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”.
- 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.)
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.
