Aoshi himself is close enough to his anime counterpart down to the bangs (which is admittedly unusual in Real Life). All characters affiliated with the Oniwabanshu are regular human beings, most notable with Aoshi Shinomori's subordinates (none of them freakish in body shape or aesthetic).Adaptational Attractiveness: Played with across all the newly-introduced characters, which makes sense considering the more realistic aesthetics of the film:.She's also not as affected by Aoshi's madness compared to the source material.
Possibly also inverted with Misao since she is aware of the tragic fates of Aoshi's comrades in this continuity.Even Sano, the only one voicing how upset he is about it, wasn't as angry in this continuity. Inverted with Kaoru, Megumi and Yahiko, who didn't take Kenshin leaving for Kyoto as hard as in the source material.Compared to the source material, Aoshi has been grieving the deaths of his fallen comrades for a whole if not over a decade.Actually Pretty Funny: Kenshin's first scene has him watching a kabuki play where the villain is pretty obviously a hammy expy of himself, but he just sits and laughs with the rest of the audience.Rurouni Kenshin: Kyoto Inferno contains examples of: This film is followed by Rurouni Kenshin: The Legend Ends, which was released one month later.
0 kommentar(er)
