I have a long-standing disagreement with Samu over whether Nige Jouzu no Wakagimi will get a full anime adaptation. Well, the series generally – he’s not much of a fan and I think it’s one of the best Jump series of the 2020’s. There may be a certain amount of copium involved for me here, I admit. But The Elusive Samurai has quite strong manga sales – basically on-par with Akanebanashi, though as an ongoing series that has more financial impetus to continue as anime. And it’s written by one of Jump’s genuine superstars, a guy who’s never had a flop.

The quality of the adaptation this series is receiving is, to me, suggestive of a fair amount of backing from the decision-makers. If I’m wrong and this season is it, I’ll be bitterly disappointed but it won’t be because of the anime itself. Something this good needs to be celebrated, a show with genuine craft and artistry behind it. Matsui Yuusei is a mangaka whose genius is hard to capture in anime form (AssClass certainly demonstrated that). To do so by not trying to copy it (IYKYK) is the ultimate accomplishment for CloverWorks here.

As the series’ first real visit to Kyoto (a few earlier cutaways notwithstanding) this is a significant moment. Kyoto was in those days Japan’s megalopolis – its undisputed cultural and commercial capital. While the seat of government sat in Kamakura for a century and a half, it never stopped being seen as a bit of a backwater compared to Kyou. Uncle Yasuie sits down with Saionji Kinmune (Shinomiya Gou), a court noble sympathetic to the Houjou cause, and sends the kiddies off to sightsee with a roll of coins and an admonition not to blow their cover.

Genba is, unsurprisingly, the first to land himself in trouble. One imagines Kyou was full of touts looking for rubes to take advantage of, and Genba certainly fits the bill. He loses everything up to and including his clothes and himself in a dice game with Sasaki Mima (Hanamiya Niina). She’s the daughter of Sasaki Douyo, a powerful official from Oumi formerly loyal to the Houjou, now serving the Ashikaga. In short, Mima considers herself untouchable and toying with people is her great joy in life. Chojumaru offers the Elusives’ entire bankroll to buy Genba back, but Mima isn’t interested. That would be no fun, and fun is what this is all about.

Tokiyuki is naturally willing to offer himself up in a match to win Genba’s freedom. But Shizuku wisely swaps places with him, given the inherent advantages she carries. “Willow” is the game Mima offers to this bumpkin miko. Mima is touched by divine spirits as it happens, but she doesn’t know the half of it with Shizuku. This is all about peace of mind and depriving your enemy of the same, and she does so by cradling Tokiyuki’s head in her lap until he falls asleep and then engaging in some distinctly grown-up activities with him. Given that Mima has already grown intrigued by this country boy with old-fashioned mannerisms, this proves most effective – and decisive.

Kyoto at this time was in the midst of Basara, a movement embracing flamboyance in dress and behavior which stood as a stark renouncement of the minimalist nature of Kyoto culture through most of its history. This proved offensive to many used to the old ways, including samurai dissatisfied with their compensation for helping overthrow the Houjou Regency in Kamakura. After Chojumaru’s intervention in a standoff between Mima and one such samurai – which ably demonstrated both the formidability of his crew and their loyalty to him – Mima’s intrigue blossoms into full-on infatuation. Well – since Shizuku absolutely doesn’t like him, I’m sure she won’t be bothered in the least…