I was hoping I wouldnât have to address this but it seems I have to. Recently, I have seen my translations being reposted on other websites without my permission. I do not appreciate this. I put a lot of work into my translations as I do them from scratch (I donât use Google Translate unless I'm really stumped). Seeing other people reposting the work I put in without my consent or giving me credit kind of irks me. Please DO NOT repost ANY of my translations without my consent!
What is considered reposting?
Copy and Pasting
Screenshots
Reading and showing the translation in a video
How can I share your translations?
You can share the link to the original tumblr post or you can reach out to me and ask permission. (I donât bite, I promise)
Hey I think I saw someone post your translation without your permission. What can I do to help?
Let me know and I will try to reach out to that person and ask them to take it down. If youâre feeling brave, you can reach out to that person directly, ask them to take the repost down, and post the link to the translation instead (I would be very appreciative).
Is it alright if I translate your translation into X language?
Iâve had a couple people ask me this and I thank those of you who have. Generally, I am not comfortable with my translations being translated into another language. The reason being is that thereâs bigger room for mistranslation from the original Japanese. You know that game of telephone where you whisper a message into one personâs ear and then they repeat that message to the next person? By the time the message gets to the last person, itâs usually completely different from the original. Sort of the same concept here. I recommend translating things directly from the original language.
Have any other questions? Feel free to send me a DM or drop a question in my ask box.
Hello, I really like your page, and I was wondering if you could help me find an interview. On reddit I found not one, but several comments stating that Rumiko Takahashi said that half-demons age at the same rate as humans, but that rate steadily decreases once they reach adolescence. Looking for the source I came across your page, but I can't find anything no matter how much I read. Have you translated that interview? Thank you for reading and for the enormous effort you make translating!
I don't think I have but I do remember reading something along that line somewhere
Kikyo: My heart was beating fast as I drew Kikyo wondering "What would this person do?" I got nervous whenever she appeared. I was able to see Kagome's mind more based on how Kikyo dealt with her negative emotions. Suprisingly, Inuyasha didn't really change but Kagome was able to mature from meeting Kikyo. (I need some more context with this last sentence) Her revival was based on (my) experience with Mashiko pottery."
Hi Ayuuria, I'm Dylan Acres from the Rumic World website, www.furinkan.com I was writing to you to see about hosting your interviews in our interview section on the site. We currently link directly to your interviews here on tumblr, but were thinking they may look nice with the added context of the magazine covers and bibliographical notes we add, but I, of course wanted to ask first, and if you're more comfortable with us linking directly to them here on tumblr of course we'll continue to do that. Thanks for your hard work!
I apologize for answering this so late. I'm not on Tumblr much anymore. I would prefer if continue to link directly to my translations here on tumblr. I appreciate you asking though.
I'm trying to find an answer by Rumiko from around 2020+ about whether or not Inuyasha would be able to choose between Kagome and Kikyo, but I can't find it since I don't remember the date or whether it was an interview or a simple Q&A :( Do you have any tips on how to find it?
You can check the Super Shounen Sunday S interviews I translated a while back and see if it's there. Otherwise I'm not sure since my main focus is Yashahime. @officialinuyasha and others might know something about it as well.
Yashahime Translation: Official Guidebook Interview - Sumisawa Katsuyuki
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.
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This translation was requested by @officialinuyasha. Please note that the official guidebook pertains to S1 only as S2 had only just started at the time of the bookâs release.
With Confidence, this is the âRumic Worldâ
â You have overseen the series composition since Inuyasha but please tell us how you have been involved until now.
To be exact, I started overseeing the series composition from episode 45 which was the same time that Director Aoki Yasunao took over from Director Ikeda. There hadnât been a series composition (writer) until then, so I participated as the only person in charge of the script. The original work had already been adapted into anime up to episode 45, so to continue the TV series, it was necessary to produce original episodes. I spent my days creating movie scenarios while each of the episode writers wrote for the adapted episodes (episodes based off the original work) and the original episodes. For the Inuyasha, The Final Act, the original work had already been completed so we were able to inductively put together all 26 episodes. Having reached a happy ending in an absolutely beautiful way, I remember feeling a huge sense of satisfaction and fulfilment.
â Afterwards, 10 years pass and the world of Inuyasha is once again moving.
I was shocked when I first heard about it because it (Inuyasha) concluded in the best way. I truly thought âIs Suwa (Michihiko)-san alright in the head?â (laughs). If you want to see Inuyasha and Kagome, then it can only be of them living happily together. Like âI made delicious tea todayâ or gazing outside from the *open corridor like âItâs already Fallâ (laughs).
(Translatorâs note: As in like the âoutdoorâ wooden hallway that you see in traditional Japanese homes and structures)
â Yet, why did you still accept (doing the series composition for Yashahime)?
In the event that I declined, they were going to ask someone else, and I thought âI absolutely do not want thatâ (laughs). Besides, I had this conceit that Iâm the only one who can meet (Takahashi) Rumiko-senseiâs demands so to be honest, I told them âIf someone else is going to write it, then Iâd rather write it myselfâ and accepted.
â Please tell us the story of how the three heroines came to be.
As a major principle, it is impossible for anyone other than Rumiko-sensei to depict the main characters of Inuyasha like Inuyasha and Kagome. That being the case, I thought what about the next generation like a son or daughter. The story about a son surpassing his father was already done in Inuyasha, so conversely, I thought if itâs a daughter, then it would be possible to create a new story. Hence, I created the first plot of âSesshĆmaruâs daughterâ. Back then, it was about how Towa and Setsuna arrived in the modern era from the feudal era to slay demons that had revived in the modern era. When they fought, they would transform into this armored furisode form; transforming heroines so to speak.
â Though the gist is fairly different to what it is now, how was it different?
If the feudal era is made as the setting, you affectively canât avoid interactions with the Inuyasha characters no matter what, so at the time, the modern era was the setting as it had no restrictions. However, then it becomes a slap stick comedy no matter what. I just couldnât get away from the vibe of âA Kappa just showed up in the schoolâs pool so letâs go slay itâ (laughs). Naturally, Rumiko-sensei didnât give the OK on this, so I strayed for close to a year.  Finally, I was told âI want you to make it firmly seriousâ âŠâŠ To make (the story) serious, I felt that I had no choice but to move the setting to the feudal era and thus created the protype that led to today. Oddly enough, Towaâs character, which until then had been floating around and wouldnât seem to settle, suddenly became clear to me, and I got this feeling that with this, I could finally start running. Although a little late, I felt that the characteristic atmosphere of the Inuyasha world could only show itself in the feudal era.
â What is the origin behind the names âSetsunaâ and âTowaâ?
**From the outset, I came up with âSetsunaâ using âsetsuâ in âSesshĆmaruâ. I chose the name âTowaâ so that it would pair with âSetsunaâ.
(**Translatorâs Notes
When you write SesshĆmaruâs name in hiragana, it comes out as âăăŁăăăăŸăâ. Although the tsu (ă€) is silent in his name, the onâyomi (the reading that derived from the Chinese pronunciation) for the kanji æźș is Setsu (ăă€).
Setsuna means âmomentâ while Towa means âeternityâ. Hence, a pair.)
â How was Moroha born?
At first, it was a double heroine set-up of Towa and Setsuna, but as I very carefully filled in the details, (I realized that) these two wonât converse at all if itâs just the two of them and the story wonât move (laughs). It became necessary to have an existence that would connect the two of them no matter what, and so Moroha was born. Originally, sheâs supposed to be a character that wouldnât be inferior in any way, even when taking center (stage), but I do use her quite lavishly in this work.
â Among the three heroines, who was the most difficult to create?
Towa by far. Setsuna and Moroha each inherited traits from their respective fathers that are easy to see, but Towa is very complicated primarily because she was raised in the modern era. Even though sheâs a lead character, she doesnât behave like one and even if I consider having her fall in love, itâs quite difficult. Rumiko-sensei was able to accurately grasp Towa to the point that I often think âHuh? I couldâve sworn I came up with her characterâ (laughs).
â The story is centered around the trioâs growth but if thereâs anything that youâre particular about, please tell us.
Going between the two worlds that is the âFeudal Eraâ and the âModern Eraâ. I believe a common theme in Takahashi Rumikoâs work is to clearly express not having a place of belonging in either world, âthose who dwell in the space betweenâ so to speak. Thatâs precisely why having opposing structures like âthe feudal era and modern eraâ and âhumans and demonsâ is necessary; I think by having that, the meaning of a âhalf-demonâ existence starts to clearly stand out. Having the word âhalf-demonâ in the title was also because I wanted to proclaim that âThis right here is the âRumic Worldâ!â
â What do you struggle with the most as you create the story?
Theatrical elocution. No matter how many months or years pass by the lines in Inuyasha never feel old-fashioned. This is a rare language intuition that only Rumiko-sensei has, so naturally it doesnât go well when I try to do it. Thatâs when I reference kabuki phraseology and what not to come up with something while worrying myself sick.
â Whatâs youâre favorite line in The First Chapter?
Kirinmaruâs âIf itâs a daughter of SesshĆmaru, then her worth is in survival. This is inevitable for a half-demonâŠâ. The thing regarding this is that when I wrote it, I was in such a trance that it was to the point that I thought âDid Rumiko-sensei possess me?â, so it doesnât actually feel like I wrote it (laughs). It feels like the lines and footage fit the acting perfectly and so itâs a favorite of mine.
â While being Kirimaruâs line, itâs also a line that gives you a clear understanding of SesshĆmaruâs position as a father.
Thatâs right. When I thought about how SesshĆmaru would raise a child, I couldnât really think of anything, but Rumiko-sensei flatly said âSesshĆmaru is a demon so he would never raise a child the same way a human doesâ and I said, âI seeâ. Itâs certainly obvious when you look at the up bringing method the Dog General used. SesshĆmaru being a father like this isnât even depicted in Inuyasha, so it was lucky happening for me. This will be delved into further in The Second Chapter, so please look forward to it.
â Lastly, please tell us a highlight going forward.
In The Second Chapter, the task for each of the three (girls) will become clear, and the process of how those (tasks) are settled will be depicted. This is my first time working on a script for a TV series thatâs this worthwhile, so Iâll write with all my power and put my soul into it. I will definitely make something that the Inuyasha fans will approve of, so by all means, please watch with your own eyes until the very end.
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 threeâs solidarity becomes!
No matter how strong a demon is, Towa and Setsuna have gained the strength to fight them, having also done SesshĆmaruâs âtrial of courage and cowardiceâ. 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 itâs 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 âWhile Iâm at it, Iâm thinking of traveling to various places as I train.â Itâs possible that perhaps in the near future, the girls will become well-known as âThe strongest girl trioâ instead of âthe daughters of the great demon, SesshĆmaruâ and âthe daughter of the half-demon, Inuyasha, and the legendary priestess, Kagomeâ.
Letâs have a peek into one act of Towa and Co.âs journey. After finishing their work in the Land of Iyo, theyâre all in the middle of happily enjoying a relaxing time at *DĆgo hot spring? This kind of peaceful moment seems like it will also strengthen the girlsâ bond further!
(*Translatorâs Note: DĆgo 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 âYukari no Tachikiriâ, she can see and cut threads of fate that connect people and objects. However, she doesnât 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 didnât return to the island.
Character Design Descriptions
Towaâs 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.
(*Translatorâs Note: A bleached cotton)
Setsunaâs 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.
Morohaâs Kimono Form
A coordinated outfit that combines the complete redness of Inuyashaâs Robe of the Fire Rat via the kimono, and a green like that of the school uniform Kagome once wore via the obi. Itâs probably something Kagome tailored with love.
Rikuâs New Outfit
Riku received Rion and Kirinmaruâs 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 Rionâs 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 âJet Black Hiraikotsuâ that she and her daughters, Kinâu and Gyokuto, made.
I Want to Pursue the Three Princessesâ Journeyâ
Animation Character Design and Chief Animation Director, Hishinuma Yoshihito
The Difficulties of Customizing for Animation
â 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 âIf I had done it more like this!â. As the animation director for the main story this time, I couldnât look at an entire episode completely and there were parts in the second half that didnât go the way Iâd hoped due to the schedule arrangement. Being the chief animation director doesnât mean I get to see all the cuts, even for a single episode, so I start work by selecting and prioritizing things like âwhich characters will cryâ. If possible, I wouldâve liked to have put my hand in all the cuts thoughâŠâŠ Truthfully, Iâve 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 weâre in a new office building.
â When I visited the former Sunrise Studio #1 in the latter half of March, the HanyĆ no Yashahime team acted like normal. It seems you all stayed behind for as long as you could and worked!
Hishinuma: Hence why we didnât 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 âOh, itâs overâŠâŠâ. After that, I couldnât muster up the energy to draw something for a while. Like maaan, I donât want to do anything kind of thing (laughs).
â 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 donât think I felt as exhausted as I am nowâŠ. Perhaps what I should say is itâs slowly getting hard on me age wise (laughs). I mean, Iâve 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 thereâs no way I can rest.
(*Translatorâs note: As in it was based off something)
â Itâs 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 âthe twinâs storyâ, so I thought only two character (concepts) would be produced but there were three. From the costume, my big shock over âitâs Inuyashaâs daughter!â 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 âshe was caught in a fire when she was a child and thereâs a trace that part of her bangs was burnedâ but then it was like âNo no, thereâs no way that could happen as the hair will grow out and changeâ (laughs). Though there was the part where I was at a loss as to how to put in Towaâs characteristic hair streak, she somehow came out protagonist-like, I think.
â When you generated the characters for animation from Takahashi Rumiko-sanâs drawing, was there anything you kept in mind in your head, Hishinuma-san?
Hishinuma: This is actually hard! The balance in Rumiko-senseiâs drawings is very exquisite. If you take it in a realistic direction, itâll become different from the nuance of the original drawing. That being said, if you make it too manga like, then it looks cheap. Since thereâs 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 wouldnât be so far removed from that. At first, I wasnât sure if Rumiko-sensei would give us any concepts, so I tried test drawing like âIn the event that thereâs nothing, does that mean Iâll have to think of something?â, but Iâm truly glad she drew such lovely concepts.
â 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 couldnât ask Rumiko-sensei for concepts of all the characters as sheâs got her own work thatâs currently being serialized (laughs). Also, if Rumiko-sensei had, for example, done a concept for Takechiyo, I think he wouldâve turned out a different character. I really was worried that I would be told âThatâs not Rumiko-senseiâs lane!â. 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?
â Takechiyo played a very active role as a mascot character that softened the atmosphere of a heavy story. Even for this special illustration, Takechiyoâs feet are cute.
Hishinuma: Even if it is a hot spring, thereâs 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 donât know.
â 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. Itâs just that in this illustration, the space above Setsunaâs head was open and desolate, so I had little Kirara make a special appearance (laughs). Itâs 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 sheâs staring blankly. I personally love cats, so it was really fun to draw Kirara.
â 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, âA Future that Continues on for Eternityâ). 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.
â The length gives a vivid reminder of Kagomeâs mini skirt from the Inuyasha era.
Hishinuma: If Iâm right, I feel like Director Hishida Masakazu said, âShort length would look good on Morohaâ. I did add variation to the trioâs silhouettes, and I think Moroha currently looks cute with this amount. The green thatâs similar to Kagomeâs sailor style school uniform on the ribbon around (Morohaâs) stomach was an idea that the color scheme designer put in. I also realized âThis ribbon, itâs the color of Kagomeâs uniform!â and thought it was a good idea.
â What about Towa and Setsunaâs outfits?
Hishinuma: Regarding Towaâs kimono, the pattern was carried over from the Dog Generalâs 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, thereâs also some resemblance to *GobodĆ-sama (SesshĆmaruâs 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.
(*Translatorâs note
Uchiwa is a type of Japanese fan. You typically see people, both young and old, holding one when theyâre dressed in a yukata.
GobodĆ is a very respectful way of saying your/his mother.)
â The yellow that seems to also link to SesshĆmaruâs obi is lovely. Please also tell us about Rikuâs new outfit. This one has a slightly Western impression.
Hishinuma: As Kai was originally âa villain with the same appearance as Rikuâ, he was established with a dark image. However, his role changed, and he became Rikuâs disguised form for when he appeared in the end game; since that was the case, I made the colors brighter. I didnât consciously make it Western style, but heâd always been wearing a regular kimono, so I wanted to make a small change around his neck. Although I donât know whether itâs accurate to the times, the area around the demon slayersâ necks is also like this, so I thought it was fine. When in this outfit, thereâs 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
â It appears that for the plot of the ending, there were views amongst the staff that sided on âextinguish Rikuâ or ârevive himâ. Which side were you on Hishinuma-san?
Hishinuma: I was on the ârevive him sideâ. If not, Riku would be pitiable, and it would be too lonely for Towa. Rather than wanting them to get together in the future, itâs more like itâs probably good to have someone nearby who can watch Towa. Afterall, as (a piece of) entertainment, you want it to end in good form. Thatâs why with Hisui too, itâs like âDo your best!â (laughs).
â Iâm 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, heâs also a character that I like a lot.
â That reminds me, Sango is forever young isnât she.
Hishinuma: I meanâŠâŠ I canât 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 thatâs probably not what everyone wants to see after all. Also, regarding Miroku, I was told by the origin work side âI would like for him to not grow a beardâ. Thatâs why I thought âI guess I canât make it feel like theyâve aged conspicuously.â Thus, it shaped out that I inserted just one wrinkle under one of Mirokuâs eyes as it wouldâve been conspicuous if it were under both eyes, and Sango stayed roughly the same as before. If I had been required to âmake it obvious that Sango agedâ, I still wouldnât have been able to draw it.
â Kagome, who was trapped in the black pearl, and Rin, who was asleep in the Tree of Ages, still (look) young, so thereâs that balance too.
Hishinuma: Thatâs 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 doesnât 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 donât 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. Thatâs why I quibble in my own way like âItâs fine if sheâs somewhat childlike right now!â (laughs).
â 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 âKirinmaru of the Dawnâ and episode 39 âParent-Child Reunionâ). 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. Iâd 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 couldnât 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 SesshĆmaru appeared in a lot more scenes than I thought. Afterall, as a chief animation director, thereâs no way I canât not put my hand in when it comes to SesshĆmaru. I thought âHe has too much screentime, give me a break already~! (cries)â (laughs). Of course, even if you omit the work aspect talks, I personally wanted to see more of the three princessesâ adventuring figures in a place thatâs distant from the Inuyasha world. Of course, HanyĆ no Yashahime exists because of Inuyasha so it canât be helped, but when it turns to the parentsâ story, it gets heavy no matter what. I want to see a travel story of just the three princesses.
â Thank you very much. And now lastly, a message to the fans whoâve 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 Iâm happy. Iâm 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-sanâs rough sketch. The pencil lining is lively and depicts Towa and Co.âs travel diary. It seems that *Ehimeâs tangerines werenât around yet during the Feudal Era, so itâs setup that Riku supplied them from somewhere. The coloring of the completed version (Pg 57) was done by Hishinuma-sanâs wife, Hishinuma Michie. âWhen working as a married couple, we can consult each other while working like âDo you think I can do this part like this?â which is convenient (laughs)â.
(*Translatorâs note: Ehime Prefecture located on the island of Shikoku)
**Todayâs 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 Sunriseâs work.
First, please look at the collected postcards and provide a general comment.
âI 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 Iâm deeply moved seeing them all drawn equally.â
Among the many characters, which character was the easiest for you to draw Hishinuma-san?
âEvery character has a point that you must be careful of, but characters that arenât that many heads tall like Takechiyo, ShippĆ, and Akuru are fun and easy to move.â
Reversely, was there a character you struggled with?
âSesshĆmaru was the one I had to pay attention to the most. Because the story can lose its persuasiveness if SesshĆmaruâs drawing is ruined, thereâs no way I canât 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.â
Lastly, a word to the fans please.
âI think when you draw as a job, you tend to forget the enjoyment of drawing a picture. Seeing everyoneâs 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!â
Hishinuma-san stated that for the most part, he normally doesnât draw color illustrations. âWhen I see everyoneâs various coloring techniques, I honestly think itâs amazing.â
(**Context Behind This Section:Â Animage magazine held a HanyĆ no Yashahime art contest with Hishinuma-san as the judge. Hence the postcards theyâre referring to are the contest entries.)
Is the Anime Grand Prix out in this months magazine ? Are any of the Yashahimes part of the AGP ranking or any other ranking ? Thank you for your hard work !
The Anime Grand Prix was not published this month.
Yashahime Translation: Animage Magazine May 2022 Issue
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Strongest as Three!
Combining their powers, Towa, Setsuna, and Moroha overcame their battle that crossed between the Feudal Era and Reiwa Era. What they obtained after their fierce battle was a time of rest with their family and the strongest bond!
The end game of the battle between the Yashahimes and Kirinmaru took an unexpected direction. In order to write history anew, Kirin Osamu, Kirinmaruâs right arm that lived in the Reiwa Era, had the giant âGrim Butterflyâ take in Rion and enter the feudal world, plunging it into chaos. To defeat Kirin and rescue Rion, the three princesses infiltrated the Grim Butterfly with Riku. They cut Rionâs complex threads of âfateâ which have been mixed with love and hate towards her father. Then, with Towa giving Rion a push of encouragement by risking her life, Rion gains the courage to fight. Having gained independence from her fatherâs protection, she was able to reconcile with Kirinmaru. Father and daughter return to the sword of Amatsu-Mikaboshi and ascend to heaven.
Thus, the Yashahimesâ long battle finally came to an end. Moroha exchanged smiles with her parents, Inuyasha and Kagome, and Towa and Setsuna finally hugged Rin. Then, there was also SesshĆmaru who watched with a quiet gazeâ.
Towa, Setsuna, and Morohaâs journey, called life, will continue from here on for a long time. Thereâs no doubt that the three Yashahimes, who have become connected with the strongest bond, will cut open a bright future by combining their strength!
Character Bios
Higurashi Towa
Though she once lost her life, she was revived with the kon and haku of the parent-child pair of Kirinmaru (and Rion) as they ascended to heaven. She chooses to live in the Feudal Era that Setsuna and her mother, Rin, live in.
Setsuna
She can see the threads of fate that connect people and cut them. By cutting the thread of fate between Kirinmaru and Rion, she lends them her strength to undo the ill feelings between the two of them.
Moroha
She helps Setsuna in the final battle by severing Rionâs threads of fate with the bow and arrow that she received from her mother, Kagome. With the help of her father, Inuyasha, the last of her debt is paid off!!
SesshĆmaru
Though he overwhelmed Kirinmaru with extraordinary strength, he did not strike the final blow for the sake of his daughters. After the string of battles ended, he gifted high quality fabric to the girls.
Rin
She attains the long wished for embrace with her daughters, saying âI have waited for this day.â Using the fabrics that SesshĆmaru gifted, she tailors the girlsâ kimonos.
Inuyasha
While socially awkward, he shows a fatherly figure by helping Moroha pay off her debt. When Moroha holds his hand, his face turns completely red in bashfulness.
Kagome
When she learns that Moroha is shouldering debt, she immediately decides to pay it off. As if to make up for the time they spent apart, as a mother, she tries to be of strength to her daughter.
Takechiyo
Though he previously had a cowardice side, he gradually matured through traveling with Moroha and the others. In the decisive final battle, he assisted in stopping the Grim Butterfly alongside Inuyasha and the others.
Hisui
Having an unrequited love for Setsuna, he decides to go through special training with Kohaku to become a man worthy of her. He has the favor of Princess Aiya of the KantĆ Deputy Shogun family of Ćgigayatsu Hiiragi.
Kirinmaru
With SesshĆmaruâs words, he comes to realize heâs been caught up over that which heâs lost. Having Setsuna cut his thread of fate with Rion, he ascended to heaven with his daughter.
Rion
Though she always wished to take down Kirinmaru, she actually loved her father. With Towaâs aid, she was able to overcome her trauma with the half-demon, Sakasa, and reconcile with her father.
Kirin Osamu
He planned to write a new history by having the Grim Butterfly take in Rion and wipe out demons from the world. However, he was defeated by Towa and Riku in the end.
Riku
Having been severely wounded in the battle with Kirin, he tells Towa âI love youâ and perishes but revives later on. Calling himself âKaiâ, he appears before Towa once again.
Their Last Work as Sunrise
Director Hishida MasakazuÂ
A Story Built on the Exchanging of Various Opinions
â Thank you for your hard work in the running of HanyĆ no Yashahime, The Second Chapter! Having finished production, what are your thoughts?
Hishida: I must say, it was very hard. While listening to the opinions of each area involved and having arguments, how to bring this story together was A LOT of trial and error. The broadcasting period for cour 2 was merely half a year. However, Iâve been participating in this work since around the summer of the year before last and while I cried like a baby like âItâs not finishing no matter how much I workâ, I somehow managed to get through it (laughs).
â In episode 48 (the final episode) âA Future That Goes on For Eternityâ, the parents and children who were long separated were finally able to spend a peaceful time together. With Riku, who we thought had perished, reviving, it was a (grand) finale.
Hishida: If thatâs how you feel, then it was worth the hardship. Itâs just that, there were a lot of ideas for the final episode. Actually, in terms of Riku, there was an idea to leave him extinguished as is.
â What, really?!
Hishida: I think this is where tastes differentiate. Even amongst the staff, there was quite a split in opinion. I was on the extinguish Riku side by the way. To elaborate, I was on the side of having Riku perish, lose his memories, and then come back to life as a completely different person, Kai. As for Towa, she currently doesnât recognize it as love but 10, 20 years down the road, having her think like âThat may have been my first loveâŠâŠâ wouldâve been heartrending but beautiful, I think.
â And a different flavorâŠ...
Hishida: On the other hand, Sunriseâs literature producer, Takahashi (Tetsuko)-san and others were on the revive Riku side. Various opinions came up, but in the end, (the original creator of Inuyasha, Takahashi) Rumiko-sensei said âTowa would be pitiableâ so it shaped into Riku being revived.
â In other words, when Riku revived and called himself âKaiâ, that was a remnant of Director Hishidaâs idea?
Hishida: Oh, about that, there was a plan a further while back for two more characters that were exactly like Riku to appear. Kai and one more who was named âKuuâ, so the three of them would be like Land, Sea, and Sky.
â Hence the saying early on of âPirate come ashoreâ.
Hishida: However, there were all sorts of difficulties in introducing two new characters, so we decided on just Kai. Then after that, Kai also vanished and at the very end, it was decided that (Riku) would be revived after all.
â By the way, what sort of mechanism allowed Riku to revive?
Hishida: After perishing in the battle with Kirin-sensei, Riku turned back into a horn and Towa placed that into her breast pocket. Then, when Towa revived receiving kon and haku from Kirinmaru and Rion, the horn in her pocket also received kon and haku. After some time, (Riku) revived; thatâs the mechanism.
â A coincidental result so to speak.
Hishida: Regarding that as well, there was an idea to not use the kon and haku element anymore in the final stage. However, there were repeated exchanges of âthis element was especially brought out so wouldnât it be best to use it until the endâ and as a result, it came out like this. Thatâs how much the staff exchanged heated discussions on whether to use an element and tempered things out. Putting all that together was the really hard part.
You Wonât Mature Unless You Toil Yourself
â While producing the climax, what sort of things were you conscious of Director Hishida?
Hishida: Having been passed the baton at The Second Chapter, I felt that my role was to figure out how to make the Yashahimes grow within cour 2. In any case, the number one thing on my mind as I worked was how will the girls, including Towa, Setsuna, Moroha, and Rion, move forward? To start with, if itâs just defeating a powerful enemy, then having SesshĆmaru and Inuyasha is fine. Afterall, put those two together and they can defeat anyone. Then what exactly can three girls do? When I thought about it, I felt âHow can they save Rion who has the same position as a daughterâ was the only thing. As a result of probing into that, the final battled turned out the way it did instead of a Kirinmaru vs Yashahimes composition.
â I really thought the plot would pan out so thatâŠâŠ the three princesses would combine their strength to defeat Kirinmaru while getting assistance from SesshĆmaru. Hence, the final battle of the three princesses helping Rion to overcome her trauma of the half-demon, Sakasa, was a little unexpected.
Hishida: Children grow up arbitrarily, even if their parents donât look after them. If anything, if a parent anticipates and helps them with everything, they end up like Kirinmaru and Rion instead. Itâs not like ânot enough to live but not enough to dieâ, but I think fundamentally, leaving (a child) alone and only giving them a lifeboat when needed is important in child rearing. Children wonât mature if they themselves donât toil after all. That is also the hidden theme* of this work.
(translatorâs note: Hidden theme is basically what the creator themself thinks the story is about. Thereâs the apparent/surface theme for the general public and then thereâs the hidden theme for the creator.)
â In the final episode, Rin spoke of this message (on your behalf). Rion herself rejected her father, but in a way, there was a part of her that still depended on him.
Hishida: That is what I think. I think there was an aspect of even though sheâs the child of a greater demon, she herself didnât fight and instead, left it completely to her father. Despite possessing the Star Slicer Flute (= Zanseiken) as a sword of protection from the start, Rion probably never used it when she was alive; not even once. For that reason, when Sakasa seized her, she was killed while at her witâs end. If thatâs the case, when she does use it, I thought that would become a step forward in her growth. Hence why climactic battle had that kind of composition. Although, there was actually quite a bit of controversy on that development. Among the staff opinions, there was one that voiced âI donât get the meaning of Rion fightingâ. However, thatâs when I said âNo, I do!â and conveyed my view. This is where Iâm glad my view came through (strained laugh).
â In the January issue interview, Director Hishida, you mentioned âHaving done anime geared towards elementary school girls for the past 10 years, the answer I came up with was âI think battles between girls cannot be resolved with brute strengthââ and it certainly felt like âa non-brute force method of resolutionâ.
Hishida: Yes, I think I crammed in everything I gained from working on anime geared towards elementary school girls. To start with, in the beginning, there was an idea to have the last battle be a âbattle with the Spirit of the Tree of Agesâ. I mean, the ultimate mastermind behind this story was the Spirit of the Tree of Ages.
â That is true.
Hishida: The one who instigated SesshĆmaru was the Spirit of the Tree of Ages and in the end, Inuyashaâs family got separated because SesshĆmaru didnât go against what the Spirit of the Tree of Ages said. I feel a little bad that Inuyashaâs family got caught up in all this and not just SesshĆmaruâs family. However, we just couldnât have the Spirit of the Tree of Ages brought down (strained laugh).
â There really was a variety of opinions exchanges while working on this.
Hishida: There were heated arguments with fellow staff members at times too (laughs). Including Rumiko-sensei and ShĆgakukan, thereâs no mistake that we discussed unreservedly to make this. We repeatedly had conversations that were quite secretive regarding the plot for the final decisive battle, starting from around episode 43 âThe Blackout Stageâ. The final episode became one that was especially packed with Rumiko-senseiâs feelings.
â In the final episode, there was also a scene where Rin made kimonos for the girls using fabric that SesshĆmaru delivered. Seeing them wearing the clothes they wore in the ED (ending theme) was a happy surprise.
Hishida: Itâs an homage to Inuyasha, The Final Act. There was originally this idea that âI want to make plain clothes for the three princess and have them wear it at some pointâ, and so then it became âthen letâs have them wear it in the ED firstâ.
â Moroha in the ED wore a priestess outfit, but does she not wear a priestess outfit?
Hishida: Iâm sure sheâll wear priestess attire when sheâs helping Kagome with priestess work. Hishinuma (Yoshihito)-san (animation character design and chief animation director) strongly wished that since âTowa and Setsuna are going to wear new clothes. I want Moroha to wear (new clothes) too!â. Moroha is cute so she looks good in anything.
If People Can Feel Something from the Various Family Dynamics
â Was there a scene within the end game that particularly left an impression on you?
Hishida: Mmmm, I want to say all of it butâŠâŠ if weâre going to praise one as strong, Iâd have to say itâs the scene I mentioned earlier about Rion fighting, I think. I mean, we did push aside all sorts of opposition to do it and it was message to the kids watching too. Encouraged by Towaâs figure of fighting with the Zanseiken, I think the part where Rion wields the sword herself is a scene thatâs packed with one of the themes for The Second Chapter which is âstop hiding behind your parentâs back, take a step forward, and fight.â
â Then which character was the most memorable? As an average viewer, (I thought) Kirin Osamuâs strong character was very entertaining.
Hishida: Iâm glad. I was also fixated on Kirin-sensei. He was a more ordinary character in the beginning, but Rumiko-sensei pointed out that âKirin-senseiâs character is a little weakâ and after all sorts of trial and error, he became the strong character (that you see). Although, the person in charge of producing the storyboard for episode 44, âThe Time of The Grim Cometâs Crashâ, did go overboard so it did leave a taste like Kirin Osamu alone was from a different work (laughs); however, it was entertaining, so it was fine.
â His eyes that periodically peaked out from his glasses were just like Kirinmaruâs which was also interesting.
Hishida: He really only showed his eyes during critical moments. There arenât any bottle bottom glasses in the Feudal Era, so we were able to use that idea because he was a character in the Modern Era.
â By the way, why was Kirin-sensei naked when he came out of the well when Riku was born clothed?
Hishida: When Riku was created, Zero and Rion were in the vicinity, so perhaps Kirinmaru was mindful of the women in his process, maybe? Kirin-sensei wasâŠâŠ inspired by The Terminator (laughs). Truthfully, I was just thinking a silhouette, so when I was saw the footage, I was surprised like âThe view is unexpectedly clear?!â. I think everyone (as in the audience) was surprised too but I was surprised as well (laughs).
â Around how many years prior to the story of HanyĆ no Yashahime was Kirin-sensei born?
Hishida: It was during a time when the Bone Eaterâs Well was open, so probably around the time of Inuyasha, when Kagome was going between the feudal and modern era. Starting from that naked state, he first got clothes somewhere, travelled around the world somehow, and then became a teacher. Although he was unable to become a history teacher and became an English teacher instead, I think he can speak the language of the places heâs visited. Chinese, Arabic, and French.
â Was it just by chance that Kirin-sensei worked at the school Towa transferred to?
Hishida: It was by chance. Although I think the Spirit of the Tree of Ages had something to do with that too. I bet (the Spirit) manipulated something so that the âfellow foreign bodies in the eraâ could meet. In my mind, this entire incident is connected to the Spirit of the Tree of Ages. Afterall, this incident had already started way before the start of the story, HanyĆ no Yashahime.
â Well then, were there any characters that you felt were difficult to move?
Hishida: Noo, there was nothing but difficult characters (laughs). It really was a constant struggle. But I have to say, I felt that the Inuyasha characters were difficult to move. I once again felt that calling back characters from a completed work is truly an arduous task.
â It was worth the hardship as I think the characters moved very vividly. There were all sorts of family dynamics depicted like SesshĆmaruâs family, Inuyashaâs family, and Kirinmaruâs family.
Hishida: In addition to SesshĆmaruâs and Inuyashaâs daughters being the protagonists for HanyĆ no Yashahime this time, this work was created during a time where those who watched Inuyasha as a kid now have families of their own and watch anime with their kids. Since there was that circumstance, we depicted âa parent and child storyâ, including the relationship between Rion and Kirinmaru. Right around the time we were making this, the term â*parent lotteryâ became popular, so I thought if I could convey something to those watching through this workâŠ... That being said, even though the family environments of SesshĆmaruâs family and Inuyashaâs family are completely different, all three princesses were separated from their parents at a young age. However, everyone turned out decent. Reversely, with Kirinmaruâs family, father and daughter were always close together but things didnât go well. I felt that if people could feel something from the various dynamics, Iâd be happy.
(translatorâs note: The idea that one cannot choose who their parents are and/or oneâs prospects and circumstances in life is determined by their parents.)
â One more important thing was the relationship between the Higurashi family and Towa. This was a contrast to Kirinmaruâs family (parent and child).
Hishida: Yes, Towa and the people of the Higurashi family arenât blood related, but I think Towa was able to become such a good kid thanks to SĆta, Mama Moe, and Mei-chan. The thing is, when Towa was in the Modern Era, the issue regarding Setsuna was big, so her heart was closed off to her surroundings in some respect. However, after that issue was resolved, that which she had closed off opened, and I think she became a gentle kid. In episode 43 when she returned to the Modern Era, she greeted her classmates. At that moment, I felt âTowaâs matured!â. Earlier, I spoke about how I felt my role was âto figure out how the Yashahimes will growâ and truthfully, I worried about how I would make them grow at first. But before I knew it, they had matured, so I thought âOh thank goodnessâ.
â By the way, was there an idea to have Towa return to the Modern Era at the end?
Hishida: There certainly was. Would she stay in the Feudal Era or return to the Modern Era? The thing is, we discussed this at a pretty early stage. You see, I was on the âreturn to the modern era sideâ for this too (laughs). I thought the pattern of resolving the various issues in the Feudal Era and then having the final decisive battle in the Modern Era was the right path. However, (series composition writer) Sumisawa (Katsuyuki)-san said âI want the end to go back to the Feudal Era after allâ so things turned out in accordance with that. From there, we thought about âthen how can we progress the story so that it sticks wellâ and thatâs how things turned out like this pretty much.
The Possibilities of the Three Princessesâ Future Is Endless
â Earlier, you talked about Towaâs growth, but please tell us about Setsuna and Morohaâs as well.
Hishida: Moroha was hotheaded, short tempered, and in a way, a fool. However, sheâs become aware that Towa and Setsuna are her comrades and properly worries about them. In the final episode when the three of them are together, thereâs a scene where sheâs moved to tears when sheâs told âweâre comradesâ. Even when you see that, I think you get this feeling of going from sheâs still childish to sheâs become a little bit of an adult. For Setsuna, perhaps because she strongly inherited SesshĆmaruâs blood, she was unsociable and completely unaffectionate in the beginning; however, she gradually became affectionate over time. Seeing that figure of her, I felt that she became a proper grown up.
â In that sense, the direction of Towa and Setsunaâs growth is perhaps similar.
Hishida: Youâre right. I get the feeling that the traits Setsuna got from Rin especially came out. Itâs just that the three princesses becoming adults makes me a little lonely. Moroha being Moroha, I want her to stay a hotheaded fool forever and I also have this feeling of wanting Setsuna to stay aloof and not see her affectionate figure (laughs). Even so, within this story, itâs because the girls went through various hardships and battled a lot that they became adults.
â Your mental state is completely that of a parent who feels both happy and lonely over their childâs growth as they watch over them (laughs). In the final episode, Towa, Setsuna, and Moroha, go on a demon slaying journey with Riku and Takechiyo. When they return from their journey, will they then live with their parents as a family?
Hishida: Who knows. They might return or they may just go on a new journey from there or perhaps they might even get caught up in another incident. I think the possibilities are already endless. I think it would be good if everyone can have fun coming up with all sorts of wild ideas. Me personally, I think even if Towa and the others go back to Rin after finishing their journey, SesshĆmaru will likely be off somewhere again and wonât quite come back. Heâll appear in a flash if Rin and the girls are in imminent danger but once the issue is resolved, heâll probably leave again (laughs).
â Then, what do you think will happen with Towa and Riku going forward?
Hishida: That too, who knows whatâll happen. The guy who said âI love youâ towards Towa came back to life, so you never know whatâll happen (laughs).
â Come to think of it, the âI only kill those I loveâ ideology that Riku always spoke of; was that second-hand knowledge from Zero?
Hishida: Yes, that it is. While he may have a âkill those you loveâ mentality, I get the feeling that Riku still didnât quite know what love was after all. I mean, normally, thereâs no way you can kill a person you love. If youâre able to easily kill (that person), then you donât love them. In episode 42, âThe Collapsing Windmill of Timeâ, even though Rion had a chance to kill Kirinmaru, she couldnât. There is the fact that Kirinmaru purposely showed an opening too but in the end, it was proof that âyou canât kill those you loveâ. Riku also saw that. When he teamed up with Towa in episode 47, âFather and Daughterâ, itâs possible that it really did look like he was going to kill her. However, the fact that he couldnât kill her there goes to show what I mean.
â The conclusion also made us curious about Setsuna and Hisuiâs relationship going forward.
Hishida: Yes. Although, I think itâs better if a love during oneâs youth doesnât come to fruition, so regarding this too, Iâm personally on the side of not wanting them to become intimate. Setsuna and Towa are SesshĆmaruâs daughters so instead of a human and horn, I want them to date greater demons of SesshĆmaruâs rank! ..âŠ. I sound completely like an unpleasant father who meddles in his daughterâs love life (laughs). Iâm a warped person like that but it was through Rumiko-sensei and ShĆgakukanâs intentions that the relationship settled into something warm and fuzzy. I would be happy if everyone could imagine a variety of ideas about the future from here on.
â Are there any flags for Moroha?
Hishida: I think Moroha is just getting started. She was always alone but she finally reunited with her parents, so sheâs gotten to a point where sheâs come to recognize what family is. I think right now she enjoys squawking with her father. That slightly awkward feeling Moroha has when sheâs with her parents is great. Iâm sure everyone was looking forward this kind of figure of Inuyasha and the others for a long time. It was quite a long wait, but it feels like we finally made it to this point.
â Thank you very much. Now then, lastly, a message for our readers please.
Hishida: Even if broadcasting has ended, the fact that youâre reading this article makes me happy. I have a feeling that in a past interview, I said âif I could make this a work that families can enjoyâ, but if through this work, you were able to get a feel of what a parent and child bond is and what it means to mature and become an adult, then I am happy.
And oddly enough, HanyĆ no Yashahime became the last work under (the) Sunrise (name). At the end of March, the curtains will fall on Sunrise Studio #1 which created the Heisei (Era) TV anime, Inuyasha. It will then open anew as Bandai Namco Film Works Studio #1 starting April. Inheriting the world of a work that started over 20 years ago, I feel honored that we were able to adorn a single turning point in history. Once again, thank you for watching HanyĆ no Yashahime to the very end.
Love and Hate That Are Two Sides of the Same Coin
Rion opposed her father, Kirinmaru, who bound her. However, it was the result of various emotions becoming jumbled up such as her longing for her strong and kind father and feeling anxious for her father who continued to fight without considering the dangers. She comes up with a plan to defeat Kirinmaru whoâs trying to plunge the feudal world into a degenerate age for her sake, but she couldnât kill her father after allâŠâŠ
A Humanlike Greater Demon
Being told by Kirin that âRionâs wish is for SesshĆmaru to be brought downâ, Kirinmaru challenges SesshĆmaru to battle. However, SesshĆmaru throws the following words at Kirinmaru âItâs as if youâre humanâ. Kirinmaru overlaps Rin, whoâs watching over SesshĆmaruâs battle, with the former Rion and realizes heâs been averting his eyes from his daughterâs death. Shaking off his doubt, he battles SesshĆmaru on pure demonic instinct and is defeated.
Strong Like Father!
In a final struggle, Kirin, who was defeated by Towa, shows an illusion of Sakasa, the half-demon who took Rionâs life. At her witâs end, Rion ran away in circles at first, but encouraged by Towaâs figure supporting her with the Zanseiken, she receives the courage to face Sakasa. Strongly wielding a sword, Rion firmly takes a step forward from being the girl who was only protected by her father.
Parentâs Gift to their Child
Each of the parents gives their daughters a present after their battle is over. To Towa and Setsuna are kimonos that Rin tailored using fabric that SesshĆmaru acquired. Both of their new outfits closely resemble SesshĆmaruâs kimono. Inuyasha and Kagome help Moroha pay off her debt. Showing a bashful face, Morohaâs expression as she tries to close the gap between her father little by little, is adorable.
The Parental Love of a Greater Demon
Because of SesshĆmaru, Towa and Setsuna were separated from their parents at a young age and had a harsh early childhood. At first glance, it looks like a cool-headed act, but it seems to be parental love as his half-demon daughters will gain the strength to survive in the feudal world by purposely putting them in a harsh environment. Despite Towa and Setsuna being surprised by his form of affection thatâs too hard to understand, their understanding of their father deepened slightly.
The Threeâs Journey Still Continues!
The mysterious young man who showed up at the corpse shop, Kai. His true identity: Riku, who miraculously revived from Rion and Kirinmaruâs kon and haku. Towa, Setsuna, and Moroha decide to set out on a demon slaying journey to the Land of Iyo because of Rikuâs request. Moroha, who tells Inuyasha and Kagome that sheâs going on the expedition, strongly and proudly says âWeâre strongest as three!â. It seems the Yashahimesâ adventure is nowhere near over yet.
HanyĆ no Yashahime Timeline
This story was already in motion long before Towa, Setsuna, and Moroha met. Exactly where did the various threads of fate intertwine? Letâs organize a timeline and review.
â» The start of the story is the basis for the time periods
I am back and have started translating last month's Animage. I'm hoping to have it done by the end of this week or at least before this month's Animage comes out. In the mean time, enjoy some photos from when I was in Japan.
Hope youâre having/had a good time on your trip!
Donât worry about getting any translations out right away after getting back. Just try to enjoy yourself and get back into your rhythm if you need to.
In advance that you for your hard work before and after. But overall hope you also are well and enjoyed yourself ~<3
Thank you so much! I'm having a great time so far in Japan!
Significant Delays to Possibly No Translations in April
Hello Everyone!
Thank you all for your continued support over the past 2 years of Yashahime. Even as the season winds down, I will still translate new articles related to the anime that come out.Â
However, April might be a different story. I am traveling to Japan next week and will not return to the United States until the very end of April. Hence, thereâs a high chance of either significant delays or no translations at all in April. Iâll be honest with you, if Iâm in Japan, Iâm not going to want to stay cooped up in a hotel room. Iâm going to be taking full advantage of this trip, being out and about and having fun. Plus visit family and friends.
Please donât worry, I will translate any April articles that may come out. If I have some down time while in Japan, I will work on it then. Otherwise, translations will be done and posted in May after Iâve settled back home.
Thank you so much for providing translations for the new episodes of Yashahime weekly and for translating the interviews in anime magazines. This has really helped me to feel like I was participating in the fandom experience of this new show and otherwise I would not have felt that if I could not read these in English! Things like interviews in magazines especially are a big part of enjoying any fandom for me. It is so kind of you to take the time not only to do the translation work but also to share it with other fans. I am sure a lot of people appreciate this!
Thank you so much! I've translated things for other fandoms before but never as consistantly as I have for Yashahime. I'm realy glad my translation helped you to enjoy the series and fandom more
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.
ÂĄPor favor, no repostees esta traducciĂłn sin mi consentimiento! Esto incluye capturas de pantalla de cualquier tipo y cantidad. Si deseas compartir esta traducciĂłn, usa simplemente el enlace a este post.
Para mĂĄs informaciĂłn sobre el uso de mis traducciones, haz click aquĂ.
A Future That Goes On For Eternity (Finish)
Short Summary
To help Moraha pay her debt, Inuyasha lends a hand. Moroha invites Towa and Setsuna, saying that thereâs an interesting money making scheme and while Towa and Setsuna make their way to the corpse shop, they meet a strange man and head to the land of Iyo for a demon slaying request.
Expanded Summary
The Feudal Era has avoided the degenerate age. To help Moraha pay her debt, Inuyasha lends a hand. Kagome admires *father and daughter who are similar in slaying demons. Meanwhile, Towa and Setsuna receive a kimono from their mother, Rin. It was tailored from fabric that Sesshomaru delivered and Rin tells the two of them âItâs a rewardâ. Moroha comes to Towa and Setsuna dressed in a kimono that Kagome tailored. Moroha says sheâs got an interesting money making scheme. They head to the corpse shop where they meet a strange man and at his request, the three princesses set out to the land of Iyo in order to slay a demon.
(*translatorâs note: the actual translation is parent and child but that sounded awkward)
