Me Come Saturday

Me come Saturday

Throw it all away

Lmao they didn't even change her face to look older. She look like a damn child there crying. And then she still talks about herself in 3rd person like a kid. Wtf! Then changed her eye color lmao

*she still don't look like the twins

*Her hair is brown but they claim the twins hair is black

*she look everybit of 16

*they literally put her child head on a teen body

*she still refer to herself as Rin

*and they used CHILD RIN IN THE OPENING EWWWW

they even changed her eye color wtf

The animation in HnY makes characters seem young, but, how can you tell me this is not a child? She looks even younger than the first time we saw her in the tree. I study in art, I know there are too many ways to make facial and physical features appear more 'age', this is literally a child.

Dear God, Sunrise is not f*cked up enough for that thing to happen, right?

Don't even mention me the ultimate 'historical accuracy', full *ss Asian here and no, it's not true and nowhere okay.

Okay! Thank you! I've been saying this!

Since some posts have been made talking about sideburns. Here are some sideburn comparisons. Towa and Setsuna with the guys (Sesshomaru, Inuyasha (Human Form), Inu no Taisho, and Naraku).

With Towa, it is easy to tell what is her sideburn and what is her regular hair. Towa's sideburns very much so resemble Sesshomaru's, Inu no Taisho's, and Inuyasha's (human form, his half-demon appearance doesn't really seem to have sideburns). For Setsuna it is harder. Is that long strand a regular piece if her hair or a very long sideburn like Naraku's?

Now as for the female characters:

Both Rin and Kagome have short and easily distinguishable sideburns.

Sango...the way her hair moves in action makes it seem like those pieces are moreso side burns than normal pieces of hair, but they are pretty wide and thick sideburns.

Kikyo is unknown, the same for Sesshomaru's mother too. With Kikyo, I couldn't find an image that made it clear if she had sideburns or not, while Sesshomaru's mother it is likely regular hair framing her ears, but in some images it looks like sideburns. But I sincerely doubt this, since the strands are *so* long.

And last, we have Kagura. It has been noted in a couple posts that in some manga panels it is obvious that beads are in her hair, with the black sticking out of the bottom being the ends of her hair, rather than earrings. We can see that above too. The beads are placed too high up to be earrings.

Towa's sideburns match Sesshomaru's side nicely, but are even slightly longer and more turned, as for Setsuna, the strand of hair...Kagome and Rin's sideburns are too short. Kikyo's is unknown, the same with Sesshomaru's mother. And Sango's is shaped totally differently.

But Naraku and Kagura? They match pretty well. In fact Setsuna could probably do a similar thing with the hair beads as Kagura does.

Speaking Facts!

Takahashi Rumiko Book - 2019 - Partial English Translation

There is definitely more to this interview, the bit with Sango and Miroku is definitely separate from what Takahashi-sensei is saying in regards to Sesshomaru (“That’s definitely an aspect of it” ~).  But these were all of the pictures and images that were provided in this weibo post:

https://card.weibo.com/article/m/show/id/2309404494446321336761

I want to give a shout out and thanks to the individual who posted these images over on weibo and to both @moonandwind for bringing this interview to my attention and @goldfish-er for the link. Translation Notes will be at the end.

— Did you have an idea from the beginning that he and Sango would love one another?

Takahashi: I just went along with the story, and that was how it turned out. Sango is burdened with such a fierce past that only Miroku can contain it.

—-

Takahashi: That’s definitely an aspect of it. Sesshomaru is one of the characters I had a lot of emotional attachment to when I drew him.

— At the start, he seemed like he was cold hearted, and I believe that the first time we see that change is when he saves Rin. After that, it makes his various moments depicted with Kagura even more poignant.

Takahashi: Though it is similar to what I talked about with Sango and Miroku, in the beginning Kagura wasn’t supposed to be as entangled with Sesshomaru as she was. She starts to ask for freedom pretty early on, [saying] things like, “I am the wind,” you know. That’s when her character started to take on a life of her own. It’s sad, but as long as Naraku was around, Kagura wouldn’t be free in this world, so at some point, I decided it was time for her to leave behind something significant for Sesshomaru and the others, and bow out of the story.

— Out of the numerous scenes in “Inuyasha,” her death scene is one of the greatest and most famous scenes in the series. As you said, her last moments left something behind for the main characters, as well as Sesshomaru. Like later, when Mōryōmaru spoke of Kagura’s passing as a “pathetic death,” that moment when Sesshomaru, who is acting so unlike himself and loses his temper, is also quite intense.

Takahashi: That went with the flow of a shonen manga (lol). In that sense, Sesshomaru is an easy character to understand, so it was relatively easy to draw him. He was already a popular character from the start, but I feel that he got even more popular after that moment.

—

Translation Notes:

The word that is used for Kagura being “entangled” with Sesshomaru is からめる (karameru), it is often used in the context of something like “strings being tangled up with each other” etc. Here it is implying a sense of “involvement” or “engagement” or “association.” But, I also feel that there is that imagery of their story lines and characters becoming interwoven together, and I wanted to keep that imagery, so I went with “entangled.”

When talking about Kagura “leaving some significant behind” the Japanese used is 大きなものを残して (ooki na mono wo nokoshite). Ooki can mean “big,” but it can also mean something like “major” or “significant,” which sound better and more fitting here than “something big.” And the use of もの (mono) is interesting here, since it implies a more physical thing that was left behind. But I rewatched her death scene, and the only physical thing she left behind was a feather. So, given that and what the interviewer ends up talking about, I feel Takahashi-sensei is referring more to her death having left a significant impact on Sesshomaru and the others.

And last, Takahashi-sensei refers to Kagura as “bowing out of the story.” The Japanese she uses is 退場 (taijyou), which means “exit (from a stage), leave,  go away (from), walk out (of), make one’s exit (from), and etc.”

Yes!