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Yashahime Translation: Official Guidebook Interview - Sumisawa Katsuyuki

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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 book’s release.

With Confidence, this is the “Rumic World”

— 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 hadn’t 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.

— 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 “Is Suwa (Michihiko)-san alright in the head?” (laughs). If you want to see Inuyasha and Kagome, then it can only be of them living happily together. Like “I made delicious tea today” or gazing outside from the *open corridor like “It’s already Fall” (laughs).

(Translator’s note: As in like the “outdoor” wooden hallway that you see in traditional Japanese homes and structures)

— 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 “I absolutely do not want that” (laughs). Besides, I had this conceit that I’m the only one who can meet (Takahashi) Rumiko-sensei’s demands so to be honest, I told them “If someone else is going to write it, then I’d rather write it myself” and accepted.

— 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 it’s a daughter, then it would be possible to create a new story. Hence, I created the first plot of “Sesshōmaru’s daughter”. 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.

— 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 can’t 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 couldn’t get away from the vibe of “A Kappa just showed up in the school’s pool so let’s go slay it” (laughs). Naturally, Rumiko-sensei didn’t give the OK on this, so I strayed for close to a year. Finally, I was told “I want you to make it firmly serious” …… 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, Towa’s character, which until then had been floating around and wouldn’t 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.

— What is the origin behind the names “Setsuna” and “Towa”?

**From the outset, I came up with “Setsuna” using “setsu” in “Sesshōmaru”. I chose the name “Towa” so that it would pair with “Setsuna”.

(**Translator’s Notes

When you write Sesshōmaru’s name in hiragana, it comes out as “せっしょうまる”. Although the tsu (つ) is silent in his name, the on’yomi (the reading that derived from the Chinese pronunciation) for the kanji 殺 is Setsu (せつ).

Setsuna means “moment” while Towa means “eternity”. Hence, a pair.)

— 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 won’t converse at all if it’s just the two of them and the story won’t 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, she’s supposed to be a character that wouldn’t be inferior in any way, even when taking center (stage), but I do use her quite lavishly in this work.

— 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 she’s a lead character, she doesn’t behave like one and even if I consider having her fall in love, it’s quite difficult. Rumiko-sensei was able to accurately grasp Towa to the point that I often think “Huh? I could’ve sworn I came up with her character” (laughs).

— The story is centered around the trio’s growth but if there’s anything that you’re particular about, please tell us.

Going between the two worlds that is the “Feudal Era” and the “Modern Era”. I believe a common theme in Takahashi Rumiko’s work is to clearly express not having a place of belonging in either world, “those who dwell in the space between” so to speak. That’s precisely why having opposing structures like “the feudal era and modern era” and “humans and demons” is necessary; I think by having that, the meaning of a “half-demon” existence starts to clearly stand out. Having the word “half-demon” in the title was also because I wanted to proclaim that “This right here is the “Rumic World”!”

— 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 doesn’t go well when I try to do it. That’s when I reference kabuki phraseology and what not to come up with something while worrying myself sick.

— What’s you’re favorite line in The First Chapter?

Kirinmaru’s “If it’s a daughter of Sesshōmaru, then her worth is in survival. This is inevitable for a half-demon…”. 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 “Did Rumiko-sensei possess me?”, so it doesn’t actually feel like I wrote it (laughs). It feels like the lines and footage fit the acting perfectly and so it’s a favorite of mine.

— While being Kirimaru’s line, it’s also a line that gives you a clear understanding of Sesshōmaru’s position as a father.

That’s right. When I thought about how Sesshōmaru would raise a child, I couldn’t really think of anything, but Rumiko-sensei flatly said “Sesshōmaru is a demon so he would never raise a child the same way a human does” and I said, “I see”. It’s certainly obvious when you look at the up bringing method the Dog General used. Sesshōmaru being a father like this isn’t 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.

— 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 that’s this worthwhile, so I’ll 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 #Hanyou no Yashahime #Yashahime: Princess Half-Demon #translation

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ayuuria · 2 years

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Yashahime Goods For Sale

I still have a few Yashahime items available for purchase both domestically (USA) and internationally.

Notes

All prices are in USD

Buyer pays shipping which includes tracking

Payment via Paypal (as a gift to avoid Paypal fees)

Prices

Acrylic Stand: $15

Lineart Pin Sets: $7 each

Colored Hisui Pin: $3

Rubber Straps (Hisui and Takechiyo): $5 each

Please send me a DM if interested in purchasing. Also any help spreading the word would be greatly appreciated!

#Yashahime #Hanyou no Yashahime #Yashahime: Princess Half-Demons #Goods for Sale

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ayuuria · 2 years

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Yashahime Translation: Animage Magazine June 2022 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.

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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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ayuuria · 2 years

Note

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.

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ayuuria · 2 years

Note

Is Yashahime done? Is there going to be a third season? Also have you read the new manga. Thank you for translating for this whole time

At this point, Yashahime anime is done as there has been no announcement for a 3rd season. I have been keeping up with the manga

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ayuuria · 2 years

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Yashahime Translation: Animage Magazine May 2022 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.

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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, Kirinmaru’s right arm that lived in the Reiwa Era, had the giant “Grim Butterfly” 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 Rion’s complex threads of “fate” 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 father’s protection, she was able to reconcile with Kirinmaru. Father and daughter return to the sword of Amatsu-Mikaboshi and ascend to heaven.

Thus, the Yashahimes’ 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 Sesshōmaru who watched with a quiet gaze—.

Towa, Setsuna, and Moroha’s journey, called life, will continue from here on for a long time. There’s 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 Rion’s 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!!

Sesshōmaru 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 “I have waited for this day.” Using the fabrics that Sesshōmaru gifted, she tailors the girls’ 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 Kantō Deputy Shogun family of Ōgigayatsu Hiiragi.

Kirinmaru With Sesshōmaru’s words, he comes to realize he’s been caught up over that which he’s 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 Towa’s 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 “I love you” and perishes but revives later on. Calling himself “Kai”, he appears before Towa once again.

Their Last Work as Sunrise Director Hishida Masakazu

A Story Built on the Exchanging of Various Opinions

— Thank you for your hard work in the running of Hanyō 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, I’ve been participating in this work since around the summer of the year before last and while I cried like a baby like “It’s not finishing no matter how much I work”, I somehow managed to get through it (laughs).

— In episode 48 (the final episode) “A Future That Goes on For Eternity”, 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 that’s how you feel, then it was worth the hardship. It’s 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.

— 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 doesn’t recognize it as love but 10, 20 years down the road, having her think like “That may have been my first love……” would’ve been heartrending but beautiful, I think.

— And a different flavor…...

Hishida: On the other hand, Sunrise’s 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 “Towa would be pitiable” so it shaped into Riku being revived.

— In other words, when Riku revived and called himself “Kai”, that was a remnant of Director Hishida’s 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 “Kuu”, so the three of them would be like Land, Sea, and Sky.

— Hence the saying early on of “Pirate come ashore”.

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.

— 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; that’s the mechanism.

— 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 ‘this element was especially brought out so wouldn’t it be best to use it until the end’ and as a result, it came out like this. That’s 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 Won’t Mature Unless You Toil Yourself

— 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 it’s just defeating a powerful enemy, then having Sesshōmaru 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 “How can they save Rion who has the same position as a daughter” 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.

— I really thought the plot would pan out so that…… the three princesses would combine their strength to defeat Kirinmaru while getting assistance from Sesshōmaru. 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 don’t look after them. If anything, if a parent anticipates and helps them with everything, they end up like Kirinmaru and Rion instead. It’s not like “not enough to live but not enough to die”, but I think fundamentally, leaving (a child) alone and only giving them a lifeboat when needed is important in child rearing. Children won’t mature if they themselves don’t toil after all. That is also the hidden theme* of this work.

(translator’s note: Hidden theme is basically what the creator themself thinks the story is about. There’s the apparent/surface theme for the general public and then there’s the hidden theme for the creator.)

— 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 she’s the child of a greater demon, she herself didn’t 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 wit’s end. If that’s 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 “I don’t get the meaning of Rion fighting”. However, that’s when I said “No, I do!” and conveyed my view. This is where I’m glad my view came through (strained laugh).

— In the January issue interview, Director Hishida, you mentioned “Having done anime geared towards elementary school girls for the past 10 years, the answer I came up with was ‘I think battles between girls cannot be resolved with brute strength’” and it certainly felt like “a non-brute force method of resolution”.

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 “battle with the Spirit of the Tree of Ages”. I mean, the ultimate mastermind behind this story was the Spirit of the Tree of Ages.

— That is true.

Hishida: The one who instigated Sesshōmaru was the Spirit of the Tree of Ages and in the end, Inuyasha’s family got separated because Sesshōmaru didn’t go against what the Spirit of the Tree of Ages said. I feel a little bad that Inuyasha’s family got caught up in all this and not just Sesshōmaru’s family. However, we just couldn’t have the Spirit of the Tree of Ages brought down (strained laugh).

— 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 Shōgakukan, there’s 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 “The Blackout Stage”. The final episode became one that was especially packed with Rumiko-sensei’s feelings.

— In the final episode, there was also a scene where Rin made kimonos for the girls using fabric that Sesshōmaru delivered. Seeing them wearing the clothes they wore in the ED (ending theme) was a happy surprise.

Hishida: It’s an homage to Inuyasha, The Final Act. There was originally this idea that “I want to make plain clothes for the three princess and have them wear it at some point”, and so then it became “then let’s have them wear it in the ED first”.

— Moroha in the ED wore a priestess outfit, but does she not wear a priestess outfit?

Hishida: I’m sure she’ll wear priestess attire when she’s helping Kagome with priestess work. Hishinuma (Yoshihito)-san (animation character design and chief animation director) strongly wished that since “Towa and Setsuna are going to wear new clothes. I want Moroha to wear (new clothes) too!”. Moroha is cute so she looks good in anything.

If People Can Feel Something from the Various Family Dynamics

— Was there a scene within the end game that particularly left an impression on you?

Hishida: Mmmm, I want to say all of it but…… if we’re going to praise one as strong, I’d have to say it’s 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 Towa’s figure of fighting with the Zanseiken, I think the part where Rion wields the sword herself is a scene that’s packed with one of the themes for The Second Chapter which is “stop hiding behind your parent’s back, take a step forward, and fight.”

— Then which character was the most memorable? As an average viewer, (I thought) Kirin Osamu’s strong character was very entertaining.

Hishida: I’m glad. I was also fixated on Kirin-sensei. He was a more ordinary character in the beginning, but Rumiko-sensei pointed out that “Kirin-sensei’s character is a little weak” 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, “The Time of The Grim Comet’s Crash”, 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.

— His eyes that periodically peaked out from his glasses were just like Kirinmaru’s which was also interesting.

Hishida: He really only showed his eyes during critical moments. There aren’t 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.

— 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 was…… inspired by The Terminator (laughs). Truthfully, I was just thinking a silhouette, so when I was saw the footage, I was surprised like “The view is unexpectedly clear?!”. I think everyone (as in the audience) was surprised too but I was surprised as well (laughs).

— Around how many years prior to the story of Hanyō no Yashahime was Kirin-sensei born?

Hishida: It was during a time when the Bone Eater’s 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 he’s visited. Chinese, Arabic, and French.

— 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 “fellow foreign bodies in the era” 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, Hanyō no Yashahime.

— 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.

— It was worth the hardship as I think the characters moved very vividly. There were all sorts of family dynamics depicted like Sesshōmaru’s family, Inuyasha’s family, and Kirinmaru’s family.

Hishida: In addition to Sesshōmaru’s and Inuyasha’s daughters being the protagonists for Hanyō 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 “a parent and child story”, including the relationship between Rion and Kirinmaru. Right around the time we were making this, the term “*parent lottery” became popular, so I thought if I could convey something to those watching through this work…... That being said, even though the family environments of Sesshōmaru’s family and Inuyasha’s family are completely different, all three princesses were separated from their parents at a young age. However, everyone turned out decent. Reversely, with Kirinmaru’s family, father and daughter were always close together but things didn’t go well. I felt that if people could feel something from the various dynamics, I’d be happy.

(translator’s note: The idea that one cannot choose who their parents are and/or one’s prospects and circumstances in life is determined by their parents.)

— One more important thing was the relationship between the Higurashi family and Towa. This was a contrast to Kirinmaru’s family (parent and child).

Hishida: Yes, Towa and the people of the Higurashi family aren’t blood related, but I think Towa was able to become such a good kid thanks to Sōta, 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 “Towa’s matured!”. Earlier, I spoke about how I felt my role was “to figure out how the Yashahimes will grow” and truthfully, I worried about how I would make them grow at first. But before I knew it, they had matured, so I thought “Oh thank goodness”.

— 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 “return to the modern era side” 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 “I want the end to go back to the Feudal Era after all” so things turned out in accordance with that. From there, we thought about “then how can we progress the story so that it sticks well” and that’s how things turned out like this pretty much.

The Possibilities of the Three Princesses’ Future Is Endless

— Earlier, you talked about Towa’s growth, but please tell us about Setsuna and Moroha’s as well.

Hishida: Moroha was hotheaded, short tempered, and in a way, a fool. However, she’s 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, there’s a scene where she’s moved to tears when she’s told “we’re comrades”. Even when you see that, I think you get this feeling of going from she’s still childish to she’s become a little bit of an adult. For Setsuna, perhaps because she strongly inherited Sesshōmaru’s 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.

— In that sense, the direction of Towa and Setsuna’s growth is perhaps similar.

Hishida: You’re right. I get the feeling that the traits Setsuna got from Rin especially came out. It’s 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, it’s because the girls went through various hardships and battled a lot that they became adults.

— Your mental state is completely that of a parent who feels both happy and lonely over their child’s 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, Sesshōmaru will likely be off somewhere again and won’t quite come back. He’ll appear in a flash if Rin and the girls are in imminent danger but once the issue is resolved, he’ll probably leave again (laughs).

— Then, what do you think will happen with Towa and Riku going forward?

Hishida: That too, who knows what’ll happen. The guy who said “I love you” towards Towa came back to life, so you never know what’ll happen (laughs).

— Come to think of it, the “I only kill those I love” ideology that Riku always spoke of; was that second-hand knowledge from Zero?

Hishida: Yes, that it is. While he may have a “kill those you love” mentality, I get the feeling that Riku still didn’t quite know what love was after all. I mean, normally, there’s no way you can kill a person you love. If you’re able to easily kill (that person), then you don’t love them. In episode 42, “The Collapsing Windmill of Time”, even though Rion had a chance to kill Kirinmaru, she couldn’t. There is the fact that Kirinmaru purposely showed an opening too but in the end, it was proof that “you can’t kill those you love”. Riku also saw that. When he teamed up with Towa in episode 47, “Father and Daughter”, it’s possible that it really did look like he was going to kill her. However, the fact that he couldn’t kill her there goes to show what I mean.

— The conclusion also made us curious about Setsuna and Hisui’s relationship going forward.

Hishida: Yes. Although, I think it’s better if a love during one’s youth doesn’t come to fruition, so regarding this too, I’m personally on the side of not wanting them to become intimate. Setsuna and Towa are Sesshōmaru’s daughters so instead of a human and horn, I want them to date greater demons of Sesshōmaru’s rank! ..…. I sound completely like an unpleasant father who meddles in his daughter’s love life (laughs). I’m a warped person like that but it was through Rumiko-sensei and Shōgakukan’s 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.

— 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 she’s gotten to a point where she’s come to recognize what family is. I think right now she enjoys squawking with her father. That slightly awkward feeling Moroha has when she’s with her parents is great. I’m 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.

— Thank you very much. Now then, lastly, a message for our readers please.

Hishida: Even if broadcasting has ended, the fact that you’re reading this article makes me happy. I have a feeling that in a past interview, I said “if I could make this a work that families can enjoy”, 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, Hanyō 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 Hanyō 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 who’s trying to plunge the feudal world into a degenerate age for her sake, but she couldn’t kill her father after all……

A Humanlike Greater Demon

Being told by Kirin that “Rion’s wish is for Sesshōmaru to be brought down”, Kirinmaru challenges Sesshōmaru to battle. However, Sesshōmaru throws the following words at Kirinmaru “It’s as if you’re human”. Kirinmaru overlaps Rin, who’s watching over Sesshōmaru’s battle, with the former Rion and realizes he’s been averting his eyes from his daughter’s death. Shaking off his doubt, he battles Sesshōmaru 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 Rion’s life. At her wit’s end, Rion ran away in circles at first, but encouraged by Towa’s 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.

Parent’s 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 Sesshōmaru acquired. Both of their new outfits closely resemble Sesshōmaru’s kimono. Inuyasha and Kagome help Moroha pay off her debt. Showing a bashful face, Moroha’s 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 Sesshōmaru, 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 that’s too hard to understand, their understanding of their father deepened slightly.

The Three’s 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 Kirinmaru’s kon and haku. Towa, Setsuna, and Moroha decide to set out on a demon slaying journey to the Land of Iyo because of Riku’s request. Moroha, who tells Inuyasha and Kagome that she’s going on the expedition, strongly and proudly says “We’re strongest as three!”. It seems the Yashahimes’ adventure is nowhere near over yet.

Hanyō 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? Let’s organize a timeline and review.

※ The start of the story is the basis for the time periods

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

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ayuuria · 2 years

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Back and Translating

Hello everyone!

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.

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ayuuria · 2 years

Note

Hope you’re having/had a good time on your trip!

Don’t 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!

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ayuuria · 2 years

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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.

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, there’s a high chance of either significant delays or no translations at all in April. I’ll be honest with you, if I’m in Japan, I’m not going to want to stay cooped up in a hotel room. I’m going to be taking full advantage of this trip, being out and about and having fun. Plus visit family and friends.

Please don’t 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 I’ve settled back home.

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ayuuria · 2 years

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Hi! Will you be translating the interview with adieu that the Yashahime twitter posted? Thank you!

Probably not as I am on my way to Japan.

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ayuuria · 2 years

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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

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ayuuria · 2 years

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Yashahime Episode 48 Summary

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.

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 there’s 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 “It’s a reward”. Moroha comes to Towa and Setsuna dressed in a kimono that Kagome tailored. Moroha says she’s 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.

(*translator’s note: the actual translation is parent and child but that sounded awkward)

Cast List

Higurashi Towa: Matsumoto Sara

Setsuna: Komatsu Mikako

Moroha: Tadokoro Azusa

Sesshomaru: Narita Ken

Rin: Noto Mamiko

Jaken: Cho

Inuyasha: Yamaguchi Kappei

Kagome: Yukino Satsuki

Shippo: Watanabe Kumiko

Takechiyo: Fairouz Ai

Takamaru: Nakane Kumiko

Myouga: Ogata Kenichi

Miroku: Yasumura Makoto

Sango: Kuwashima Houko

Kin’u: Gomazuru Aya

Gyokuto: Ueda Hitomi

Kohaku: Kimura Ryouhei

Hisui: Urao Takehiro

Rokuta: Uchino Takaaki

Nanase: Shiraishi Kento

The Tree of Ages: Hidaka Noriko

Kaede: Kyoda Hisako

Others

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

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ayuuria · 2 years

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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.

Please don’t 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 in May after I’ve settled back home.

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ayuuria · 2 years

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Yashahime Episode 47 Summary

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Father and Daughter

Short Summary

Every time a thread of fate is cut, the voice of Rion’s heart reaches Towa, Setsuna, and Moroha. Can father and daughter reclaim their bond by overcoming regret and misunderstanding? And then what direction will Sesshomaru and Kirinmaru’s decisive battle take...

Expanded Summary

Towa and Moroha cut Rion’s threads of fate following Setsuna’s instructions. Every time they cut a thread, the three princesses hear the voice of Rion’s heart and her true feelings become clear. Rion locked away her smile, wanting to stop her father who fought continuously. Kirinmaru continued to fight so that he could see Rion’s smile. The hearts of father and daughter failed to meet. Is if to reflect Rion’s despaired heart, the Grim Butterfly sealed within the barrier releases a miasma and starts moving once again. Then, during his battle with Sesshomaru, Kirinmaru realizes the true reason of why he lost Rion.

Cast List

Higurashi Towa: Matsumoto Sara

Setsuna: Komatsu Mikako

Moroha: Tadokoro Azusa

Kirinmaru: Hosoya Yoshimasa

Riku: Fukuyama Jun

Rion: Fujita Saki

Sesshomaru: Narita Ken

Rin: Noto Mamiko

Jaken: Cho

Inuyasha: Yamaguchi Kappei

Kagome: Yukino Satsuki

Shippo: Watanabe Kumiko

Takechiyo: Fairouz Ai

Kohaku: Kimura Ryouhei

Hisui: Urao Takehiro

Miroku: Yasumura Makoto

Sango: Kuwashima Houko

Kin’u: Gomazuru Aya

Gyokuto: Ueda Hitomi

Rokuta: Uchino Takaaki

Nanase: Shiraishi Kento

The Dog General: Outsuka Akio

Others

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

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ayuuria · 2 years

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Yashahime Translation: Animage Magazine April 2022 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.

Towards A Future with Family!

The battle between the Yashahimes and Kirinmaru, which has gone between the feudal era and Reiwa era, is at last heading towards the final decisive battle! Wishing for a restful future with her parents, Moroha advances to the battlefield alongside Towa and the others!

Shortly after she was born, Moroha was separated from Inuyasha and Kagome. For a long time, she thought “I don’t have any parents” but in episodes 38, “Kirinmaru of the Dawn” and 39, “Parent and Child Reunion”, the dearly wished for reunion was achieved! Despite being at a loss at first, tears of happiness streamed down Moroha’s face after being touched by her parents’ broad-mindedness.

We want to watch the Inuyasha family’s tranquil time forever, but unfortunately, that’s not possible. That’s because for the sake of Kirinmaru’s “erase the approaching Grim Comet in Reiwa and obtain proof of the strongest” ambition, the feudal era is dangerously on the verge of falling into a degenerate age.

Inuyasha and Kagome sendoff Moroha, who’s been called upon by the spirit of time, Akuru, as she sets off on a journey to cross over space-time with Towa and Setsuna. The Yashahimes face the Grim Comet that’s approaching the modern era but, in the end, Kirin Osamu, who was Kirinmaru’s right arm, moves the Grim Comet from the modern era to feudal era. Then shortly after, Kirin uses Rion and has the “Grim Butterfly” emerge from the Grim Comet……?

Threats keep coming one after another, but Moroha faces them with a bow that’s filled with her parents’ love. Let’s pay attention to Moroha’s brave figure as she struggles to grasp the harmonious future with her family!

Character Bios

Moroha She uses to a bow that Kagome made from Inuyasha’s hair and materials gathered from the Dog General’s grave, and her beloved sword, Kurikaramaru, as weapons when she fights. Her intensely powerful “Arrow of Purification” is enough to negate the Grim Comet’s demonic energy.

Inuyasha Though he couldn’t be upfront with his feelings immediately after reuniting with Moroha, he shows a fatherly side by stating sharply to Kirinmaru “I won’t let you lay a finger on my daughter!”.

Kagome Seeing Moroha pass through “the border between this world and the next”, she decided to make a bow to gift to Moroha and always thought about her even when they were apart.

Higurashi Towa In the Reiwa era, she reunites with everyone in the Higurashi family for the first time in a while. Sōta encourages her to “Go on!” and she strongly replies, “I’m off!” and returns to the feudal era.

Setsuna She constantly worries about Towa who is prone to sacrificing herself when fighting. Upon Big Mama dressing her in a cute coat in the Reiwa era, she shows an embarrassed expression.

Sesshōmaru His life was on the verge of being at risk due to Kirinmaru’s attack for a time, but he made a come-back. He tells Rin to watch his battle with Kirinmaru from nearby but what is his intention behind this?

Kirinmaru In order to revive his daughter, Rion, he tried to use Towa’s body as a “vessel”. Incited by Kirin’s words, he challenges Sesshōmaru to a battle with the position of strongest on the line!

Rion She and Riku come up with a plan to defeat Kirinmaru, but just before carrying out said plan, she encounters Kirin. Her heart is taken advantage of by his kind words, and she gets absorbed by the Grim Butterfly.

Riku He tries to stop Kirinmaru who is rampaging from the love he has for his daughter but ends up having the tables turned on him. Even as he sheds blood from his stomach, he seeks aid from Towa and the others so that he can save Rion.

The Black Pearl is Also a Precious Memento

For 14 years, Inuyasha and Kagome were sealed within the black pearl. After escaping, Inuyasha tries to destroy the black pearl, but Moroha restrains him by saying “If you’re going to throw it away, let me have it!!”. She gently puts the black pearl, which is filled with her parents’ memories and her grandfather’s grave, away into her grandmother Izayoi’s rouge.

The Gift from Her Parents

To her daughter whom she reunited with after 14 years, the present that Kagome, the mother, gifts her is a handmade bow made from Inuyasha’s hair and materials gathered from the Dog General’s grave. Having obtained a new weapon filled with her parents’ love, Moroha gets a huge power up. During the battle with Meidōmaru, Moroha played such a big role that even Towa was amazed!

The Role of Inuyasha: Yamaguchi Kappei When the “Never-Ending Journey” Comes to an End

Meeting Inuyasha has been a big fortune for me as a voice actor and as an individual. At the time, it had been roughly 10 years since I voiced Saotome Ranma from “Ranma½”, which was written by the same Takahashi Rumiko-sensei (the creator of “Inuyasha”), so it gave me the chance to look back on those past 10 years of my life. Though we were in supporting roles for “Hanyō no Yashahime”, when I listen to Azusa-chan (the role of Moroha) and the others talk, I remember the feelings I had at the time of “Inuyasha, The Final Act”. I thought it was a never-ending journey but how to it put it? I’m starting to have this mysterious feeling like the countdown to the finale is starting…… It seems like we’ll be overlapping with ourselves from back then as we approach the climax of this work.

The Role of Kagome: Yukino Satsuki “Inuyasha” Was Where I Belonged at the Time

Looking back again now, I feel only gratefulness that I was allowed to play Kagome in “Inuyasha”. At the time, I always felt like I was going to be crushed by pressure, but everyone who co-starred with me supported me through acting instead of words. No matter how hard things got, I was able to feel like “I have a place here”. I think the work known as “Inuyasha” had that kind of broad-mindedness. This time in “Hanyō no Yashahime”, being able to play Kagome again felt like a bonus track, which was fun! When I watch the figures of the three Yashahimes facing difficulties together, I really get this motherly feeling. I watch over their efforts while cheering them on like “You can do it!”.

Inuyasha Family Roundtable Talk: The Promised Reunion

Role of Moroha: Tadokoro Azusa Role of Inuyasha: Yamaguchi Kappei Role of Kagome: Yukino Satsuki

The Daughter’s Image That Picks Out the Best of Inuyasha and Kagome’s Charm

— Yamaguchi-san, Yukino-san, please tell us what your impression of Moroha is based on what you saw.

Yamaguchi: I’d have to say I thought ‘as expected of (Takahashi) Rumiko-sensei’. She created a character that carries the perfect balance of both Inuyasha’s and Kagome’s auras. Towa and Setsuna have Sesshōmaru-ness in them too somehow after all. What’s funny is that from my perspective, Moroha takes after Kagome but Satsuki-chan says “She really takes after Inuyasha” (laughs). I think she’s just like Kagome though, like her rashness (for example).

Yukino: No no, she takes after Inuyasha in rashness!

Yamaguchi: (laughs) How to put it, rash or rather nerves of steel. She uses both weapons too, so she’s got her parents’ strong points.

Yukino: Her nerves may certainly be that. However, I still think overall she takes after Inuyasha. Like her outline and facial features.

Yamaguchi: Also, when Azusa-chan said (Moroha’s) attack moves, I thought she really leaned towards Inuyasha!

Tadokoro: Being told that is really embarrassing (blush). Of course, I’m not imitating completely but when I auditioned in particular, I went into it after really hearing Kappei-san’s and Satsuki-san’s voices. The phrase “Iron Reaver Soul Steeler” was also written in the audition script, so I remember doing my best to imitate the way the words slice through.

— What did you think when you finally acted out the parent-child reunion in episode 38, “Kirinmaru of the Dawn” and episode 39, “Parent and Child Reunion”?

Yamaguchi: To be honest, it didn’t really sink in for me. The time I’ve spent with Moroha is very little, so I would say it felt like “My daughter? Really?” (laughs). There are some fatherly lines after that but Inuyasha himself hasn’t really grown as a father yet. That’s why I personally thought the line “I won’t let you lay a finger on my daughter!” in episode 41, “Akuru’s Pinwheel”, was too soon. It probably would have been different if I had spent more time with Moroha. I’m sure the story of that kind of happy family time will come after the battle is over.

Yukino: We’d been grave keepers for 14 years after all (laughs). However, I personally watched the course (of events) leading up to the reunion on air with half my feelings being that of a viewer and the other half being that of Kagome, so when I saw the script, I was able to really comprehend it like “That’s right, Kagome would do something like this for sure”. From time to time, Master Jaken showed reflections of Moroha in the Lake of the Staff of Two Heads and as Kagome saw that, I think she felt relief like “Aah, she’s properly living well” and frustration at not being able to touch her with her own hands. That’s precisely why I thought Kagome grabbed Moroha’s face with such force during their reunion scene. Once she confirmed that “I touched her!”, I bet Kagome accepted everything there.

Tadokoro: The reunion scene for me was very emotional, but I think from Moroha’s perspective, she was very perplexed. She lived while in resignation that “I don’t have any parents” but maybe there’s a chance that they’re alive; however, she wasn’t sure if she should get her hopes up or not. Thus, she couldn’t really go see them at first.

— She was fretting with the black pearl in her hand.

Tadokoro: Even when she actually met them, she was wavering on how she should interact with them, but that’s when Kagome-san quickly came, and I think that saved Moroha-chan. If she hadn’t shown that “I’m Mother!” half forcefully, Moroha probably would’ve hesitated to touch them and not be together with them as a family as quickly as she did. You need a lot of courage “to touch” after all. I truly felt that Kagome-san connected them!

— On the other hand, with Inuyasha, they were keeping themselves in check with each other for a time.

Yamaguchi: It’s true coming from my own experience but likewise, I don’t know how to treat a daughter. If it was a boy, I have a feeling it would’ve been okay to treat him somewhat roughly (laughs). I’m sure Inuyasha had that same sort of emotion and embarrassment.

— In episode 41, Kagome gave Moroha a bow as a present.

Yukino: I think that bow was the outcome of her thinking “What can I do for my daughter as a parent? What is the best thing for Moroha?”. One with Inuyasha’s hair in it!

Tadokoro: Until now, I don’t think there have been many times in Moroha’s life where she felt that others were thinking about her. She fundamentally lived on her own and probably had a life where she didn’t receive much love. For some reason, Moroha also didn’t receive a new weapon so I thought “I want a new weapon someday”, but to think that would be a bow made by her parents…… I was very happy and moved like “People who only think about Moroha-chan really do exist!”. Even when she makes her attack calls, I say it in a way that’s like “This is the bow I got from my parents!” every time and I think Moroha must’ve have been very happy.

The Feeling of Wanting to Be Fawned on By Her Parents Leaks Out of Moroha

— Azusa-san, do you have any awareness of Moroha acting differently when she’s with her parents vs when she’s with Towa and Setsuna?

Tadokoro: I think there’s a part of Moroha-chan that still hasn’t fully accepted that (Inuyasha and Kagome) are her parents, but there’s an instinctual desire to lean on them and a feeling of wanting to be fawned on by them to her joints that leaks out. I truly feel that. The impression I get when she’s with Towa and Setsuna is that “she’s standing there as an individual” but I would say that when she’s with them, she involuntarily relaxes. I bet if she had a tail, it would be wagging (laughs). You see, Moroha-chan gets lonely easily. I think that part of her that sort of reverts to a child is adorable. She also seemed happy when she was dressed in Kagome’s *hanten in episode 43, “The Blackout Stage”; that made me feel warm and fuzzy too.

(*Translator’s Note: Aka Kagome’s old coat)

— Yamaguchi-san, Yukino-san, has there been a difference in your acting in “Inuyasha” vs “Hanyō no Yashahime”?

Yamaguchi: It hasn’t changed much but I do try to not be as wild as past Inuyasha. I really like the title of the final episode for “Inuyasha, The Final Act” which is “Towards Tomorrow”. I’m sure there were peaceful times prior to the start of the story of “Hanyō no Yashahime” and I am somewhat conscious of the fact that Inuyasha has found a place where he belongs. Of course, Inuyasha did say “(With) Kagome is where I belong” back when he was still fighting. Inuyasha wasn’t used to peace for a long time and now that time as passed, I thought I would have him settle down a little bit.

Yukino: I made Kagome a little more grownup. I haven’t made any direct changes but with Inuyasha being a half-demon and Kagome being a human, their life spans are different. Hence, for those who understand, I thought it would be good if people can understand the subtle differences in how time flows through the months and years. I also thought it was necessary to have that time flow between the final episode of “Inuyasha, The Final Act” and the start of “Hanyō no Yashahime”**. However, Kagome had the spirit of a middle-aged lady to begin with, so she’s still the same on the inside (laughs).

(**Translator’s Note: I think what she means is that it was important to keep in mind the life experience Kagome gained during that time between “The Final Act” and “Yashahime”)

Yamaguchi: It’s like both of us want to be conscious of the passage of time more or less. That’s why I haven’t changed things fundamentally and I’m not really conscious of being a “father”. If anything, I have this feeling that listening to Azusa-chan talk in this interview is excessively making the father feeling sprout.

Tadokoro and Yukino: (laughs)

Yamaguchi: What was disappointing this time around was that because of the Corona crisis, we had to record separately most of the time, and we couldn’t go out to eat all together. We had absolutely no opportunities to communicate which was such a waste. The only time we went out to eat was when we all went to the Inuyasha Café (took place in 2020 from Summer to Fall) and that was it. After recording for Hanyō no Yashahime, they let us go to the Inuyasha Café after hours.

Yukino: Rumiko-sensei was there too.

Tadokoro: That was the first time I greeted Rumiko-sensei. I was nervous but she very kindly welcomed me and that made me happy.

Yamaguchi: That was fun, wasn’t it? Alright, next time let’s go out to eat as a family. It’ll be Daddy’s treat!

Tadokoro: Wow, thank you!

Yukino: Dad you’re so cool!

— I like that. Now then to wrap things up, please tell us some highlights going forward.

Yamaguchi: I’d have to say the number 1 point of interest is where the three princesses’ adventure concludes. What will be the outcome of this battle that hails the climax and what kind of path will each of them take when their adventure ends. By all means, please support the three princesses.

Yukino: We only appeared occasionally, but I think the three princesses truly ran on while carrying all sorts of emotions. Putting aside what kind of feelings they’ll have when they cross the finish line for until then, right now, I want them to run with all their strength to the end. I will also be cheering them on from the other world.

Yamaguchi: Then that means you’ll be in the netherworld! (laughs)

Yukino: (laughs). I would be happy if the viewers could also warmly watch over the figures of the three princesses doing their best. I think this is “a story of love between parent and child”. Sesshōmaru’s family, Inuyasha’s family, Kirinmaru’s family, and Miroku-sama’s family; please see for yourselves how each of the families will shape.

Tadokoro: Just as Satsuki-san said, I also have a feeling that this work is a story about parent and child/family. In the plot from here on, each of them will find an answer and move forward while making painful decisions and bitter choices, so I would like everyone to certainly watch over that. Towa in particular will encounter a painful situation so I would like the three of them to support each other somehow. Each of the characters will have drama, not just the three princesses but Rion-chan and Riku as well, so please enjoy it to the end!

I Want to See This Kind of Inuyasha Family!

Yamaguchi: I want to see all the problems resolved and them being a normal happy family. Oh, Moroha has debt, right?

Tadokoro: Yes, but just 1 ryō.

Yamaguchi: That’s okay, that can be paid back easily if you team up with Miroku!

Tadokoro: (laughs) When you mean that way, I want to see Moroha team up with members from “Inuyasha” besides Inuyasha-san and Kagome-san. For the most part, Miroku-san and Moroha haven’t talked to each other in the story, so I’m curious to see what kind of dialogue they would have.

Yamaguchi: I may end up saying to Miroku the line Inuyasha said in episode 41. “I won’t let you lay a finger on my daughter!”

Tadokoro and Yukino: (laughs very hard)

Yukino: I want to see the three of them under a kotatsu eating tangerines in the modern era. Big Mama would bring tea and what not.

Yamaguchi: Speaking of which, Kagome’s mother doesn’t age at all, does she.

Yukino: Turns out she’s actually not human or something (laughs)

Tadokoro: It can’t be, Kagome-san was a half-demon too!? (laughs)

Memories from the “Inuyasha” Audition

Yamaguchi: I didn’t think I could possibly voice (the protagonist of Takahashi Rumiko’s work) twice in a row, but I really wanted to since the start serialization for “Inuyasha”. It felt exactly like “I went to go pick it up”. I would make a copy of the original manga and paste the (comic) frames of corresponding scenes in the audition manuscript. Inuyasha and Kagome’s auditions were first and if I remember correctly, we did it in pairs.

Yukino: That’s right, I was together with (the role of Kōga: Matsuno) Taiki-san.

Yamaguchi: I believe I did mine with (the role of Kohaku: Yajima Akiko) Akko-chan.

Tadokoro: Whaaat!? I didn’t know that!

Yukino: At the time, I didn’t think I’d be spoken to about the audition so when it was discussed with me, I was like “I can do it? Yay!”. It’s just that at the time, I hadn’t read the original work. I didn’t have time to read all the volumes, so when I learned that I would be having dialogue with Kōga in the audition manuscript, I asked my younger sister who loved “Inuyasha” “What volume does Kōga show up in!?” and I remember running to the bookshop at the last minute, checking that volume (laughs).

Tadokoro: I see. Before eBooks were commonplace, I would also dash to a manga rental store frequently when I didn’t have time before an audition. Thus, when I think that Satsuki-san, who’s like a legendary existence, did the same thing, it’s deeply moving in a way.

Yamaguchi: That we did. Though, it was rental libraries in our time (laughs).

Yukino: However, there were times where the volume you wanted to read was the only one they didn’t have (laughs).

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

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ayuuria · 2 years

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Yashahime Translation: Animedia Magazine April 2022 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.

Even If They’re Apart Now, The Yashahimes and Rion Are Sisters at Heart

Towa, Setsuna, and Moroha have continued to battle rigorously against Kirinmaru. The girls meeting with Rion allowed them to gain new weapons and power up. No matter if each of their circumstances differ, whether they be half-demon, quarter-demon, or demon, their faces are that of ordinary girls. A bond like comradery/friendship has sprouted between the 3 Yashahimes and Rion. However, danger has now befallen on that connection. Kirinmaru’s incarnation, Kirin Osamu, has kidnapped Rion and is trying to create a new world using her and the Grim Comet’s power. Can Towa and the others save Rion who’s been absorbed by the Grim Butterfly? For the days the 4 of them spent together laughing to not end in memory, they take on the final battle that is about to begin with strong determination!!

Character Bios

Higurashi Towa Sesshōmaru’s older twin daughter. Even though she uses the Zanseiken that Rion entrusted to her, sucking up demonic energy steals her Kon at the same time; thus, she risks her life fighting.

Setsuna Sesshōmaru’s younger twin daughter. She can cut the threads of fate of humans and demons with the naginata, “Yukari no Tachikiri”. She worries about Towa fighting with the Zanseiken.

Moroha Inuyasha and Kagome’s daughter. Receiving a bow that Kagome made, she faces the threat of the Grim Comet alongside Towa and Setsuna.

Rion Kirinmaru’s daughter. For 600 years, she was sealed within the barrier of Mt. Musubi. Cooperating with the Yashahimes, she attempted to stop Kirinmaru’s ambition but……

The Yashahimes & Rion’s #Warm and Cool Secret Stories of Family Love

The Way That the Yashahimes Interact with Their Parents Has Changed Family Love Up 100%!

“Though recognizing him as “Sesshōmaru” at first, around the time they saved Rin, Towa and Setsuna started addressing them as “Father” and “Mother”. With Moroha finally reunited with Inuyasha and Kagome, she has surprisingly started to show that she felt lonely. I think those are the things that allowed each of them to accept their parents’ existence.” (Hishida)

Rion’s Separation from Kirinmaru #Daughter’s Rejection Shocks Father Parent-Child Love Roughly 0%

“Kirinmaru and Rion’s relationship is mixed with love and hate or rather, the daughter finds the parent’s attachment suffocating which I think is close to a common problem in actual parent-child relationships. It’s like the stereotypical parent-child relationship that’s not going well.” (Naka P)

Can the Yashahimes and Riku Stop Rion!? #We Want the 4 Of Them to Be Friends Forever! Believe in a 100% Bond!!

Rion gets absorbed by the Grim Butterfly that emerged from the Grim Comet. It seems that the Grim Butterfly has the power to erase all demons from this world, but there’s no way Rion herself would wish for that. Believing that, Towa and others confront the Grim Butterfly together with Riku. Those feelings, will they reach Rion……

Secret Stories One After Another, “Yashahime” A Long Conversation on the Eve of the Decisive Battle Director Hishida Masakazu X Naka Hisakazu

With a depiction that has crossed over from The First Chapter to The Second Chapter, the Yashahimes’ battle is finally reaching its climax. We had Director Hishida and Producer Naka talk about Kirin Osamu, who’s existence has become that of a final boss, and highlights for the final stage!

The Final Decisive Battle Has Finally Come! Kirin-Sensei Holds the Key

— Gearing towards the climax, Kirin Osamu’s existence has become big, but what is the “difference” between him and Kirinmaru?

Naka: In The First Chapter, Kirin-sensei was still something like “an existence that had some sort of connection with Kirinmaru” and he hadn’t been deeply established yet. However, with the story setting returning to the modern era, the only existence that could become a key was him; thus, because we discussed how we wanted to depict him with that, he became the kind of character (that you see now) as a result. Kirinmaru is the type to seek his own strength rather than destroy humans, but Kirin-sensei’s way of thinking is more extreme and goes in the direction of “destroy demons”. In that sense, he’s an existence with a position that hasn’t been seen until now.

Hishida: Also, a clear difference between (him) and Kirinmaru is their knowledge. He himself has lived for around 500 years and has seen how mankind has behaved within that time. In the present, he studied human history and knows about the huge wars that have crossed over twice*. He has a vague understanding of what he needs to do to dominate the world from an intelligence perspective which is different from Kirinmaru who seeks only strength. However, their core of loving Rion is fundamentally the same. Rion is at the center of their thoughts, so they end up taking actions that turn their surroundings into hell.

(Translator’s Note: I think he’s referring to World War I and II)

Naka: The trait of (Kirin-sensei) deciding for himself that “Surely this is what Rion wants too” is the same as Kirinmaru, isn’t it?

Hishida: It’s completely the same. That’s why we depict a way that ensures that that part doesn’t blur or rather, we’ve (hopefully) been expressing that nothing good comes from that kind of overprotectiveness.

— Hosoya Yoshimasa-san, who plays Kirin, also plays as Kirinmaru, so what sort of acting directions did you give him?

Hishida: I told Hosoya-san to fundamentally do the same as he did in The First Chapter, indifferent and detached basically…… that’s how I had him play Kirin.

Naka: Sound Director Nagura (Yasushi)-san directed him in a way that allowed him to differentiate from Kirinmaru, but I think it was a lot of work for Hosoya-san. Afterall, we get to the final stage and Kirin-sensei suddenly shows all these different sides to him.

Hishida: He does talk a lot in the final stage.

The Story Heads into the Climax with Various Feelings Accumulated!

— Looking back on The Second Chapter, which scenes are you personally attached to?

Naka: For me, it was when Setsuna fully mastered the “Yukari no Tachikiri”. After entering The Second Chapter, there was a build up for the mastery of “Yukari no Tachikiri”, so I was glad that the goal was finally accomplished.

Hishida: My personal favorite was when Setsuna held Towa’s hand during Moroha’s reunion with Inuyasha and Kagome. She couldn’t hug her own parents due to circumstances that didn’t allow for a reunion, so it gave you a sense that Setsuna still had her older sister despite that. The impression of the image was simple, but I think it was a good scene.

Naka: You could feel an internal change within Setsuna in that moment.

Hishida: Before, she wouldn’t have cried at all…… I did a good job if I do say so myself (laughs). It’s there that Setsuna realizes that she “didn’t have any sentiment towards blood relatives”. Towa grew up surrounded by the Higurashi family in the modern era but if asked whether Setsuna grew up with the same kind of ample love, the answer would be no, not as much. That’s why I was truly glad that Towa was right beside Setsuna at that moment. The fact that Setsuna became able to hold Towa’s hand shows how much she’s grown. Even though the scene was short, it had a lot of meaning behind it.

Naka: At first, there had been a plot idea for Setsuna to not go to that place.

Hishida: At first, yes, but I wanted Towa and Setsuna to see the figure of Moroha reuniting with her parents no matter what. There was also the fact that it was there that I wanted them to clearly realize the thing that they did not yet have in their possession. In a way, it was a preface for the last (phase of the story).

— We are finally diving into the climax, but which character should we pay attention to?

Hishida: I’d say Riku.

Naka: As a character who’s facing Towa from the opposite side, Riku is in a good position. He’s trying to protect Towa while being in a state where if Kirinmaru dies, he will die as well. He also protects Rion because she’s always been important to him, but what will happen to him in the final part? That I think is a highlight.

Hishida: There’s also Kirin-sensei. From how he’s been depicted so far, Kirin-sensei seems like a good person, but he changes after reuniting with Rion.

Naka: He’s ultimately not a bad person though.

Hishida: Everyone in this work has their own (definition of) justice and believes that theirs is correct, which is troublesome (laughs).

— We’re also curious to see how the Yashahimes will act.

Hishida: In episode 41, “Akuru’s Pinwheel”, Rin did say “Please come back alive without fail!” “And then please allow me, along with Lord Sesshōmaru, to hug you both as tight as we can!”, so it’s a matter of whether that will be realized or not. That along with the aspect of “Will that Sesshōmaru really hug his daughters though!?”, is a point worth noting.

Naka: As a principle of this work, we think it isn’t right for the three (girls) to resolve things in a way that Inuyasha or Sesshōmaru could, so we’re making it in a way that “it’s because it’s those three that things were resolved like this”. That’s something the director has always been fixated on, so it would be great if (viewers) can think of a solution that is unique to the three (girls).

Hishida: To kill or to save. I think that will become key. Getting close to Rion is something Inuyasha and Sesshōmaru can’t do.

Naka: We want to end things in satisfying way so please look forward to it.

#The Right Arm and The Daughter’s Counterattack!

Kirinmaru In order to revive his beloved daughter, Kirinmaru planned to use Towa’s body as a vessel for Rion’s soul. However, Kirin, who was once his own right arm, snatches Rion and Kirinmaru in turn gets used by him.

#Unexpected Last Boss!?

Kirin Osamu Originally Kirinmaru’s right arm that had been thrown away into the “Bone Eater’s Well”. Though he is Towa’s middle school homeroom teacher, he secretly slays demons in the modern era. He tries to fulfill his ambition by using Rion.

#Will the Family Hug Happen!?

Sesshōmaru During his battle with Kirinmaru, Sesshōmaru sustained serious damage. Even though he escaped danger thanks to Towa’s Zanseiken, will a time ever come when he can spend peaceful days with Rin and his daughters, whom he has watched over……?

#What Of His Relationship with Towa

Riku An incarnation born from Kirinmaru’s horn. He falls in love with Towa and betrays Kirinmaru as a result. He was in a position of protecting Rion, but they were separated because of Kirin. Thus, he heads to save her alongside the Yashahimes.

We Asked Director Hishida and Naka P! #“Yashahime” Number 1 In Everything

Number 1 Tiniest and Cutest, Takechiyo & Shippō

“Having two mascot characters was more fun than I expected” (Naka P)

“That scene with Takechiyo was fun. It’s great that even after 20 years, the way Shippō is treated by others hasn’t changed one bit from before. (laughs)” (Hishida)

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

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