The Golds of Kinkakuji, Kyoto

Last year when I went to Kyoto, Kinkakuji was part of my itinerary hoping that the February winter snow will show itself on the golden structure. But because there was no weather forecast about snowing anytime in the northern part of Kyoto when we were there, add to that the unfortunate incident of the Kyoto bus leaving seconds before we reached Takayama station, which was the reason why we can’t make it back to Kyoto earlier, we decided to skip Kinkakuji. So when I was back in Japan, during the late part of November this year, 2015, I decided to come take a look.

Kinkakuji or the Golden Pavilion is actually part of Rokuonji Temple, itself inscribed as a UNESCO World Heritage site as part of the Historic Monuments of Ancient Kyoto. Originally a country villa built during the Kamakura period, Kinkakuji overlooks the pond, this time covered with fallen leaves from maple trees that also abound the area. This structure is covered with gold leaf that is truly astounding to see in any season. I went there when some of the autumn leaves were on their peak.

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Entrance to Kinkakuji is at 400 yen and it’s open from 9:00 to 17:00. I used the Kyoto City bus 205 from Kyoto station which stops at Kinkakuji Mae bus stop.



The Empire Hotel, Brunei

This is in no way a review of this majestic hotel by the South China sea, The Empire Hotel in Brunei. For a one day visit to the place is not enough to bask in the glamour and the expensiveness of the place. But my poor self had to see the glitter if only to admire them from afar. While most of what’s inside the hotel is made of gold, the place does not feel as highly valued, just like stepping into a forgotten territory where only those who are attached to what made the place significant in the first place, find comfort. For me, this reflects the rest of Brunei, where not everything that glitters is gold.

View from the beach front
View from the beach front
The South China Sea
The South China Sea

I don’t remember what I was thinking when I planned for this trip to Brunei. Maybe it was the cheap plane ticket from Penang, or the fact that it is very near Malaysia [where we’re having our corporate event]. Whatever it was, it sounded strange for almost anyone who heard that we’re coming because Brunei is not a touristy place. In fact, it is so laid back, so unhappening that I will not recommended for tourists. Establishments close early, streets are empty after 6pm, no reliable public transport, few people on public places, idle business district, empty city central, vey few restaurants, no public parks, no nightlife, etc. When you don’t have any of these outside distractions, you tend to look deep within yourself.

We went to the Empire Hotel on a weekday and interestingly, we were the only passengers in the bus. We were brought there by a fellow Filipino who works as a bus driver for about 30 minutes from the city bus center. He told us of a family he left in the Philippines in exchange for a job that in our point-of-view, doesn’t even pay that much. We learned of his longing for Filipino food, to see the face of his children, and to again sow the land that he used to tend. He went back for us after we roam around the hotel for about an hour. And for the next few days until we go back home, we again see Kuya driver who offered to show us around. It’s like he thought his bus is a car taxi. He really do miss his kababayans.

Our trip was a combination of quiet time, inner reflection, keen observation, and emphatic regard for others that I, admittedly tend to forget because of work and a busy lifestyle. So despite not having much, I feel that this Brunei trip actually gave me more. And I’ll take these kinds of travel memories over popular tourist’s attractions any day.

The Empire Hotel and Country Club Brunei
Kg Jerudong, Muara – Tutong Hwy, Brunei BG3122, Brunei


Chasing Geishas in Kyoto

While planning our Kyoto itinerary, I made sure that I get to experience Kyoto of old and new. Our first two nights in Japan were spent in Kyoto before heading to Takayama and Shirakawa-go. After these, we went back to Kyoto to explore the city some more and stayed for another two nights. In one of those nights, we decided to eat at a place recommended by the staff at our inn. We borrowed their bikes and off we went to eat a very affordable teshoku meal. I ordered a set of chicken karaage. After dinner, we headed to Gion hoping to see Kyoto’s geisha or geiko as they are known locally.

‘Gei’ means art and ‘sha’ means person. The word ‘geisha’ means, a person learned in the arts, or more accurately, a woman learned in the arts. Seeing a real geisha in Kyoto is very difficult because there are only a few of them. We traveled in February, not really a time for festivals, (Geisha stages dance performances during Gion Festival in summer) so catching them on the streets of Gion in between performances is our best bet.

The Geisha in front of us
The Geisha in front of us

Riding our bikes, armed only with our mobile phones, instant cameras, and an unbelievable resolve to get close to a real geisha, we hoped for the best and we got the best. Our serendipitous encounter with the geisha’s driver feels like we were the best straw in a barn full of hay. When the driver saw us beating the crowds, (I think to him, we looked the most desperate) he told us where the geisha was and which door she’ll use as exit. His limo was parked about a few meters from the restaurants’ back door, in my mind, this was an act of good will on his part even though it may appear like he was squealing his boss’ whereabouts. But I am glad in whatever etiquette he decided to break, because we were able to get close to a real geisha as a result. Ayee hee hee.

The Geisha at the back street
The Geisha her back to us

After tens of blurred shots, I was able to capture this video and get up close.

I console myself that she’s busy and hurriedly wants to get away from us, that’s why she appears not too friendly. But I think this is really asking more from her since we kinda ambushed her. But all in all, this is a great encounter I will always remember when thinking about Kyoto.

Rurouni Kenshin 2014: Kyoto Inferno and The Legend Ends Review

I know. I know I promised that I will write a review of Kyoto Inferno right after watching the premiere. However, I was too preoccupied with a lot of things, namely my work life and my education life, that’s why this blog has been neglected. But since I didn’t write a review of Kyoto Inferno, I figured why not write a review together with The Legend Ends? Yes, you read it right. I just got back home from watching the second and last part of the 2014 Rurouni Kenshin live-action films. I also think that a back-by-back review is more fitting since the movie was conceptualized and created as a two-part masterpiece. Warning: *Major Spoiler Alert! 

Rurouni Kenshin: Kyoto Taika-hen るろうに剣心 京都大火編

The film started strongly with a visual of Shishio’s idea of inferno. Hajime Saito, formerly, the celebrated leader of the Shogun’s Shinsengumi goes to Shishio’s hideout and was welcomed fierily by Shishiogumi (Shioshi’s group). This is a very good opening scene that let’s us meet Shishio’s character for the first time showing us how menacing he has become. It also conveyed to us the central conflict of the film, by allowing Saito to become privy of Shishio’s plans of revenge against the new government.

Rurouni Kenshin: Kyoto Inferno English Poster courtesy of Warner Bros. Pictures Japan
Rurouni Kenshin: Kyoto Inferno

After this chaos and a backgrounder on why Shishio became the way he is, we are presented with Kenshingumi (Kenshin’s group) having fun at the village festival. Kenshin Himura, former hitokiri, former rurouni, and now a peace-loving citizen, enjoys a stage play starring his legendary past self – Battosai in a mockery aptly termed ‘Bakkyusai’. The cleverness of this scene is why I have loved director Keishi Otomo ever since I watched his other great work, a long drama series called Ryomaden. With this scene, we are presented with the sharp contrast of the promise of peace in the Meiji Period versus the turbulent years of the Bakumatsu when Kenshin served as a hitokiri to topple the Shogunate government and restore power to the emperor. But like Himura Battosai whose actions as hitokiri served a purpose and can easily be judged as wrong and shameful, we are presented with a Bakkyusai, who while serving the purpose of his comedic role on the stage is also misjudged by being portrayed a fool who doesn’t know what he’s doing. When Kaoru said that as Battosai, Kenshin is now a thing of the past, we know as viewers that Kenshin’s internal battles between his past and his present self is far from over. As this is only one of the very first scenes in the film, we are also told that this is only the beginning.

No Firefly Scene but More Love from the Characters

Rurouni Kenshin, apart from being a story of repentance and redemption, is about one man’s quest for peace amidst being the center of struggles against it. While Kenshin will always be the man who is the center of all the fighting and struggles, Kaoru is the center of peace. To me she is the embodiment of Kenshin’s ideal of peace. I think this is the reason why Rurouni Kenshin is also a romantic story. Like any Rurouni Kenshin fan, I wanted the firefly scene. But since I already know that I’m not getting any since Kenshin saying goodbye to Kaoru was shown in the film’s trailer, I was not disappointed. In place of romance, the film focuses on love for the other characters. Kaoru and her little dojo family with Sanosuke, Megumi, and Yahiko; Misao, Okina, and the Oniwanbanshu at Aoiya; Arai’s family, and even Shishio and his Juppongatana. We care more because each character acted based on their principles, each a victim of the turbulent times.

Kenshin says goodbye to Kaoru
Kenshin says goodbye to Kaoru. Photo courtesy of Warner Bros. Pictures Japan

One such character is Shinomori Aoshi. Aoshi is a unique film character because his character came too late. He was supposed to be part of Takeda Kanryu’s opium dealings but his character was left out in the first Rurouni Kenshin (2012) film. Kyoto Inferno felt this miss but not too much as to make him irrelevant. As a character with a vile purpose, we are left wondering and unconvinced about his internal motivations. It’s a good thing he was played by a good actor, Yusuke Iseya. An actor I have admired for his portrayal of sickly forward-thinking Choshu retainer, Takasugi Shinsaku in Ryomaden and talented boxer, Toru Rikiishi in Ashita no Joe. After watching The Legend Ends, I was glad that his character development came full circle. This is also true for the rest of the Juppongata members, although, understandably most of them didn’t get enough screen time.

Shinomori Aoshi faces Kenshin Himura.
Shinomori Aoshi faces Kenshin Himura. Photo courtesy of Warner Bros. Pictures Japan

Major Deviations from Anime (*Major Spoilers too!)

There are at least three major plot deviations from the anime in Kyoto Inferno. These plot deviations subsequently affected the events in The Legend Ends. One is the clever Bakkyusai addition discussed before, the second is Shishio’s Black Ship leaving for Tokyo unscathed by the end of the film, and the third worth mentioning is Kaoru being kidnapped. Otomo-san explained Kaoru’s kidnapping in one of the Manila interviews. He says that for him, it was a good way to end the first film while giving Kenshin more reasons to fight Shishio and what he stands for. It was a decision I readily welcomed. Kaoru was born towards the end of the Bakumatsu, thus as a character, compared to the broken people surrounding her, she is as pure as the ideal of a new Japan. In fact, I see her being kidnapped as a symbolic gesture of Shishio, ‘kidnapping’ the ideal of peace and the symbol of the restoration efforts of the government. Kenshin’s  jumping off the ship to save Kaoru also signals the end of the first part. This scene makes Kyoto Inferno different from two-part films like The Hobbit, which literally kept you hanging. It was indeed a good way to end the first part. I felt that people who don’t realize this most likely do not appreciate film as film.

Rurouni Kenshin from the first film up to the last two shown this year have great fight choreography. I’ve seen clips of actors rehearsing their moves and sword techniques and I am left in awe at the kind of dedication each of them put into the making of the films. The actors’ intense practices are reasons the film don’t rely much on CGI but on actual sword-fighting moves. Kyoto Inferno duels that are important to watch and pay attention to are between Kenshin and Sojiro, Aoshi and Okina, Kenshin and Cho.

Kenshin amidst Meiji Police. Photo courtesy of Warner Bros. Pictures Japan
Kenshin amidst Meiji Police. Photo courtesy of Warner Bros. Pictures Japan

Some Little Details

Since I watched Kyoto Inferno more than a month ago and only writing about it now, my head is kind of blurry about small details I want to talk about. So I put them all here before moving on to The Legend Ends. First off, Kenshin’s wardrobe. In the film, Kenshin is seen wearing three kimono colors, red, bluish-grey, and off-white. As expected, each color represents a part of Kenshin’s persona. His signature red kimono is what he wears as his present, peace-loving self, Himura Kenshin. The blue kimono is when he is struggling with his inner battles, between his present and his past hitokiri self. He alternates this with the off white kimono in The Legend Ends when he was training with his master Hiko. As the slasher-battosai Kenshin, he wears off-white. This is what he wore during the burning of Kyoto battles, and in the ship where he jumps off. Second little thing. Naoki Sato’s musical score is always the perfect complement to the scene as well as One Ok Rock’s theme songs played during end credits. Third. Sano is a breath of fresh air. His mere presence lights up a scene. It also helps much that I was smitten by Mune-san with his comedic antics during his Manila visit.

Sanosuke in The Legend Ends.
Sanosuke in The Legend Ends.

And now the legend ends…

Rurouni Kenshin: Densetsu no Saigo-hen るろうに剣心 伝説の最期編

Rurouni Kenshin: The Legend Ends English Poster courtesy of Warner Bros. Pictures Japan
Rurouni Kenshin: The Legend Ends Philippine Poster courtesy of Warner Bros. Pictures

Continuing from the last scene from Kyoto Inferno, The Legend Ends open with both Hiko Seijuro XIII and Kenshin 15 years ago when Hiko first met Kenshin when he was still a young boy named Shinta. Shinta was digging graves for all those who perished including the bandits who killed his companions. Master Hiko named him Kenshin (heart of the sword) as he decides to teach him his sword style, Hiten Mitsurugi-ryu. The next scene shows present-day, unconscious Kenshin wakes up in a hut by the woods. He remembers Kaoru and is tormented when he realized he wasn’t able to save her. In fact, saving Kaoru is not even mentioned in The Legend Ends. Even tough Kyoto Inferno ended as if Kaoru will turn into a damsel in distress, Otomo-san completely abandons this possibility. In fact, it was not Kenshin who saved Kaoru. And this is a good thing. Most inexperienced directors would take advantage of this plot development; some will get carried away, but not Keishi Otomo. Kaoru was saved and the news of it puts a smile on Sato Takeru’s face. As a character, Kaoru is not someone who need saving. She is good just the way she is.

Master and Student

I deliberately did not mention Takeru in my Kyoto Inferno review. In The Legend Ends, he convinces me once again that there is no one who can play Kenshin Himura as well as him. When he convinced his master, Hiko to teach him the secret technique of the Hiten Mitsurugi-ryu, his eyes swollen from his own tears heightened by the cinematic use of pouring rain, I wanted to plead with him. When he heard that Kaoru is still alive, his eyes twinkled with his face and I smiled with him. When he shared his life lesson to Aoshi, his eyes twitched and his cheekbones beamed, and I was as reflective. When he spouted intelligent words to Sojiro, his forehead flex a little, and I nodded with him. When he heard his own inner voice affirming his will to live, his eyes were drenched in tears, and I uttered to myself, finally. His facial expressions, his physicality, and his natural moves make this portrayal a truly magnificent one. Takeru Sato is Kenshin Himura.

Hiko Seijuro XIII with young Kenshin
Hiko Seijuro XIII with young Kenshin

Fukuyama Masaharu who played Kenshin’s master Hiko is no stranger to samurai roles. He played a charming samurai as Sakamoto Ryoma in Ryomaden. In The Legend Ends, he portrayed Hiko’s arrogance, quiet, reflective nature, fatherly care for Kenshin, and masterful sword fighting techniques with such finesse. My only qualm is removing the sacrificial passing on of techniques from master to student in the film’s storyline. What makes Amekakeruryu no Hirameki such a powerful technique is the fact that in order for a student to attain this, the master sacrifices his own life. Exploration of this would require more time, which I understand, the film cannot accommodate. How I wish they made The Legend Ends into a 3-hour epic.

Kaoru and Kenshin’s Scenes

Much of the subtlety and the implied meaning pertaining to Kenshin’s and Kaoru’s relationship is all dependent on Takeru’s acting. Because for some reasons unknown to me, the Legend Ends is wanting of Kenshin and Kaoru scenes together. While Kenshin is battling his inner demons, not even a flashback of Kaoru was included. When Kaoru announced to both Sano and Yahiko that they are coming back to Tokyo, and right after receiving the ultimate secret technique of his master’s sword style, minutes apart from Kaoru’s own pronouncement, Kenshin heads to Tokyo. As a viewer, I expected their paths to cross somehow. But no. Kenshin’s happiness as he finds out Kaoru is still alive, is only shown through Takeru’s acting. The very few Kaoru and Kenshin scenes together is the only flaw I have on watching this film.

One of the few scenes of Kaoru and Kenshin
One of the few scenes of Kaoru and Kenshin

While I ponder on this, some of the plot changes may have been the reason why this is so. In the anime, all actions take place entirely in Kyoto, while in these two film versions; the first one is in Kyoto while the Legend Ends takes place in a town near Kyoto and in Tokyo where Shishio is. The second reason I guess is that Otomo-san wanted to isolate Kenshin to emphasize his inner struggle and his resolve to understand his self on his own. I am on the verge of thinking; will a film device like a flashback or an insert shot of Kaoru showing that she is in Kenshin’s mind essential for emphasis? As I said, the film relied mostly on Takeru’s acting to show us the change in his character and how his relationship with Kaoru affects his will to live. While Takeru’s acting is great, the romantic in me would still want at least one scene of them together before Kenshin’s ‘execution’.

The Fight Scenes

Aside from Kenshin’s battle with Shishio, one battle I look forward to is his battle with Seta Sojiro. Sojiro is one character whose inner battles deserved more exploration because of his complex nature. However, in the Legend Ends, internal character conflicts are resolved with one or two battles. In fact, one battle with Kenshin is what Aoshi needs, complemented by Okina and Misao’s efforts to save him.

Seta Sojiro faces Kenshin Himura. Photo courtesy of Warner Bros. Pictures Japan
Seta Sojiro faces Kenshin Himura. Photo courtesy of Warner Bros. Pictures Japan

I think Otomo-san cleverly exposed this absurdity in Kenshin’s battle with Sojiro by making Kenshin say, “If all our problems can be solved by one or two battles, then no one would ever go wrong.” And my mind lit up for Aoshi’s and Sojiro’s inner conflict. This is exactly what the film is doing. But by making the main character comment on it, somehow, I willingly accept both Sojiro and Aoshi’s conflict as resolved.

The epic battle between Kenshin and Shishio. Photo courtesy of Warner Bros. Pictures Japan
The epic battle between Kenshin and Shishio. Photo courtesy of Warner Bros. Pictures Japan

The final battle between Kenshin and Shishio is absolutely perfect. I like the fact that it was done almost like the anime version. I will not attempt to describe what happened because my eyes can’t keep up with their fast moves. I’ll just say, everyone who’s supposed to be there battled Shishio, Shishio’s sword is on fire, and Kenshin executes his final attack, Amekakeru-ryu no Hirameki. The best thing I can say really is, just go watch it! With this fight sequence alone, The Legend Ends live up to its worth.

More True to Life

I think that the main reason why the Rurouni Kenshin films are magnificent is because they are true to life. Characters are not in the realm of anime and manga anymore. They are the breathing representations of people who have lived during the Meiji Period. The film gives emphasis on the Meiji Government, adding a character not in the anime, Minister Ito. His first task as ordered by Shishio is to execute Kenshin. Together with Saito-san and the leaders of the new Meiji government, he devices a plan to role-play the execution and get to Shishio. Kenshin’s supposed execution is important to the plot because we see right before our eyes that Shishio is not as mad as he is portrayed. The government is about to commit the same injustice awarded to him in the person of his sempai, Kenshin Himura, the Battosai. We understand Shishio more and the people are confronted with a question, can we trust this new government?

The ideal of peace against the fragile foundations of the new government is the back draft of the Rurouni Kenshin films. Because the films are more true to life, we are more immersed to the milieu, more invested with the characters – making us travel back in time, in a world greatly different from ours.  And we enjoyed our wonderful journey. I know I did. 🙂


Kenshin Himura: Takeru Sato
Kaoru Kamiya: Emi Takei
Sanosuke Sagara: Munetaka Aoki
Megumi Takani: Yu Aoi
Yahiko Myojin: Taketo Tanaka
Hajime Saito: Yosuke Eguchi
Aoshi Shinomori: Yusuke Iseya
Nenji Kashiwazaki: Min Tanaka
Misao Makimachi: Tao Tsuchiya
Soujiro Seta: Ryunosuke Kamiki
Yumi Komagata: Maryjun Takahashi
Makoto Shishio: Tatsuya Fujiwara
Toshimichi Ookubo: Kazufumi Miyazawa
Ito Hirobumi: Yukiyoshi Ozawa
Cho Sawagejo: Ryosuke Miura
Misao Makimachi: Tao Tsuchiya
Hoji Sadojima: Kenichi Takito
Anji Yukyuzan: Tomomi Maruyama
Usui Uonuma: Mitsu Murata
Kamatari Honjo: Hiroko Yashiki
Saizuchi: Kentaro Shimazu
Fuji: Kota Yamaguchi
Seijuro Hiko: Masaharu Fukuyama

Director: Keishi Ohtomo
Executive Producer: William Ireton
Producer: Shinzo Matsuhashi
Original Comic: Nobuhiro Watsuki
Screenplay: Kiyomi Fujii and Keishi Ohtomo
Cinematography: Takuro Ishizaka
Production Designer: Sou Hashimoto
Action Director: Kenji Tanigaki
Music: Naoki Sato

Planning and Production: Warner Bros. Pictures Japan, Studio Swan
Theatrical Distribution: Warner Bros. Pictures Japan
International Sales: Gaga Corporation

© Watsuki Nobuhiro/ Shueisha. © 2014 “Rurouni Kenshin” Production Committee


Running Time: 139 Minutes
Screen Size: 2.35:1
Japanese Theatrical Release: August 1, 2014


Running Time: 135 Minutes
Screen Size: 2.35:1
Japanese Theatrical Release: September 13, 2014

Rurouni Kenshin るろうに剣心 京都大火編 Manila Premiere

Rurouni Kenshin: Kyoto Taika Hen るろうに剣心 京都大火編  Manila Premiere will be held tomorrow, 6 August 2014 at SM Megamall. The premiere night will be attended by stars Takeru Satoh, Emi Takei, and Munetaka Aoki with Director Keishi Ohtomo. I was one of the lucky people who won passes to the event. I will be writing a film review after watching. 🙂

UPDATE! – Review of Rurouni Kenshin Kyoto Inferno and The Legend Ends si here.

Rurouni Kenshin Kyoto Taika Hen Premiere Night in Manila on August 6, 2014
Rurouni Kenshin Kyoto Taika Hen Premiere Night in Manila on August 6, 2014


The International Express Train from Butterworth to Bangkok

Malaysia and Thailand are neighboring countries that can easily be reached by land transportation. I was in the island of Penang last May and I decided to spend a few days in Thailand’s capital, Bangkok. We are staying in Palau, Penang at Hotel Equatorial and we asked the hotel staff to drop us off at Butterworth Station. From Butterworth we took Thailand’s International Express train to Bangkok’s Hualamphong Station.

My companions sleeping in the train.
My companions sleeping in the train.

The train left at 14:30 and scheduled to arrive the following day at 10:30. This train runs this direction only once a day, so make sure to secure your reservations. On the train, it was a smooth ride for us but overall, there were a lot of things needing improvement to make this ride a comfortable experience. When we entered the train, the first thing I noticed are the dirty seats. This is a second class sleeper train and no doubt offering only second-class services and amenities. The seats are dirty, and these same seats are transformed as beds at night. Dirty seats with blasting air conditioner – that no matter how meticulously I scrub off the dirt, they wouldn’t come off. When the attendant prepared the beds, it was a happy consolation that they have bed sheets that look like they were washed. If not, I can’t imagine how anyone can sleep here and actually pay for it.

Inside the train curtains give privacy to passengers
Inside the train curtains give privacy to passengers
This picture was taken after we got off at Hualamphong Station in Bangkok. At least they get the used bedsheets.
This picture was taken after we got off at Hualamphong Station in Bangkok. At least they collect the used bedsheets.

It was nearing dusk when we reached the Malaysia and Thailand border where we all need to get off for immigration. After that, the whole ride took us to rural Thailand with views of rice paddies, industrial sites, and empty fields.

View from the train
View from the train
View from the moving train
View from the moving train

Riding this train for convenience sake is recommended but don’t expect comfort. For its price, you get to your destination as promised but don’t expect anything fancy. And for the record, you have been warned.

Front of the Train, taken after we got off
Front of the Train, taken after we got off

Finding My Way Through Life

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