that Setsuna and Gaga Gozen has a connection through the Nagitana she carries, since it once belonged to Gaga. But Gaga was a moth yokai. Even if moths and butterflies are close relatives, Setsuna’s wings clearly didn’t come from her Nagitana and neither from her yokai grandmother. InuKimi is a full dog-demon, she has no relations with butterflies by blood to justify this heritance.

Yet, could Setsuna be related to Kagura? There is still a remote possibility some fans believe that this could be true and some even believe that Kagura is related to (if not) the Dream Butterfly itself, so this would explain A LOT right now, tbh.

And another possibility that I think is more reasonable right now, is that Sunrise is doing a f---ing job! The shape and the color of Setsuna’s wings in comparison with the Dream Butterfly is VERY different for Towa to spot it out loud and during the fight with Moroha, Setsuna’s wings shape changed drastically! It could be a clue, just like it can be bad work. Ugh!

I must point it out that I find it at least curious for Sunrise to use the butterfly pattern of Rin’s kimono shown in the last episode of TFA to establish a bond between she and the Dream Butterfly. Even if it was not thought to be done (only a coincidence), clearly it works as a hint right now. Following this line of thought, it would be also curious if the pattern of the last kimono Kagura wore also works as a hint...

Anyway, I am only leaving my thoughts here. Feel free to share your observations too! ;)

#HnY #Yashahime #Hanyo no Yashahime #Hanyou no Yashahime #Setsuna #Kagura of the Wind #Yashahime Analysis

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noa-renwick · 4 years ago

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Something to note

With the upcoming Hanyou no Yashahime, I don’t think I’ve seen anyone mention the curious similarities between Rin’s kimono from the last episode of the Final Act and the one Sesshomaru’s mother wears. Sure, the latter has more of a wavy pattern to it and is a lighter color, but it has yellow butterflies like Rin’s, though it definitely has more similarities with Towa’s except for the butterflies.

Anyway, just thought I’d throw this out there.

#hanyo no yashahime #rin #sessrin #sesshomaru #towa

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juli-tsuki · 5 years ago

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Shesshomaru and Rin is kinda weird, but it's okay!

This pairing setting is kinda wierd, it's like this stoic 19yo met this bubbly 8yo and they made this huge impression on each other. And much later, after they had lived a part for a while, and had grown up, they migh have decided to be together as "man and woman". Wait! What? I guess this can happen to adults... Weird, yet not predatory... It was most likely not planned by neither of them. He wasn't her provider, baby sitter or father figure, more like he let her tag along w/ the group which followed him for a little while, but he did grew to love her *still not romantically or familial*, and she loved and admired him in her own way, overall they formed a strong platonic bond and trust in each other, that might have become romantic after those damn hormones...

I can mention: sailor moon, karekano, and goblin, the eternal guardian had similar or worst situations... might be a trope 🤷🏻‍♀️

In a case by case basis, with no power invested in me, I say, he definitely didn't thirst for her while she grew up - he barely felt anything for other beings, tbh! I'm okay with this ship in the future given their circumstances, and Seshomaru's emotional growth...

They met when they were both vulnerable: Rin was traumatized and fending for herself, an orphaned outcast in a forest; and Sesshomaru was at a low point had been hurt by Inuyasha. When she whom didn't have anything showed him compassion, he was intrigued. In the space of *less than an year* she kept following him, they kind of healed each other: her presence broadened his jaded world view which made him more compassionate and stronger, and his posture, unintentionally at first, gave her protection and space to heal herself: she started speaking again, later got over her bad past experiences with humans, and was able to live with others.

She wasn't a thing for him, nor a possession, nor ward, she was an independent being, not his equal for most part, given he was a powerful arrogant youkai and barely didn't mind her presence in the beginning... He was also kinda racist with that "I despise humans and hanyo, Dai-Yokai are superior" speech: meeting her somehow set off his redemption journey...

This is an interesting thing about their relationship: respect and independence. She was fairly certain that he was dangerous, she also could leave at any moment, and both would be better this way, but she chose to follow him, like a puppy. He knew and understood who she was: an abandoned human child, maybe even what she had been thru: abuse, and how she could kind of take care for herself, even if she couldn't fight: finding food and shelter in the woods isn't easy, so he respected her choices, like following him who showed more concern for her well being than any human she had met in the forest, and he had patience with her limitations.

At the end of the story, 3 years had passed since she had found humans and friends who truly accepted her, and she had been living with the elderly lady, Kaede, the one who really raised her, Rin probably also took care of the old woman, and learned a lot from her. This was the same village Sango, Kagome, and their families lived. Then, she also probably spent a lot of time with the modern era girl, and the warrior woman.

Now, things get a bit weirder: I hope, Seshoumaru and Rin have barely kept in touch thru that decade, because if he made that CD-drama proposal when she was around ~15yo: vowing to wait with no rush for her heart to decide, I guess, that message could say it might have had a possiblity of romantic relationship for him *after she had grown up*. We can think of how Ayame and Kuga were engaged for years but it didn't really ment anything physical or deep relationship, maybe just a "we may be together someday, when the time is right, if we both wish to, and are able to concent, in the terms we decide, and if it is also good for everyone who cares for us".

He knew she was still a human child by all accounts, and it was not right for her to hang around him. She also wouldn't know what to chose for their relationship, until she had fully become and adult. It's good that he took his leave, and let her have her own fully human experiences growing up. Only ever so often he sent cloth as gifts, so she would know he still remembered her, and would keep the promise he'd be there if she needed: ok, now it is kind of platonic of him. I'm thinking she still had the option of only being friends or breaking up, and forgetting him, and a lot of people were there to counsel her, and defend her if needed. Remebering how Shesshomaru always gave her space and respected her choices, and how Rin was very confident, she wouldn't need any defense against him if she chose to not keep following him. It probably wasn't official courtship at first as Seshomaru gave her age appropriate cute kimono patterns - people like to give gifts to people they cherish.

Rin could have become a miko or village girl, and met another boy, have her own human family - she had all she needed for that. But she grew up admiring this amazing guy, with whom she shared a strong bond and trust never broken, and was still as beautiful as when he showed up to rescue her many years ago - tbh, from the dangers she accidentally got herself into by following him, sometimes. Really, no regular boy had a chance in her mind or heart... Also, Sesshomaru wouldn't give any other person the kind of chance he had given Rin to get into his heart.

Hey, time flows, she grew and changed, as did he, and their feelings might have changed also.

Maybe, he wasn't the prejudiced Dai-Youkai he once was;

Maybe, he wanted to be by her *young adult self* side;

Maybe, they married so she would be safe by his side;

Maybe, he had no intention of consummating the marriage, they would work out their boundaries;

Maybe, it took him by surprise when he felt his human bride wanting to be close to him;

Maybe, she had a hard time convincing him she was an adult and this was her choice.

Maybe, she had no intention of leaving his side;

Maybe, they really get to know each again, after the time passed, and still unconditionally love each other

Maybe, she was only fully happy by his side;

Maybe, it really was what she wanted and the best for her;

Maybe, even him was surprised by his own new feelings after so many years;

Anyway, I just hope they both figured things out, and had a real shot at happiness. Because, these guys saw and fought so much, they evolved and deserved at least a little moment of true bliss after a while, *when the time was right*.

Someone did the math and at least 10 years should have passed after they killed Naraku, and Rin might have birthed the twins at ~18yo, if she is the mother... Young, I know, but not a minor, and feudal era country side Japan, not much to do, but love with your hot husband - also, Kagome was ok with marring Inuyasha after high school (but avoided pregnancies until she was 25, I guess) 🤷🏻‍♀️

Please, Hanyo no Yashahime don't f* up things for Sesshoumaru and Rin, the mother can still be another woman, but if the subject were treated w/ care it would be fine, and understandable that Rin is the one.

#Rin grew up happy #Sesshomaru is not that kind of villain #Kagome and Sango would see to it #Rin grew up as a strong independent woman #Inuyasha would'nt let Rin be hurt either #inuyash wouldn't go only for his arm if he had done anything to the girl #Sesshomaru respects Rin #No one else had a chance with theses two #sesshomaru #rin #sessrin #sesshoumaru

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ayuuria · 3 years ago

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Yashahime Translation: Animage October 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.

Para más información sobre el uso de mis traducciones, haz click aquí.

The Beast King’s Daughter

“Hanyō no Yashahime” depicts the battle of three princesses who carry the blood of a demon king. In ‘The Second Chapter’ which broadcasts in October, the one who holds the key to the story is another princess who makes a new appearance.

With overwhelming strength, Sesshōmaru and Inuyasha’s father, the Dog General, was known as “The Beast King of the Western Lands”. The three (girls) Towa, Setsuna, and Moroha inherited the said beast king’s blood.

Despite being inexperienced, Towa and the others have constantly grown in battle. In episode 24 of ‘The First Chapter’, an evenly matched battle unfolds between Towa and Moroha, enraged by Setsuna’s death, and “The Beast King of the Eastern Lands”, Kirinmaru, who is equal to the Dog General. Though Kirinmaru was injured, he successfully landed a single stroke.

Starting from ‘The Second Chapter’, another daughter of a beast king appears before Towa and the others. Her name is Rion. Surprisingly, it is said that Kirinmaru also had a daughter. Rion is an existence who for 600 years has been sealed in Mt. Musubi, which is said to be where the Dream Butterfly is. Exactly who sealed her and for what purpose? Just like Towa and the others, within her is likely an inherited strength of a beast king but her powers are unknown.

There are still many mysteries surrounding Kirinmaru’s daughter, Rion. While it is not yet known whether she is an enemy or an ally to Towa and the others, if she is willing to lend her strength, she will likely become a reliable existence to them as they shoulder many difficulties.

Character Bios

Rion Kirinmaru’s daughter who has been sealed within the barrier of Mt. Musubi for 600 years. It seems her meeting with Towa, Setsuna, and Moroha will move destiny but… …?

The Dream Butterfly The butterfly of the dream world. A spirit. It is said that when they appear in the real world, they devour people’s dreams and those who have been devoured become unable to sleep or dream entirely.

Higurashi Towa Sesshōmaru and Rin’s daughter. She fights with Kikujyūmonji, a demon sword with a blade created from demonic power. The attack she unleashed when she became enraged from Setsuna’s death took on the shape of two blue dragons.

Setsuna Sesshōmaru and Rin’s daughter. In episode 24 of ‘The First Chapter’, despite wounding Kirinmaru during their battle, the tables turned on her and she lost her life.

Moroha Inuyasha and Kagome’s daughter. When she puts on rouge, she goes on a rampage that ends quickly but when Setsuna lost her life, she managed to fight without losing her composure.

Kirinmaru The Beast King of the Eastern Lands. It appears he spares some leeway with the Yashahimes such as naming Towa’s technique ‘Twin-Headed Azure Dragon Wave’, but?

The Parent Needs to Pull It Together More!

Kirinmaru has considerably complicated child rearing. In contrast to that, Rion is a girl with a straightforward upbringing. I can’t say the specifics yet but when I see parent and child, as a father of a daughter in her 10s myself, I think “The parent has to pull it together more” and I also get a sense of “I guess even if the parent complicates things, kids will grow up on their own.” By the way, Fujita Saki plays the role of Rion. She also took on the role of the mean heroine in my previous work “Fairy Ranmaru~ Anata no Kokoro Otasuke Shimasu~”. Just when I thought I finally defeated her in “F Ran” (Shortened name of said previous work), I meet her again in “Hanyō no Yashahime”… … I felt a mysterious fate (laughs).

- Director Hishida Masakazu

I Felt Destiny from the Lives of Towa and Co. Director Hishida Masakazu

Synchronizing With His Own Life?! Empathy Towards Towa’s Situation

— In the previous issue’s interview, Director Hishida, you said that you felt that “it was fate that I should accept” the offer for this current work which was memorable.

Hishida: I worked at Sunrise’s Studio #1 for a long time, but I started to do work for Tatsunoko Production in 2008. From there, I mostly worked at Tatsunoko but now Sunrise has called me back for the first time in 13 years. Just as I’m wondering what sort of work it’s going to be, they tell me it’s a work that carries on the world of “Inuyasha”, (the work) that taught me the foundation of production. Not to mention, the protagonist, Towa, is a girl who was flung from the feudal world where she was born and raised, to the modern era, and then returns to the feudal (era) again after 10 years. I felt Towa’s situation synchronized with mine and all I could think was that this was fate.

I’m about the same age as the director of ‘The First Chapter’, Teruo-san (Director Satō Teruo), and our careers are just about the same too. Teruo-san worked at Studio 1 for the longest time while I on the other hand, got thrown outside and came back… … I thought that aspect felt similar to Towa and Setsuna’s life (laughs). That’s why watching Towa and Setsuna’s relationship in “The First Chapter” was very tough. Like, they were such close sisters so why doesn’t she remember… …

— To change it to your position Director Hishida, it’s like “You returned to Sunrise for the first time in a while but the people you used to get along with have forgotten about you” kind of a situation.

Hishida: It’s exactly that! The current staff of Sunrise’s Studio 1 don’t know me, and they don’t thank me (laughs). You see, I was the one who revived the steppingstone for the “becoming a producer by being a production assistant” route that came to an end at Studio 1! There weren’t many before me but afterwards, there were a lot of people that took that route and flew the nest like Fujita Yōichi-kun, Watada Shinya-kun, and Kyōgoku Takahiko-kun! No one is really grateful so Fujita-kun and Kyōgoku-kun would always say to me “I should’ve crushed you back then!” (laughs). As I watched Setsuna not remembering Towa, I ended up remembering that.

— You seem to have an unusual attachment to Towa and Setsuna’s relationship (laughs). Well then, what sort of impression do you have of Moroha and Sesshōmaru?

Hishida: Moroha has a brilliance to her. It’s amusing that she inherited Inuyasha’s mischievous side, and she’s got a similar silhouette to Inuyasha as well, so I feel that she is a real eye-catching character. When Towa and Setsuna take center, the story becomes heavy no matter what, so it’s fun to watch Moroha soften the place up.

Then, regarding Sesshōmaru in this current work, I felt “He’s a father”. I bet in his own way, as a father, he wonders how to interact with his daughters. Even while carrying out a strict “trial of courage and cowardice”, he still concerns himself with his daughters which I feel is a little human like. I’m also a father of two girls so I can relate to him somewhat. In the last (scene) of “The First Chapter”, he purposefully hands over a broken Tenseiga to Towa but he wouldn’t do that if he didn’t care about them. He just gives a pass like “Do something about it with this” and I think that is also (a form of) training in a sense.

Also, drawing wise, the pattern of Sesshōmaru’s kimono is still brutal (laughs). “Inuyasha” was an analog cel anime back then so (drawing) that pattern was even more difficult. At the time, the suggestion “Let’s omit the pattern on Sesshōmaru’s kimono” was made but Director Ikeda Masashi opposed it. I didn’t understand why Director Ikeda was so fixated on that pattern back then but thinking about it now, I think it was the right call. Since it could be said that Sesshōmaru’s existence is one of two wheels in the work that is “Inuyasha”, he probably didn’t want to make him plain wherever possible.

The First Attempt At ‘The Second Chapter’ Storyboard Was Like A “Trial of Courage and Cowardice”

— Next, please tell us about Kirinmaru’s side. In ‘The First Chapter’, many of their actions were puzzling so by all means, any hints to their activity in ‘The Second Chapter’!

Hishida: At first, I couldn’t quite understand Kirinmaru, but once I heard he was a father with a daughter, I understood. While he is a person who’s thinking “I want to surpass the Dog General”, his feelings of admiration towards that man and wanting to show his strong side to his daughter are feelings that I completely understand now. Kirinmaru has had many mysterious aspects up until this point, but I’d like to depict his emotions in ‘The Second Chapter’.

Just like her younger brother, Kirinmaru, Zero has also become obsessed with the Dog General. In any case, she lives on her “love”. Zero’s womanly heart is a little complicated, but I also feel that seeing her persist with her earnest feelings for the Dog General is cool.

Also, I think the parts of Riku, who’s neutral towards Towa and the others, that were difficult to see up to this point will become clear in ‘The Second Chapter’. How he feels about Towa will be brought to the forefront, so I told Fukuyama Jun-kun who plays him, “In ‘The Second Chapter’ please go with a slightly handsome boy feeling route” (laughs). By the way, Fukuyama-kun was the one who played the main character in my director debut work “Onmyō Taisenki”. The name of the role (character) was ‘Riku’. ‘The Second Chapter’ is a story about the ‘fate’ that connects people together, and I also felt a mysterious fate from that.

— What did you think of production for episode 25 (episode 1 of ‘The Second Chapter’) which continues from the shocking last scene of Setsuna’s death in ‘The First Chapter’?

Hishida: It was such shocking last scene that I was overcome with the feeling of “Why are you passing the baton to me at such a difficult spot!?”! I truly thought this was a ‘trial of courage and cowardice’ (laughs). I did the storyboard for episode 25 myself, but coming into the work midway, it took me some time to understand the story, so I really struggled. Until now, the record holder for storyboard that took me the longest was episode 13 of “Gundam Reconguista in G” with 2 months. However, this time, it took me 3 months.

— To say that it easily overtook that “G Recon” (shortened form of “Gundam Reconguista in G”) that you struggled so much with (laughs).

Hishida: Yes. My worst record was brilliantly made new! However, on the reverse side, I thought with ‘The First Chapter’ ending like this, there’s no doubt you’d want to see the continuation. In that sense, they passed the baton in the best way so I should meet up to that (expectation). It was tough but I put my all into it!

— ‘The Second Chapter’ is loaded with things to be curious about aside from what will happen to Setsuna like Rin who’s sleeping within the Tree of Ages and Inuyasha and Kagome who’ve been trapped within the black pearl.

Hishida: I can’t talk in detail about that yet but I will say “There’s no way it would end like this!”. I would certainly like for everyone to look forward to October.

In the new key visual for ‘The Second Chapter’ that is overflowing with lively motion, the three princesses show gallant expressions with weapons in hand. What exactly is beyond Towa’s reaching hand… …? Also, when will we get to see ‘Sesshōmaru & Rin’ and ‘Inuyasha & Kagome’ standing side-by-side together as shown in this picture?

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

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lilyginnyblackv2 · 4 years ago

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HNY: Geisha, Butterflies, Spiders, Mysterious Ladies, and The Floating World - Food for Thought

So, when it comes to the mysterious lady - we got some juicy info on her the other day (some leaked images), but it seems like this may have been an actual, legit (unplanned) leak. So, I’ve since taken down the images and won’t be including any of the leaked images in this post.

I will also be placing the post under a Read More.

However, I wanted to talk about this mysterious lady and geisha.

This has been something that’s been on my mind since we saw the leaked images of her. Her hairstyle instantly made me think of geisha. For example, here is a common geisha hairstyle:

(Source: thecoincidentaldandy(dot)blogspot(dot)com/)

It’s nearly identical looking. Then we have her kimono, which has butterflies on them. Butterflies are one of the common motifs seen on geisha kimono:

(Source: mai-ko(dot)com - Geisha Kimono Patterns & Symbolism)

Other female characters in IY have worn butterfly kimono (Kagura, Sesshomaru’s mother, and Rin). But, all three of them have hairstyles that are not similar to geisha. The one thing that I think all four of these characters do likely have in common though, is some kind of connection to death. The butterfly kimono usage in IY has all been connected to death:

1. Kagura - Her butterfly kimono was worn when she turned into the wind.

2. Sesshomaru’s Mother - She has a stone that allows her access to the Underworld, thus a connection to death.

3. Rin - She died twice and has come back. Thus giving her a connection with death as well.

4. Mysterious Lady - We don’t know much about her, but her weapon has a spider on it. Spiders are predators and are often associated with both creation and destruction:

(Source: worldbirds(dot)org)

Two key things to note in the above screenshot image are:

1. “In this senses, the spider is a weaver of illusion.”

2. “Spiders also create, destroy, kill, and create again.”

So this fits in with the death symbolism of butterflies as well. And, in the screenshot I linked to above about geisha kimono symbolism, also fits into this part:

They are also symbols of spring as to see a butterfly is a sign that snow and frost are gone and it’s safe to plant one’s vegetables and rice again.

So, as we can see, the spider and the butterfly (especially in Japanese culture) are both associated with both death and the recreation or return of life.

As for the geisha aspect...Do I think she is an actual, straight up geisha? No. But the ties and connection to things like the arts and entertainment is certainly something to think about. Geisha tend to symbolize many different things, such as “sophistication, high-class, intrigue, mystery” and even things like “dreams, aspirations, desires, etc.”

This imagery ties into what we’ve seen with some of the perils. Konton keeps mentioning “dancing” and Toutetsu strikes a cross-eyed pose often associated with kabuki theater and etc. So, we are seeing a large connection to the idea of “the floating world” in Japan: ukiyo. Both geisha and kabuki theater were an aspect of that (also, I’m just gonna say this here, but geisha weren’t prostitutes. I have nothing against prostitutes, but it is a common misconception that I don’t wish to perpetuate).

(Source: www(dot)khanacademy(dot)org/)

So, we have all of these characters showing aspects that can be tied back to “the floating world.” To dreams and illusions and also to the cycle of life and rebirth and to the idea of living in the moment (one of the phrases that has been used for Yashahime, using Setsuna’s name: 刹那を生きる - setsuna wo ikiru) :

The term ukiyo (when meaning the Floating World) is also an ironic allusion to the homophone ukiyo (憂き世, "Sorrowful World"), the earthly plane of death and rebirth from which Buddhists sought release.[2]

In its modern usage, the term ukiyo "The Floating World" refers more to a state of being: living in the moment, being detached from the bothers of life.

From the Wikipedia page on ukiyo. So there is a lot of very interesting stuff going on here, and I definitely know that @trashahime has talked about the kabuki reference with Toutetsu and the references to dancing with Konton, etc. before, so this isn’t new discoveries, per se, but rather yet another example of the “entertainment” world of ancient Japan having some sort of presence in Yashahime.

I have to head off to work now. But if anyone wants to add or contribute to this, please feel free to do so! :)

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