Forum - View topicRurouni Kenshin (TV 2023) (w/ index).
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Harleyquin
Posts: 3054 |
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#36
As expected, Hiko Seijurou is only convinced to change his mind after hearing about Kenshin's 15 years away from the revolutionary corps. Even then, he didn't acquiesce because of Kenshin's request but because it was something that had to be done even if he found it a nuisance to attend to. With this, Kenshin is out of the picture for a while during his training so the spotlight can move to others. Shinomori Aoshi has been wandering around Kyoto looking for his quarry to no avail, so he has to rely on his old information network for a lead. Little did he know his delay in seeking out his old allies was so crucial, since Kenshin disappeared around the time he entered Kyoto. The showdown between Okina and Aoshi is another highlight battle for the animators to display the skills, so that's something to look forward for the festive week. With Aoshi's return, it is Misao's turn to finally discover the truth behind Kenshin and Aoshi's previous encounter. Okina kept his word not to tell her what happened, but Kaoru realises Misao needs to know after all the help she has given them. What Misao does after that will very much depend on whether or not she'll make it back to the Aoiya in time before Okina and Aoshi have their duel. |
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Harleyquin
Posts: 3054 |
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#37
A week's break for the New Year changeover, and the series is back with a new set of OP and ED songs and animation. The animations are more memorable than their accompanying songs as they do a decent job at hinting at what's to come; the songs themselves don't really stand out beyond being easy to listen to (memorable songs in this adaptation are not a strong point). The highlight of the episode is the duel between Okina and Aoshi. I don't know if the break helped, but the eventual duel is a definite improvement over its original adaptation. The weapon break move is more or less the same as I remember it, but this time there was more animation for the intervening scene before Aoshi uses his ultimate finisher. Kaiten Kenbu Rokuren is better animated this time round, with each strike against Okina properly shown in gory detail instead of the flashes of the original adaptation. The duel is not the only action highlight: Kenshin's practice rounds with Hiko Seijurou are on par with the equivalent scenes in the first adaptation. Back then I remember it was Madhouse doing this part for the original adaptation and these scenes were much better than the later training episodes. This time round I don't have any complaints about the brief scene as it sets up well for the session afterwards. The attack on the Aoiya, although brief, has a few more frames from what I remembered. I think the notable part was seeing what happened to the rest of the Owl crew after Okina had dispatched the last one trying to surprise him. As expected from ex-Shinobi from a different era, Houji's group of hastily assembled thugs with better night vision didn't stand a chance. The torture aftermath with the blood and wax also gave off the expected impression of horror and disgust to Houji and his hangers-on. Overall, not a bad episode to start the final quarter for the Kyoto arc. A good start, but can the animators sustain it to the end as this really is make or break for the adaptation. |
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Harleyquin
Posts: 3054 |
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#38
After last week's flashy intro, a more subdued episode this week. The plot moves along with Kenshin busy getting pummelled by his master in the name of "training". I don't actually remember when Megumi arrived in Kyoto, but this adaptation fixes it up by getting her to arrive at the most opportune moment possible. Kyoto is huge, so chances of her meeting the others just as Shinomori Aoshi is about to kill his old comrades is close to zero. But bloodshed is avoided, and Okina is brought back from death's door thanks to her skills and Misao's first aid having reached him just as he'd been sliced up. Misao trying to act as the temporary boss despite being the youngest in the Aoiya makes for some comedy, as none of the remaining members can take her seriously having grown up with her as her adoptive family. Saitou is another one who is reappearing for the first time this quarter, and his first job is to interrogate the captured Cho. As it happens, Sanosuke lucked out and ends up in the same jail as Cho having banked on getting arrested and hoping Saitou would eventually visit the jail on official business. The interrogation scene with Cho is more or less what I remember it, but with better visuals. Even Saitou imagining the rooster and broom going at it is kept in. Uonuma Usui is introduced, and he sounds very different from his original adaptation. No surprise since it's a different VA in charge now, but the original adaptation had a distinct delivery for this character and this one doesn't sound like that at all. He still sounds like a villain (and showing his age as well), so jury's out on how he'll be received by the general viewership. He does play the important role in explaining why the government's response to Shishio's rebellion is so feeble because he was solely responsible for culling the military assets Saitou took trouble to assemble. I'm looking forward to next week, since the way it was animated in the original adaptation wasn't great as it wasn't Madhouse in charge of that particular episode despite them taking the helm for the waterfall scenes before that. Now that this adaptation is under unified direction under a single studio, how it's animated will have an impact on the reception for the remaining episode moving forward. |
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Gina Szanboti
 Posts: 11730 |
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The fight between Chou and Sanosuke was in ep 44 of the orignal. I think it was funnier then, with the pair making rooster and broom sounds at each other. In that version, the subs had them calling Saitou "willow head," but in the current one they say, "bamboo-blind head." I'm afraid I can't hear spoken Japanese well enough to tell if the translators just chose different terms or if they were actually different. I did get a laugh out of Chou's hair sneaking out after them, which wasn't in the original.
One thing I've noticed is that this version shows Chou with both eyes open much more frequently. That was a vanishingly rare event in the original. It's also kinda jarring to see "Juppongatana" written as "Juppon Gatana." |
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Harleyquin
Posts: 3054 |
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Translator's choice for すだれ頭. Same Japanese term but the English translations have changed. Same for Sanosuke, only the choice of words is more narrow so less likely to change. Romanization for 十本刀 is a stylistic choice, it doesn't matter in Japanese as it's only written one way and has a standard pronunciation. https://ja.wikipedia.org/wiki/すだれ If anything, the latter version probably works better. The first translation of "willow" most likely directly translated from Saitou's appearance, or from what the blinds are traditionally made of: https://ja.wikipedia.org/wiki/ヨシ |
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Harleyquin
Posts: 3054 |
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#39
The episode I've been waiting for this quarter has finally aired, and although the content is essentially the same as its previous incarnation there are enough differences to distinguish itself in its own way. Opinion will be divided amongst those who've stayed on whether it's better or worse, for me toning down the humour and emphasising the action makes it a different watch since the humour in the original, as amusing as it was, was tonally dissonant to the core of the episode. A lot of the humour in the original airing was depicting Hiko Seijurou as an immortal on his cloud with Kenshin the mortal getting depressed as he recalls every occasion his master bullies him or takes him for a ride. Completely removed for this adaptation, with only the facial expressions of Kenshin getting hit by the signature moves of his school being retained (and even then that's toned down for Ryuukansen). In the original, this was one of the last remaining episodes where Kenshin would have his saucer eye face and going "Oro" repeatedly but this adaptation has removed that as well. One thing I disagree with is the removal of Kenshin's lines when Hiko Seijurou is going over embarrassing episodes in his childhood; that was in the source material and one of the few instances where Kenshin has some satisfaction over his master. In exchange for the removal of the comic scenes, the effects of the school's final two moves for Kenshin to learn are much more dramatic and stylised than the original adaptation. Hiko Seijurou telling Kenshin not to move during the demonstration also means more here, since Kenshin has something to show for keeping absolutely still whereas the original only gave him the opportunity to observe the mechanics of the move with a certain level of risk. The violence from Hiko Seijurou's massacre of the bandits also plays to this adaptation's strengths as the brute force of Kenshin's school is at full display when a regular Katana is used. The flashback scene on their first meeting is much the same, with minor differences like Hiko Seijurou showing less surprise at the revisit of the slaughter compared to the original. I think the part where he writes Kenshin's new name is also slightly different but might be misremembering that. The final showdown also exaggerates the physical disparity between Kenshin and his master much more than the original; although we lose the sound effects of the mantle falling to the floor the aura and presence given out by Hiko Seijurou when he drops his handicap is more exaggerated. Likewise the aftermath of Kenshin's successful execution is more dramatic using the time lapse technique. Hiko Seijurou's monologue after the act is much the same, with the delivery obviously different due to the change in VAs. Personal opinion is this episode wasn't a disappointment, especially as its previous adaptation set a much lower bar to clear compared to the episodes before. Not quite the best episode of the quarter to date, but definitely up there as one of the better ones. |
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Harleyquin
Posts: 3054 |
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#40
This episode is definitely the most obvious example of pacing decisions having a direct impact on what is aired. I do not remember a lot of the scenes in this episode because they appear to be anime-original filler, but it's in line with what fans would expect of the characters and doesn't seem out of place. A quick-fire introduction to the rest of Shishio's hand-picked squad, but it doesn't really matter too much how short the introduction is as they'll all see action soon enough. Honjou Kamatari's first encounter with Yumi I do remember, but the next conversation about pairing with Cho I don't (and Kamatari was right about Cho). Likewise Houji's short scene with Shishio after the announcement doesn't ring a bell, although it's not out of line with what viewers would expect of him. The little extras added on such as Kenshin's reaction to his fallen master are a nice touch, while the final scenes before their parting stay close to source which will keep fans happy (skipping most of the Oro scenes last week wasn't a good decision for me, but they kept this week's one. Likewise the part with the mantle on Kenshin). Pairing both swords on the ground and on the wall also illustrates another difference in the physical size difference between Kenshin and Hiko Seijurou; Seijurou's weapon is much longer compared to a standard length Katana which is why his attacks carry so much more weight in addition to the muscles powering each move. Shishio's grand announcement signals the next major plot development for this quarter, so perhaps a breather this week as the animators are going to be kept busy over February. Episodes like these can't be repeated too often as they get called out for being budget-saving filler. |
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Harleyquin
Posts: 3054 |
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#41
Another week with a few scenes devised by the animators for a new audience. The new additions never feel out of place; they know what works and don't rock the boat too much with additional scenes. The main story itself moves along as expected, with the additional scenes complementing what source material fans have already expected to see. One of the biggest omissions from the original airing was the scene where Kenshin is chased around Japan by a persistent patrolman because of his sword. Turns out the animators this time round simply reworked him into this episode, but without the chasing. Sanosuke going to Shirobeko to dine and dash (and failing to get away with it) is another one-off which is a nice easter egg, it's another excuse to show off what his new move can do when he applies it to something different other than rocks and jail cell doors. Giving expanded scenes to the four Shishio grunts with names is less of a one-off and more detail given the preparations behind the upcoming coup planned by the Shishio faction. Houji standing up to Usui knowing he could be killed has meaning behind it, since Houji himself doesn't get as much screen time as he does given the role he plays. Although the episode itself does nothing more than set the stage for next week since Kenshin and Saitou have figured out Shishio's real objective, the number of little extras added in makes it a more memorable episode than it otherwise would be. If my read of the pacing is accurate, then there's still enough time to do the next part in 1-2 episodes and then the finale with the remaining airtime without having to compress anything. |
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Harleyquin
Posts: 3054 |
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#42
Interesting decision from the animators this time round: I don't remember the build-up towards the Kyoto Fire and Rengoku sailing taking this much air-time. It wasn't really a focus in the original nor the movies, rather the actual showdown between the two different forces when midnight struck. Something different in showing how the disparate participants prepare for the big event to come, whether or not they are prepared for it (Oniwabanshu, Shishio's grunts) or not (the adaptation original Kyoto police chief originally from Satsuma). That's two episode in a row where the animators conserve their budget and take a comparative rest before the action sequences to come. I hope it's worth it, since there's been enough preparation for them to surprise viewers with what they can come up with. Given it's part one next week and part two after that, not much airtime after that for the finale. I count at least six episodes to cover the remaining ground, which might backfire on the production team if they had decided to use two weeks for the buildup to the Fire instead of later on during the finale. |
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Harleyquin
Posts: 3054 |
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#43
Not the first time I've guessed wrong, but splitting the Great Fire into three arcs instead of two is going to really squeeze the remaining airtime for the Kyoto arc. If the animators are planning to do this, it means instead of squeezing everything into this quarter it's going to be drawn out. There will be a final season of the Kyoto adaptation to finish everything with no corners cut, but how likely will that be if the second season doesn't sell well (which is more than likely at this point)? That said, the episode does its best to draw out the tension that has been building up over the last two weeks. Besides the use of the ominous countdown and the depiction of the nerves on some of the players in the opposing camps, there's also the scene where Megumi prepares her field hospital with the experience drawn from her clan during the final Izu peninsula battles. Due to the scale of the scheme, there will certainly be casualties on both sides (and already depicted because of the stationed Ten Swords forced intervention). Megumi is literally holding that front with one assistant (and maybe more as casualties mount), hence it will be a long night for her until daybreak. My memories of this part are more on the action surrounding the ship. While Shishio is relaxing and waiting for Kyoto to erupt in flames, Kenshin and company have correctly identified where his ship is preparing to set sail. Thanks to the efforts of the defending police and Oniwabanshu + civilian anti-arsonist measures, Shishio is unable to set sail as there are no signal fires for him. That said, the odds against the three are still impossibly high as Houji and Shishio managed to procure the latest model of ironclad for their bombardment. Shishio must have been paid exceedingly well as Kenshin's successor; no wonder he was slated for execution after the Meiji Revolutionists had their victory if they wanted him killed to try to reclaim some of their payments. The one advantage Kenshin and company have is surprisingly Sanosuke as Shishio's camp have completely underestimated him. No one (except Saitou) knows what Sanosuke can do after his training with Anji, and seeing him adapt it to defend himself against the Gatling cannon was a nasty surprise. He still has to get his explosives into the ship and blow it up, and how he goes about it is something I'm also looking forward to because depending on how it's portrayed it will certainly help the current adaptation's chances getting to the finish. |
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Harleyquin
Posts: 3054 |
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#44
This episode is by far the most original of the adaptation to date. A lot of the little things like the two thugs, the old policeman and his young charge, the girls who occasionally pop up in cameos to comment on the situation, all of them are roped into this episode one way or another to stretch out the storyline and make it more organic than the previous adaptation or even the movie version. The Satsuma policeman Saitou left in command in his stead isn't doing much of a job being a proper commander, but he's doing what the Satsuma clan did centuries ago and is laying his life on the line for his subordinates to flee. He has indeed found his courage, even though he knows it's suicidal against two of the JupponGatana at once with every single one of the trained officer corps unable to lift a finger against them so far. The only question left is whether he dies standing, or if he goes down on his knees as per the condition allowing the pair to go past him and slay the wounded. Most of the action is of course on the ship, and I do remember Aoshi and Kenshin briefly facing off with Saitou trying to fight his way through the crew to get to Shishio. The difference this time round is Sanosuke isn't randomly throwing explosives and getting lucky, he actually gets on the ship and is told specifically to head to the engine room. Probably the biggest difference with the movie and previous adaptation, and much more realistic. It also throws up a comical matchup with Houji and his roses vs. Sanosuke, with the latter so surprised he lets himself get hit a few times. Houji is more formidable than this, but for now this is an easy win for Sanosuke and another reminder that Houji is effectively a non-combatant as he isn't trained in combat like his peers. Having a short segment where the old policeman and his charge take on the two named underlings in Shishio's army takes up screen time; but it does resolve a lot of the buildup for these two sides coming up to the showdown. Especially significant for the two thugs, since the differing stances of the two thugs at such a critical juncture throws into stark relief what they really are when the crunch comes. This outcome will have to wait until next week, and I'm curious to see how it resolves itself as the animators put a lot of effort into this. The final scene is another huge difference, since Kenshin does not use this move so early. The animators will also need to do some creative rewriting for next season, as the early showdown between Kenshin and Aoshi is extended to the point that the deviation with the source material needs reconciliation. Plenty to look forward to, since the deviations alone make it worth seeing through for some source material fans just to see if the animators can stick the landing. For their original material, the animators haven't done too bad a job with the stand-alone episodes they've brought in so I'm personally hoping the trend continues. |
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Harleyquin
Posts: 3054 |
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#45
The decision to drag out the sinking of the Rengoku and actually change the cause behind its sinking isn't a bad one for me. Ultimately it's still unrealistic, but slightly more believable than Sanosuke hitting the jackpot with a lucky throw of his explosives. If anything, it does a better job at showcasing Houji's fanaticism and loyalty to the cause. Getting Sanosuke's best move involved in the sinking also does a better job for later on in the arc, so that's an unexpected benefit from this change. Furthermore, the timing of the explosion also resolves what would have been a difficult writing decision for later on. Kenshin not executing the move within full view of Aoshi and Shishio saves a lot of headaches. Likewise, Kenshin gets a preview of what Aoshi was planning to do but not specifically what it would entail. No need to rewrite too much on that front either, since Shishio has already promised a decisive showdown between all factions and there will be plenty of time to settle matters then. Megumi's work at the battlefield clinic wasn't covered at all in previous adaptations, but what she did this week isn't inconsistent with her portrayals to date. Turns out the scuffle between the two thugs and the old policeman and his ward ended once the thug put his body on the line for the kid. After that it's up to Megumi to save both of the wounded, with the unharmed thug left to stew over what he'd been responsible for. Likewise, the Satsuma police officer left in command in Saitou's stead proved his worth in bringing in firefighting reinforcements from neighbouring prefectures to help in the case of fires breaking out. Thanks to the efforts of the Kyoto civilians and Oniwabanshu, their reinforcements proved sufficient in foiling the main objective of Shishio's scheme to raze Kyoto to the ground. With the quarter's main highlight out of the way, the remaining episodes will clear a few loose ends before it stops for another quarter to fully depict the showdown. I'm still uncertain if that quarter will be greenlit as the adaptation has not been a resounding success, combined with the creator's real-life legal issues casting a considerable shadow on audience reception. The animators haven't done an absolutely terrible job this quarter, so if there's a chance they get to finish it that would not be an absolute travesty. |
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