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History - Musical Verse
Even though the game has been adapted into two anime series, five stage productions, five main musicals, and a live-action movie, the creators have said that everything is supplemental material and still canon, though each branching off point becomes its own canon. So, Ishikirimaru’s game information carries over to his characterization in the two musicals in which he finds himself, but he wouldn’t have any memories of the first anime adaptation since I’ve chosen not to play him from that branch.
The trivia section on Ishikirimaru’s wiki page explains the probable inspirations for his character in-game, as there is no known sword called Ishikirimaru. The character page also houses all of his in-game dialogue, which gives you a good idea of his day-to-day character. The real meat and potatoes come from those two musicals I mentioned above.
The first is Atsukashiyama Ibun, or the story of Mount Atsukashi (where Yoshitsune is said to have committed seppuku). The History Retrograde Army (or the Time Retrograde Army, translations differ; they’re The Bad Guys) has stepped in to keep Minamoto no Yoshitsune and his loyal follower, Musashibou Benkei, from dying when they should have back in 1189. So the saniwa sends out a team consisting of the five Sanjou-made blades (Mikazuki Munechika, Kogitsunemaru, Ishikirimaru, Imanotsurugi, and Iwatooshi, the latter two belonging to Yoshitsune and Benkei, respectively) and the much younger Kashuu Kiyomitsu to go back in time and fix it. And by fix it, I mean they have to make sure Yoshitsune and Benkei actually die this time, whoops. Imanotsurugi struggles with the mission since he loves Yoshitsune so much, Iwatooshi tries his best to keep Imanotsurugi from doing anything rash while also dealing with seeing Benkei again, and Kashuu needs a nap after dealing with five old men who have their own way of acting, which is very different from his own.
Kashuu and Ishikirimaru kind of get off on the wrong foot, as well. Kashuu is made captain of the team, and the others make no fuss about that choice, but during one of the early fights of the mission, it’s evident that they are going to be overwhelmed and Ishikirimaru urges Kashuu to retreat. Even when Imanotsurugi is injured moments later and Ishikirimaru tries to persuade Kashuu again, the younger sword still pushes on, wanting to figure out the situation, but he eventually realizes they have to fall back for the time being.
When they return to the Citadel to recuperate, Ishikirimaru confronts Kashuu about why he didn’t retreat immediately, calling him out on his recklessness. Kashuu defends himself saying the Shinsengumi would fight regardless of losses (and Kashuu belonged to a Shinsengumi member, so he would know), but Ishikirimaru reminds him that their current team isn’t the Shinsengumi and that he should think about who is really responsible for Imanotsurugi’s injury. It’s a straight-forward case of two clashing ideologies.
Eventually the team goes back out into the field only for Imanotsurugi to run off and join forces with Yoshitsune, despite knowing that they have to right history instead of turn a blind eye to the changes made. The rest of the team decides to split up to look for a secret passage into Yoshitsune’s encampment, though in Kogitsunemaru’s case, he leaves to give Kashuu and Ishikirimaru time alone to come to an understanding (he actually spends that time out of sight to make sure they make up). In short, Kashuu confesses that he did think about the consequences of the fight that left Imanotsurugi injured and realizes that while he thinks he did the right thing as their captain, he didn’t do right as their friend and the saniwa clearly made him captain so he would realize that. Ishikirimaru confesses that he doesn’t like war, which reminds Kashuu that Ishikirimaru spent most of his time around people praying for healing, so of course he wouldn’t like actual fighting. Then they come to the understanding that despite their differences in upbringing, so to speak, they can’t ignore the fact that they are still weapons and have to act accordingly.
The rest of the musical focuses on the other swords after this, keeping more of Ishikirimaru’s growth for a later date. But basically, they find Imanotsurugi again, finally convince him to come back to their side, and ensure that Yoshitsune and Benkei die like they should have to begin with. H…appy ending?
Ishikirimaru’s second musical inclusion is in Mihotose no Komoriuta, or the Three Hundred Year Lullabye, which he narrates as he tries to write down their story. The plot gets going when two swords, Nikkari Aoe and Ookurikara are on an expedition, which is game speak for gathering resources, back in 1543. Only they realize that the HRA has appeared and murdered some people, including the father of a baby that is suddenly hoisted upon Nikkari.
Back at the Citadel, the saniwa talks to Ishikirimaru privately and the audience is only privy to the end of the conversation as Ishikirimaru says the mission won’t be easy, but that he’ll “do it.” Do what? Only time will tell. The saniwa then announces that he’s lost contact with Nikkari and Ookurikara so he sends a smaller team, headed up by Ishikirimaru, to go find them. The others are Tonbokiri, Monoyoshi Sadamune, and Sengo Muramasa.
They head out and find Nikkari and Ookurikara quickly enough, along with the baby, and Monoyoshi excitedly announces that he knows this baby because he used to belong to him. It’s Tokugawa Ieyasu! Good news! Monoyoshi has insider information about Ieyasu. Bad news! All of Ieyasu’s retainers and family were the people that were murdered and they very much can’t just leave such an important baby to fend for himself. So Ishikirimaru suggests that all of them take on the roles of the slain retainers and raise Ieyasu while fighting off the HRA. Ishikirimaru announces he will play the role of Hattori Hanzo, and this will come into play much later on. Nikkari, Tonbokiri, and Monoyoshi all agree to this plan with varying degrees of reluctance, while Ookurikara and Sengo refuse to play along. Ookurikara is a loner, you see, and constantly reminds anyone and everyone that he isn’t “here to make friends.” Sengo, on the other hand, is a Muramasa blade and legend states that those blades are cursed. The Tokugawa family definitely believed that, so Sengo is more than happy to watch from the sidelines.
The four swords raise Ieyasu to adulthood and eventually he has a son, Nobuyasu. But, of course, this is also the Warring States period and everyone’s fighting and battle after battle occurs, so the swords, still acting as retainers, have to participate. Which is fine for literally everyone except Ishikirimaru. Everyone else was used in battle or at least was close to it, but Ishikirimaru was a shrine sword. He doesn’t like war. He’s not used to it. And while he can fight off the HRA well enough – they’re not human, which is good, but they’re still alive and that’s not good – fighting actual humans just doesn’t sit well with him. But Ishikirimaru never shares these feelings with the others.
Ookurikara, however, relishes the fight, so much so that even when the Battle of Okehazama in 1560 draws to a close, he speaks up about how it’s a shame it’s over. Ishikirimaru especially doesn’t like this and draws him in for a fight in order for Ookurikara to get his energies out. It comes to a draw, but Ieyasu arrives to make sure his retainers are safe and unharmed and expresses his amazement at Ookurikara’s skill. When he asks for the sword’s name, Ishikirimaru steps in and gives another dead retainer’s name, effectively dragging Ookurikara into this charade very much against his will. Needless to say, it doesn’t endear him to Ishikirimaru in the slightest and the two have a strained relationship from that moment on.
As Nobuyasu grows up, it becomes apparent that he’s grown close to Ishikirimaru in particular, which isn’t a surprise as he spent a lot of time raising him, like he did with Ieyasu. The boy even dresses in green, just like Ishikirimaru, and has an interest in the natural world as opposed to studying sword-fighting, even if he knows it’s something he has to do. Nobuyasu also befriends a peasant named Gohei whom Ookurikara saved in battle some years before and despite their class differences, it’s a friendship that lasts into Nobuyasu’s adulthood.
But as Ishikirimaru reminisces on Nobuyasu reaching adulthood, we see some raw emotions from him, something other than his expected kindness. As he narrates the story, he confesses his doubts. “Why am I by his side? What am I going to do? Isn’t there another way?” It’s vague, but real, and clearly something bigger is at play here.
And then he rips out that page of the story, keeping his feelings secret.
Sometimes in the mid-1570s, Sengo finally joins up with the team, taking on his own historical role to keep history in line. But then when Ishikirimaru isn’t among the group, they all start to wonder aloud what is to be done about Nobuyasu and the fact that Ieyasu is supposed to order him to commit seppuku in the future. Except from where they stand currently, they see no reason why Ieyasu will do such a thing. To make matters worse, Nikkari remembers that supposedly Ieyasu had asked Hattori Hanzo to assist in the suicide. Hattori Hanzo, of course, who is currently being played by Ishikirimaru.
That can’t be good, huh.
And then, in the battle of Nagashino against Takeda Shingen in 1575, the HRA shows up and Gohei is killed. This upsets Ookurikara who doesn’t like getting attached to people for this exact reason. And why did he get involved so deeply again? Because Ishikirimaru forced his hand. When Ishikirimaru visits Gohei’s grave and apologizes, Ookurikara shows up and the two have a second swordfight, only this time, Ishikirimaru can tell that Ookurikara isn’t doing it just for the sake of fighting, but that he has real reasons behind his attacks. His “sword has become heavier.” Nikkari comes by to pay his own respects after Ishikirimaru leaves and explains to Ookurikara that Ishikirimaru doesn’t like war, but that he suspects he keeps fighting regardless in an effort to end all wars. It’s not necessarily enough for Ookurikara to completely forgive Ishikirimaru, but it does help him understand him better.
All too soon, a few years pass and we make it to 1579, more specifically October 5th of that year. The date seems to slip past the other swords until Ishikirimaru announces he can’t stay to spend time with them because he’s going to kill Nobuyasu. Monoyoshi, again, having been close to Nobuyasu by proxy of having belonged to Ieyasu, argues with Ishikirimaru and tries to stop him, wondering why he has to kill an innocent man. Ishikirimaru defends himself by explaining that history will change if he doesn’t do this, even if he has no good reason. Before he leaves, he also says it doesn’t matter if he’s innocent or not, but that nothing can justify taking a life. He puts on a strong face during all of this, for the benefit of the others, but mostly for himself.
Because when he meets up with Nobuyasu, the young man has just had a fight with his father when he said he didn’t want to fight anymore as wars only bring about suffering and death. He’s distraught, not sure what to do, certain he can never be like his father. And while on any other day Ishikirimaru would undoubtedly have something to say to cheer him up, he stays silent, trying to steel himself to do what he knows needs to be done. Then Nobuyasu asks Ishikirimaru to kill him, thinking it would be better for everyone if he didn’t succeed his father.
Ishikirimaru takes a few moments, then finally unsheathes his sword. This the moment their entire mission has led up to, after all, and he’s the one who took this role upon himself. He has to do it, despite caring so much for Nobuyasu. History must be upheld.
…Except when the moment calls for it, Ishikirimaru can’t bring himself to raise his sword.
And then the Kebiishi show up.
The swords have been in that time period for over thirty years, which is far too long for anyone, and so it’s only expected that forces other than the HRA would try to eradicate them, but then Ishikirimaru wasn’t able to kill Nobuyasu, either, and that’s only added onto the list of wrongs that need righting. The Kebiishi fights with the swords, but eventually wounds Nobuyasu in the process. As Ishikirimaru holds him, Nobuyasu dies in his arms. Ishikirimaru grows angry as a result and fights harder than before, along with the others, until the Kebiishi is finally defeated.
Fast-forward nearly forty years when Ieyasu lies on his deathbed. One by one, the swords all come by to stand by his side one last time, listening as he talks of how he was able to build a peaceful world after all the fighting he did. Yet, even after all these years, he regrets the death of Nobuyasu, apologizing over and over for the way things ended up.
But then another figure enters the stage. It’s Nobuyasu, who didn’t die after all. But he’s abandoned his name and instead took up that of Gohei, becoming a simple farmer. It’s enough to offer Ieyasu some peace, as well as to smooth over old wounds between them. Then Ieyasu passes away in the company of his closest friends and his son.
Back at the Citadel, life goes on as usual and Ishikirimaru continues writing the story as best as he can, as well as working on the sketches of the swords involved. Maybe one day he’ll finish it. Only time will tell.
The trivia section on Ishikirimaru’s wiki page explains the probable inspirations for his character in-game, as there is no known sword called Ishikirimaru. The character page also houses all of his in-game dialogue, which gives you a good idea of his day-to-day character. The real meat and potatoes come from those two musicals I mentioned above.
The first is Atsukashiyama Ibun, or the story of Mount Atsukashi (where Yoshitsune is said to have committed seppuku). The History Retrograde Army (or the Time Retrograde Army, translations differ; they’re The Bad Guys) has stepped in to keep Minamoto no Yoshitsune and his loyal follower, Musashibou Benkei, from dying when they should have back in 1189. So the saniwa sends out a team consisting of the five Sanjou-made blades (Mikazuki Munechika, Kogitsunemaru, Ishikirimaru, Imanotsurugi, and Iwatooshi, the latter two belonging to Yoshitsune and Benkei, respectively) and the much younger Kashuu Kiyomitsu to go back in time and fix it. And by fix it, I mean they have to make sure Yoshitsune and Benkei actually die this time, whoops. Imanotsurugi struggles with the mission since he loves Yoshitsune so much, Iwatooshi tries his best to keep Imanotsurugi from doing anything rash while also dealing with seeing Benkei again, and Kashuu needs a nap after dealing with five old men who have their own way of acting, which is very different from his own.
Kashuu and Ishikirimaru kind of get off on the wrong foot, as well. Kashuu is made captain of the team, and the others make no fuss about that choice, but during one of the early fights of the mission, it’s evident that they are going to be overwhelmed and Ishikirimaru urges Kashuu to retreat. Even when Imanotsurugi is injured moments later and Ishikirimaru tries to persuade Kashuu again, the younger sword still pushes on, wanting to figure out the situation, but he eventually realizes they have to fall back for the time being.
When they return to the Citadel to recuperate, Ishikirimaru confronts Kashuu about why he didn’t retreat immediately, calling him out on his recklessness. Kashuu defends himself saying the Shinsengumi would fight regardless of losses (and Kashuu belonged to a Shinsengumi member, so he would know), but Ishikirimaru reminds him that their current team isn’t the Shinsengumi and that he should think about who is really responsible for Imanotsurugi’s injury. It’s a straight-forward case of two clashing ideologies.
Eventually the team goes back out into the field only for Imanotsurugi to run off and join forces with Yoshitsune, despite knowing that they have to right history instead of turn a blind eye to the changes made. The rest of the team decides to split up to look for a secret passage into Yoshitsune’s encampment, though in Kogitsunemaru’s case, he leaves to give Kashuu and Ishikirimaru time alone to come to an understanding (he actually spends that time out of sight to make sure they make up). In short, Kashuu confesses that he did think about the consequences of the fight that left Imanotsurugi injured and realizes that while he thinks he did the right thing as their captain, he didn’t do right as their friend and the saniwa clearly made him captain so he would realize that. Ishikirimaru confesses that he doesn’t like war, which reminds Kashuu that Ishikirimaru spent most of his time around people praying for healing, so of course he wouldn’t like actual fighting. Then they come to the understanding that despite their differences in upbringing, so to speak, they can’t ignore the fact that they are still weapons and have to act accordingly.
The rest of the musical focuses on the other swords after this, keeping more of Ishikirimaru’s growth for a later date. But basically, they find Imanotsurugi again, finally convince him to come back to their side, and ensure that Yoshitsune and Benkei die like they should have to begin with. H…appy ending?
Ishikirimaru’s second musical inclusion is in Mihotose no Komoriuta, or the Three Hundred Year Lullabye, which he narrates as he tries to write down their story. The plot gets going when two swords, Nikkari Aoe and Ookurikara are on an expedition, which is game speak for gathering resources, back in 1543. Only they realize that the HRA has appeared and murdered some people, including the father of a baby that is suddenly hoisted upon Nikkari.
Back at the Citadel, the saniwa talks to Ishikirimaru privately and the audience is only privy to the end of the conversation as Ishikirimaru says the mission won’t be easy, but that he’ll “do it.” Do what? Only time will tell. The saniwa then announces that he’s lost contact with Nikkari and Ookurikara so he sends a smaller team, headed up by Ishikirimaru, to go find them. The others are Tonbokiri, Monoyoshi Sadamune, and Sengo Muramasa.
They head out and find Nikkari and Ookurikara quickly enough, along with the baby, and Monoyoshi excitedly announces that he knows this baby because he used to belong to him. It’s Tokugawa Ieyasu! Good news! Monoyoshi has insider information about Ieyasu. Bad news! All of Ieyasu’s retainers and family were the people that were murdered and they very much can’t just leave such an important baby to fend for himself. So Ishikirimaru suggests that all of them take on the roles of the slain retainers and raise Ieyasu while fighting off the HRA. Ishikirimaru announces he will play the role of Hattori Hanzo, and this will come into play much later on. Nikkari, Tonbokiri, and Monoyoshi all agree to this plan with varying degrees of reluctance, while Ookurikara and Sengo refuse to play along. Ookurikara is a loner, you see, and constantly reminds anyone and everyone that he isn’t “here to make friends.” Sengo, on the other hand, is a Muramasa blade and legend states that those blades are cursed. The Tokugawa family definitely believed that, so Sengo is more than happy to watch from the sidelines.
The four swords raise Ieyasu to adulthood and eventually he has a son, Nobuyasu. But, of course, this is also the Warring States period and everyone’s fighting and battle after battle occurs, so the swords, still acting as retainers, have to participate. Which is fine for literally everyone except Ishikirimaru. Everyone else was used in battle or at least was close to it, but Ishikirimaru was a shrine sword. He doesn’t like war. He’s not used to it. And while he can fight off the HRA well enough – they’re not human, which is good, but they’re still alive and that’s not good – fighting actual humans just doesn’t sit well with him. But Ishikirimaru never shares these feelings with the others.
Ookurikara, however, relishes the fight, so much so that even when the Battle of Okehazama in 1560 draws to a close, he speaks up about how it’s a shame it’s over. Ishikirimaru especially doesn’t like this and draws him in for a fight in order for Ookurikara to get his energies out. It comes to a draw, but Ieyasu arrives to make sure his retainers are safe and unharmed and expresses his amazement at Ookurikara’s skill. When he asks for the sword’s name, Ishikirimaru steps in and gives another dead retainer’s name, effectively dragging Ookurikara into this charade very much against his will. Needless to say, it doesn’t endear him to Ishikirimaru in the slightest and the two have a strained relationship from that moment on.
As Nobuyasu grows up, it becomes apparent that he’s grown close to Ishikirimaru in particular, which isn’t a surprise as he spent a lot of time raising him, like he did with Ieyasu. The boy even dresses in green, just like Ishikirimaru, and has an interest in the natural world as opposed to studying sword-fighting, even if he knows it’s something he has to do. Nobuyasu also befriends a peasant named Gohei whom Ookurikara saved in battle some years before and despite their class differences, it’s a friendship that lasts into Nobuyasu’s adulthood.
But as Ishikirimaru reminisces on Nobuyasu reaching adulthood, we see some raw emotions from him, something other than his expected kindness. As he narrates the story, he confesses his doubts. “Why am I by his side? What am I going to do? Isn’t there another way?” It’s vague, but real, and clearly something bigger is at play here.
And then he rips out that page of the story, keeping his feelings secret.
Sometimes in the mid-1570s, Sengo finally joins up with the team, taking on his own historical role to keep history in line. But then when Ishikirimaru isn’t among the group, they all start to wonder aloud what is to be done about Nobuyasu and the fact that Ieyasu is supposed to order him to commit seppuku in the future. Except from where they stand currently, they see no reason why Ieyasu will do such a thing. To make matters worse, Nikkari remembers that supposedly Ieyasu had asked Hattori Hanzo to assist in the suicide. Hattori Hanzo, of course, who is currently being played by Ishikirimaru.
That can’t be good, huh.
And then, in the battle of Nagashino against Takeda Shingen in 1575, the HRA shows up and Gohei is killed. This upsets Ookurikara who doesn’t like getting attached to people for this exact reason. And why did he get involved so deeply again? Because Ishikirimaru forced his hand. When Ishikirimaru visits Gohei’s grave and apologizes, Ookurikara shows up and the two have a second swordfight, only this time, Ishikirimaru can tell that Ookurikara isn’t doing it just for the sake of fighting, but that he has real reasons behind his attacks. His “sword has become heavier.” Nikkari comes by to pay his own respects after Ishikirimaru leaves and explains to Ookurikara that Ishikirimaru doesn’t like war, but that he suspects he keeps fighting regardless in an effort to end all wars. It’s not necessarily enough for Ookurikara to completely forgive Ishikirimaru, but it does help him understand him better.
All too soon, a few years pass and we make it to 1579, more specifically October 5th of that year. The date seems to slip past the other swords until Ishikirimaru announces he can’t stay to spend time with them because he’s going to kill Nobuyasu. Monoyoshi, again, having been close to Nobuyasu by proxy of having belonged to Ieyasu, argues with Ishikirimaru and tries to stop him, wondering why he has to kill an innocent man. Ishikirimaru defends himself by explaining that history will change if he doesn’t do this, even if he has no good reason. Before he leaves, he also says it doesn’t matter if he’s innocent or not, but that nothing can justify taking a life. He puts on a strong face during all of this, for the benefit of the others, but mostly for himself.
Because when he meets up with Nobuyasu, the young man has just had a fight with his father when he said he didn’t want to fight anymore as wars only bring about suffering and death. He’s distraught, not sure what to do, certain he can never be like his father. And while on any other day Ishikirimaru would undoubtedly have something to say to cheer him up, he stays silent, trying to steel himself to do what he knows needs to be done. Then Nobuyasu asks Ishikirimaru to kill him, thinking it would be better for everyone if he didn’t succeed his father.
Ishikirimaru takes a few moments, then finally unsheathes his sword. This the moment their entire mission has led up to, after all, and he’s the one who took this role upon himself. He has to do it, despite caring so much for Nobuyasu. History must be upheld.
…Except when the moment calls for it, Ishikirimaru can’t bring himself to raise his sword.
And then the Kebiishi show up.
The swords have been in that time period for over thirty years, which is far too long for anyone, and so it’s only expected that forces other than the HRA would try to eradicate them, but then Ishikirimaru wasn’t able to kill Nobuyasu, either, and that’s only added onto the list of wrongs that need righting. The Kebiishi fights with the swords, but eventually wounds Nobuyasu in the process. As Ishikirimaru holds him, Nobuyasu dies in his arms. Ishikirimaru grows angry as a result and fights harder than before, along with the others, until the Kebiishi is finally defeated.
Fast-forward nearly forty years when Ieyasu lies on his deathbed. One by one, the swords all come by to stand by his side one last time, listening as he talks of how he was able to build a peaceful world after all the fighting he did. Yet, even after all these years, he regrets the death of Nobuyasu, apologizing over and over for the way things ended up.
But then another figure enters the stage. It’s Nobuyasu, who didn’t die after all. But he’s abandoned his name and instead took up that of Gohei, becoming a simple farmer. It’s enough to offer Ieyasu some peace, as well as to smooth over old wounds between them. Then Ieyasu passes away in the company of his closest friends and his son.
Back at the Citadel, life goes on as usual and Ishikirimaru continues writing the story as best as he can, as well as working on the sketches of the swords involved. Maybe one day he’ll finish it. Only time will tell.