Yuuta Yamazaki isn’t pulling any punches (with the help of animation producer Shouta Umehara). Even though this episode is boarded by fellow Wonder Egg Priority staffer Yuusuke Kawakami, Yamazaki’s style prevails through and through. A tour de fource that flexes the individual muscles of this production to strike an incredible pose, that insane creative output is also the downfall of Yuusei Matsui’s vision for the series. With The Elusive Samurai episode 2 seeing Kawakami and co stretch their wings, you get a far better picture of this work and where it aims to go.
Between the incredible heights of this second episode though, you see more and more between the cracks in its visage. The issue that arises with that is Yamazaki’s vision is so airtight that those cracks feel ever more present in Matsui’s narrative work. Humor can struggle and stall out pacing, some of the more questionable pieces can feel sour, and a direction aside from “this is beautiful” feels somewhat lacking. It’s not an issue when the series can rely on its serious intentions, and the well-executed humor from Yorishige, but as it dips its toes into more casual and comedic waters it begins to drown. The staff puts forward a lot of effort to keep those sections afloat, but it’s hard to justify against serious work that makes it seem like the difference between the two is night and day.
Thankfully, a lot of this episode has very little to do with humor (despite my complaints). Instead, it’s all about the aftermath of the fall of the Hojo clan, and how Tokiyuki finds his new purpose. Within that, and the bounds of The Elusive Samurai episode 2, Nakashima is able to shine beneath Yamazaki and Kawakami’s style. Wiping the palette or rich reds and oranges clean in this episode, Nakashima puts forward some outstanding work to convey the bleak and gray present that Tokiyuki finds himself in. It’s all one deep, challenging struggle that he faces towards all alone, and Nakashima does an incredible job of conveying that alongside Yorishige being Tokiyuki’s shining hope that breaks those gray clouds apart.
Well, Nakashima can’t completely wipe them from The Elusive Samurai episode 2. They’re used in a heavily Shinya Ohira inspired cut from Maiko Kobayashi. The fluidity of the cut, the perspective work and art style- it’s far too much for what you’d expect out of them, but it’s still here. Personally speaking, it’s one of the most impressive scene in the episode. It speaks to the height of Yamazaki’s creativity in the debut episode and stays incredibly strong within that niche of fantasy for the series.
Though, Kobayashi has some rivals in The Elusive Samurai episode 2. The next rival being Akira Hamaguchi. Lauded for their character animation throughout the years, they’re an animator that has seen relatively little acclaim, likely because of their focus on more “lowkey” sequences. That changed recently with their (singular) appearance on Jujutsu Kaisen season 2, and their trajectory in the public eye has undoubtedly changed for the better with their cut in The Elusive Samurai episode 2. Following in Kobayashi’s footsteps (outlined by Kawakami’s boarding), Hamaguchi delivers incredibly expressive, fluid, and unique character animation for the running sequence of Tokiyuki’s uncle.
The real icing on the cake appears with Sou Miyazaki’s action sequence, though. Coming from an incredible strong background of Fate/Grand Order, Eve Music Videos, and other big name franchises for animation, they were a shoe-in to deliver something special. It’s just that, what they brought was the kind of special you really don’t see in much of any anime. Continuing the trend of fantastical execution, Miyazaki delivers an electric fight sequence underpinned by its quite literally elusive combat. This trio rises above even the great animation of this second episode to truly deliver on Yamazaki and Kawakami’s vision for the series. Simply put, these are the moments that define the anime for what it is- an impossible to recreate creative vision.
I should really chat more about Kawakami’s effort in The Elusive Samurai episode 2. After all, they’re Yamazaki’s assistant director, and a very talented action director (if that wasn’t already clear). Kawakami doesn’t only excel with action, though. Their dynamic sense of style pervades the entirety of the episode as they feature plenty of camera movement that works very well against the intentionally still aspects of the episode. It’s the kind of work that might be hard to pick up on because of its intensity, but Kawakami puts a lot of effort into creating movement outside of the characters. Even just small pans and translations exist for that purpose, though the real focus is the fight sequences. The amount of movement and rotation featured in Tokiyuki’s battle against Muneshige is truly something else. It’s work that only Kawakami could bring to this episode, and it slots in perfectly as an additional piece to the vision expressed in the first episode.
Speaking of that, Yamazaki’s vision is just ridiculously strong. The use of faceless characters, the blending of reality and fantasy, the continual symbolism of demonic origins and purpose- it all remains extremely present in this episode in new and novel ways. If there was a way to frame it, I’d argue that Kawakami’s work is simply a subset of Yamazaki’s vision. A more action-forward focus that employs more of their sensibilities, but ultimately still bends to Yamazaki’s creative force. The episode screams Yamazaki, but it still allows Kawakami the space required to deliver the best moments of the series (currently).
Trying to grope for a sentiment in regards to the bigger picture of The Elusive Samurai episode 2, and the series at large, feels near impossible. The wells of Yamazaki and Kawakami’s creativity already feel near limitless, and with Umehara’s assistance, results in something impossible to contain in so few words. If there’s anything left to say about the episode, it’s the two following comments. It shouldn’t have ended so quickly, and it feels handicapped by Matsui’s story. Both are unfortunate realities to come to terms with, but both exist as a limiter on the wild potential of this staff.
Regardless of that limit, Yamazaki- and in particular Kawakami this episode- are poised to deliver the absolute most possible to viewers. Every one of the 19 1st Key Animators, and the following 21 2nd Key Animators have delivered another episode that feels like it shouldn’t be able to exist. Carrying incredible weight upon their shoulders, the entirety of this staff continues to push the boundaries of what they can do with The Elusive Samurai– and we’re only 2 episodes in. I can’t imagine where things might go as more tools appear at this fingertips of this directorial cell.
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