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The Sound of Waves
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Key Information
The Sound of Waves (潮騒, Shiosai) is a 1954 novel by the Japanese author Yukio Mishima. It is a coming-of-age story of the protagonist Shinji and his romance with Hatsue,[1] the beautiful daughter of the wealthy ship owner Terukichi. For this book, Mishima was awarded the Shincho Prize from Shinchosha Publishing in 1954. It has been adapted for film five times.
Plot
[edit]Shinji Kubo lives with his mother, a pearl diver, and his younger brother, Hiroshi. He and his mother support the family because Shinji's father died in World War II after the fishing boat he was on was strafed by an American bomber. However, the family lives a somewhat peaceful life and Shinji is content to be a fisherman along with his master, Jukichi Oyama, and another apprentice, Ryuji.
Things change when Terukichi Miyata, after the death of his son, decides to bring back the daughter he adopted away to pearl divers from another island. Raised as a pearl diver, the beautiful Hatsue wins many admirers, including Shinji. The prospect of marrying Hatsue becomes even more attractive when the wealthy Miyata intends to adopt the man who marries Hatsue as his own son and heir. Shinji and Hatsue soon fall in love.
When Chiyoko, the daughter of the Lighthouse-Keeper and his wife, returns from studying at a university in Tokyo, she is disappointed to discover Shinji, whom she has affections for, has fallen in love with someone else. She takes advantage of the jealous Yasuo Kawamoto, an arrogant and selfish admirer of Hatsue, and uses Yasuo to spread vicious rumours of Shinji stealing away Hatsue's virginity. Jealous because he thinks that Shinji will take Hatsue's virginity, Yasuo tries to rape Hatsue at night when it's Hatsue's turn to fill up her bucket of water. The attempt is unsuccessful when he is stung by hornets as he tries to strip her clothes off. Humiliated, he makes a deal with Hatsue: he will refill the bucket and carry it down the stone steps for her, and Hatsue must not tell anyone he was trying to rape her.
When Terukichi finds out the rumor, he forbids Hatsue to see Shinji, but through Jukichi and Ryuji, the two manage to continue communicating with one another by means of secret letters. Terukichi steadfastly refuses to see Shinji for an explanation and when Shinji's mother, who knows her son will never deliberately lie, goes to see Terukichi, his refusal to see her only increases the tension between Shinji and Hatsue. Chiyoko, before returning to Tokyo, becomes filled with remorse after Shinji off-handedly replies that she is pretty when she asks him if he thinks she is unattractive. She returns to Tokyo with guilt that she ruined Shinji's chance at happiness.
Terukichi mysteriously employs Yasuo and Shinji on one of his shipping vessels. When the vessel is caught in a storm, Shinji’s courage and willpower allow him to brave the storm and save the ship. Terukichi's intentions are revealed when Chiyoko's mother receives a letter from Chiyoko, who refuses to return home, explaining that she feels she cannot return and see Shinji unhappy because she was the one who started the rumors. The lighthouse keeper's wife confronts Terukichi, who reveals that he intends to adopt Shinji as Hatsue's husband. Employing the boys on the ship had been a test to which one was most suitable for his daughter and Shinji's act to save the vessel had earned Terukichi’s respect and permission to wed his daughter.
Adaptations
[edit]An animated adaptation was released in North America by Central Park Media.[2] Five live action adaptions have been released in 1954, 1964, 1971, 1975 and 1985.
Further reading
[edit]- Exquisite Nothingness: The Novels of Yukio Mishima by David Vernon (Endellion Press, 2025, ISBN 978-1739136130). Chapter Four: 'The Sound of Waves: Greeks Bearing Gifts', pp.123-40
References
[edit]- ^ "潮騒" (in Japanese). kotobank. Retrieved 2021-01-05.
- ^ "New Video Releases." Central Park Media. February 8, 2003. Retrieved on October 10, 2009.
The Sound of Waves
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The Sound of Waves (Japanese: Shīosai, 潮騒) is a 1954 novel by Japanese author Yukio Mishima that depicts an idyllic romance between two young villagers on the remote island of Uta-jima, modeled after the real-life Kamishima in postwar Japan.[1] The story centers on Shinji Kubo, an 18-year-old fisherman from a modest background, and Hatsue Miyata, the daughter of the island's wealthiest ship owner and a skilled pearl and seaweed diver, whose innocent love is tested by village gossip, jealousy from peers, and opposition from Hatsue's father.[2] Set against the rhythms of island life and the sea, the narrative draws inspiration from classical sources like the ancient Greek romance Daphnis and Chloe, blending mythic elements with a celebration of traditional values such as purity, community harmony, and resilience.[1]
Published by Shinchosha in 1954 and awarded the Shincho Prize the same year, the novel was translated into English by Meredith Weatherby and released by Alfred A. Knopf in 1956, marking one of Mishima's early international successes.[3] Unlike much of Mishima's oeuvre, which often explores themes of torment, decay, and nationalism—as seen in works like Confessions of a Mask (1949) and the Sea of Fertility tetralogy (1965–1970)—The Sound of Waves stands out as his most joyous and optimistic tale, romanticizing a pre-modern, nature-attuned existence amid Japan's rapid Westernization after World War II.[1] Key motifs include the sea as a symbol of both peril and spiritual renewal, the protagonists as archetypal heroes embodying lost cultural ideals, and the tension between individual desire and collective social norms.[1] The novel has been praised for its poetic prose, vivid evocation of island customs—from fishing rituals to ama diving—and its uplifting resolution, earning acclaim as "a sunny masterpiece" from the Los Angeles Times and "a joyous and lovely thing" from the New York Times.[2] Adapted into films multiple times, beginning with a 1954 version directed by Senkichi Taniguchi, it remains a cornerstone of Mishima's legacy, highlighting his versatility in capturing both beauty and the human spirit's endurance.[1]
Across these versions, alterations from the source material are minimal.[47] Casting often drew from Tokyo-based actors, though this choice boosted commercial appeal by leveraging star power.[45] The 1954 film, in particular, achieved significant box office success, grossing well in postwar Japan and helping establish Mishima's narrative as a staple for cinematic romance.[42] No major international awards were won by these adaptations, but they collectively reinforced the novel's enduring visual appeal through recurring sea imagery and themes of purity amid societal norms.[47]
Background and Publication
Author Context
Yukio Mishima, originally named Kimitake Hiraoka, was born on January 14, 1925, in Tokyo, Japan, into a family of the lesser nobility.[4] His early years were marked by a sheltered upbringing, including time spent under the care of his paternal grandmother, Natsu, who immersed him in classical Japanese literature and traditional values, fostering a deep appreciation for the country's cultural heritage.[4] Although he initially pursued a practical path by studying German law at the Imperial University of Tokyo (now the University of Tokyo) and graduating in 1947 amid the postwar reconstruction, Mishima soon abandoned bureaucratic ambitions for a literary career.[5] His breakthrough came with the publication of Confessions of a Mask in 1949, a semi-autobiographical novel that explored themes of identity and concealment, earning critical acclaim and establishing him as a prodigious talent in Japan's postwar literary scene at the age of 24.[5] Mishima's literary sensibilities were shaped by a blend of indigenous and foreign influences, including an early fascination with Japanese mythology—drawn from texts like the Kojiki—and classical works such as The Tale of Genji, which informed his interest in elegant, timeless narratives of human emotion.[4] He also drew inspiration from Western authors, particularly the French writer Raymond Radiguet, whose novel Count Orgel Opens the Ball (1924) profoundly impacted Mishima's youth, guiding his approach to crafting pure, idyllic love stories infused with psychological depth and tragic inevitability.[6] By 1954, at the age of 29, Mishima had solidified his position as a versatile and prolific writer, increasingly drawn to depictions of rural Japanese life as an antidote to the encroaching urban modernity of postwar Japan.[7]Composition and Release
Yukio Mishima drew inspiration for The Sound of Waves from a 1953 research trip to the area around Kamishima in Mie Prefecture, where he visited the island and its lighthouse, locations that informed the fictional Uta-jima, aiming to capture the rhythms of traditional fishing village life largely untouched by mainland influences.[8] During this visit, Mishima corresponded with local figures such as a lighthouse keeper to gather authentic details on island customs and seascapes. The novel was drafted between 1953 and 1954, reflecting Mishima's intent to evoke a sense of purity and harmony amid Japan's evolving society.[9] The work, titled Shiosai in Japanese, was published directly as a complete book by Shinchōsha on June 10, 1954, earning immediate recognition with the first Shinchō Prize for its lyrical depiction of coastal existence. The English translation, handled by Meredith Weatherby and featuring illustrations by Yoshinori Kinoshita, appeared in 1956 under Alfred A. Knopf, introducing international audiences to the story's serene romance.[10] Composed shortly after the end of the American occupation in 1952, The Sound of Waves emerged during Japan's early postwar economic recovery, a period marked by rapid industrialization and the tension between enduring rural traditions and encroaching modernization.[11] This backdrop underscored Mishima's focus on unspoiled island communities as a counterpoint to urban transformation, highlighting cultural preservation in a nation rebuilding from wartime devastation.[12]Narrative Elements
Plot Summary
The Sound of Waves is set on the fictional island of Uta-jima, a remote fishing community in post-World War II Japan, where the inhabitants' lives revolve around the sea and traditional livelihoods such as fishing and pearl diving.[13][14] The protagonist, Shinji Kubo, is an 18-year-old fisherman and pearl diver, the son of a deceased war hero, who lives modestly with his mother and younger brother in a thatched house near the shore.[13][14] While out at sea on the fishing boat Taihei-maru, Shinji catches a glimpse of a beautiful young woman diving for shellfish from the cliffs, igniting his infatuation; he soon learns she is Hatsue Miyata, the 18-year-old daughter of Terukichi Miyata, the island's wealthiest ship owner.[13][14] Meanwhile, gossip spreads through the village when Terukichi sends a postcard from Tokyo announcing Hatsue's betrothal to Yasuo Kawamoto, the arrogant son of another affluent family and Shinji's rival among the young men.[14] Despite this, Shinji encounters Hatsue by chance near an abandoned watchtower while she is searching for a lost item, and they share their first conversation, quickly developing a mutual attraction.[13][14] Over subsequent secret meetings at the watchtower and on secluded beaches, Shinji and Hatsue fall deeply in love, exchanging kisses but adhering to Hatsue's insistence on preserving her virginity until marriage, drawing inspiration from classical tales of pure love.[13][14] Their budding romance is jeopardized when Chiyoko, the jealous daughter of the lighthouse keeper and a former acquaintance of Shinji, spies on them and spreads rumors of impropriety to her brother, who informs Yasuo.[13][14] Enraged and entitled by the betrothal, Yasuo lures Hatsue to a remote spot and attempts to assault her, but his efforts are thwarted when a swarm of hornets attacks him, leaving him injured and humiliated.[13][14] The incident fuels village gossip about Hatsue's supposed impurity, which reaches Terukichi upon his return; outraged by the class disparity and the scandals, he confines Hatsue to their home, beats her, and explicitly forbids any contact with Shinji.[13][14] Undeterred, the lovers communicate through secret letters delivered by Ryuji, a fellow fisherman, while Shinji's mother pleads with Terukichi for mercy, only to be rebuffed.[13][14] Chiyoko, remorseful for starting the rumors after a conversation with Shinji, attempts to make amends but withdraws from village life in shame.[14] To resolve the conflict and test the young men's worth, Terukichi hires Shinji and Yasuo as apprentices on his freighter, the Utajima-maru, for a voyage to deliver freight to the mainland.[13][14] During the return journey, a fierce typhoon strikes, causing the cargo to shift and threatening to sink the ship; while Yasuo cowers in fear below deck, Shinji repeatedly dives into the raging sea to secure the load with ropes, demonstrating extraordinary bravery and saving the vessel.[13][14] The captain reports Shinji's heroism to Terukichi, who, prioritizing character and diligence over wealth, retracts his opposition and grants permission for Shinji and Hatsue to marry.[13][14] The couple's engagement is announced to the delighted village, and they celebrate their union at the lighthouse, vowing eternal fidelity as the sound of waves echoes their harmonious future.[13][14] The narrative unfolds in third-person omniscient style with an episodic structure that mirrors the rhythmic, cyclical patterns of island life.[13][14]Characters
Shinji Kubo serves as the protagonist of The Sound of Waves, an 18-year-old fisherman from the impoverished Kubo family on the isolated island of Uta-jima. Tall, handsome, and physically strong, he is depicted as hardworking and pure-hearted, apprenticed on the fishing boat Taihei-maru alongside older fishermen like Ryuji and the young Jukichi, driven by a sense of duty to support his widowed mother and younger brother.[15][16] His character arc revolves around his innocent first love for Hatsue, which motivates him to prove his resilience and worth through perilous sea voyages, including a typhoon, ultimately earning social acceptance and embodying traditional ideals of masculinity tied to labor and nature.[17][18] Hatsue Miyata, the novel's female lead, is the beautiful and innocent 18-year-old daughter of the island's wealthiest man, adopted after her biological parents' death and trained as a skilled ama diver. Shy yet brave and morally steadfast, she embodies filial piety and purity, resisting physical intimacy with Shinji out of respect for tradition despite their mutual affection, which begins with an accidental meeting at a cove.[15][19] Her arc tests her character through a damaging rumor of "defilement" spread by rivals, forcing her to navigate social scrutiny and her father's opposition, yet she grows in resolve, affirming her identity through love and village life.[18][17] Terukichi Miyata, Hatsue's adoptive father and the island's pragmatic businessman, owns two freighters and has risen from poverty to wealth, earning the nickname "Uncle Teru" for his imposing confidence. Initially antagonistic toward Shinji due to class differences and the defilement rumor, he enforces strict social norms by separating the lovers and sending Hatsue away for etiquette training.[15][20] His arc shifts dramatically when he learns of Shinji's heroism during the typhoon on the freighter, demonstrating the young man's bravery and diligence, leading Terukichi to approve the marriage and recognize the couple's compatibility.[17] Yasuo Kawamoto functions as Shinji's rival, a 19-year-old from a prosperous family who leads the island's Young Men's Association with brash entitlement and impulsiveness. Lazy and lustful, he boasts of sexual exploits and attempts to assault Hatsue in a cave, highlighting moral contrasts with Shinji's integrity; his vengeful spreading of the defilement rumor stems from jealousy and rejection.[15] Yasuo's arc culminates in humiliation and exclusion, underscoring the narrative's emphasis on ethical conduct over privilege.[17] Supporting characters enrich the interpersonal dynamics. Tomi, Shinji's widowed mother, is a resilient pearl diver who quietly supports her sons' ambitions despite her fears of their independence, providing emotional stability amid family hardships.[15] Hiroshi, Shinji's excitable 12-year-old brother, adds levity with his impetuous energy and greed for small adventures, contrasting Shinji's maturity while reinforcing familial bonds.[15] Chiyoko, the insecure daughter of the lighthouse keeper and a university student from Tokyo, harbors unrequited feelings for Shinji, fueling her jealousy; her melancholic self-doubt leads her to initiate gossip via an anonymous letter, complicating the lovers' relationship before she seeks partial redemption.[15][17] The characters' interrelations drive the narrative through romantic tension between Shinji and Hatsue, whose pure bond evokes the archetypal lovers Daphnis and Chloe from ancient Greek pastoral romance, tested by class conflicts and rumor-based scandals.[15][21] Terukichi's paternal authority clashes with Yasuo's disruptive rivalry, while supporting figures like Tomi and Chiyoko amplify themes of community gossip and familial loyalty, highlighting contrasts between island purity and external influences.[18][11]Themes and Motifs
Nature and Isolation
In Yukio Mishima's The Sound of Waves, the island of Uta-jima functions as a vivid character in its own right, serving as a microcosm of pre-modern Japanese society insulated from the encroaching influences of the mainland. The surrounding sea, dense forests, and frequent storms create a natural barrier that preserves the islanders' traditional way of life, emphasizing communal harmony and self-sufficiency. This setting, depicted through lush, sensory descriptions of the rugged coastline and untamed wilderness, underscores the inhabitants' deep interdependence with their environment, where daily existence revolves around fishing and seasonal rhythms rather than urban modernity.[22][23] The sea and waves hold profound symbolic weight throughout the novel, embodying eternal cycles of life and renewal while evoking both passion and peril. The rhythmic crashing of waves, from which the title derives, mirrors the ebb and flow of human emotions, particularly the intense, unspoken desires of the protagonists, and represents the inexorable forces of nature that both nurture and threaten. Storms, in particular, symbolize destructive peril that tests human resilience, as seen in scenes where the sea's fury isolates individuals and demands submission to its power for survival. These elements highlight nature's dual role as a source of vitality—through bountiful harvests and calm waters—and a reminder of mortality's precariousness.[22] Mishima integrates mythological elements from both Japanese folklore and Western traditions to elevate nature's presence, portraying it as a divine enforcer of moral purity. References to sea gods and ancestral spirits drawn from Japanese lore infuse the island's rituals with sacred significance, while echoes of the Greek myth of Daphnis and Chloe—encountered by Mishima during his 1952 visit to Greece—blend with local customs to create a timeless pastoral idyll. Practices like pearl diving represent resilience, physical endurance, and the pursuit of beauty amid nature's challenges, reinforcing the characters' ties to the island's traditional life and their harmony with the environment.[23][24] The isolation imposed by Uta-jima's geography strengthens community bonds and upholds traditional values, offering a nostalgic counterpoint to post-World War II Japan's rapid urbanization and moral erosion. By shielding residents from mainland corruption, the island fosters empathy, mutual aid, and reverence for nature's lessons, as inhabitants learn to embody its resilience and purity in their interactions. This seclusion evokes a yearning for untouched landscapes amid the era's social upheavals, capturing Mishima's post-war reflection on lost innocence and the enduring appeal of pre-modern harmony.[22][23]Love and Social Norms
In Yukio Mishima's The Sound of Waves, the central romance between Shinji Kubo, a young fisherman, and Hatsue Miyata, the daughter of a wealthy ship owner, is portrayed as an idealized, chaste love that draws inspiration from classical pastoral idylls such as Longus's Daphnis and Chloe. Their relationship unfolds through innocent encounters amid the natural beauty of Utajima island, where physical intimacy is restrained, symbolizing purity and moral integrity against the temptations of modernity. This depiction echoes the ancient Greek tale's emphasis on virginal affection tested by external forces, with Shinji and Hatsue's bond remaining unconsummated until societal approval is secured, highlighting love as a harmonious force aligned with traditional virtues rather than impulsive desire.[11][25] The lovers face significant social barriers rooted in Japan's post-war rural hierarchies, including a stark class divide that positions Shinji's humble fishing background against Hatsue's privileged family status, compounded by her father's initial opposition and the pervasive influence of village gossip. Parental authority enforces conformity, as Hatsue's father arranges her engagement to a more socially suitable suitor, while rumors spread by rivals like Yasuo threaten their reputation and isolate them within the tight-knit community. These elements underscore how communal expectations in a traditional fishing village prioritize social stability over personal affection, creating obstacles that test the resilience of their bond. Gender dynamics in the novel reinforce traditional roles, with women positioned as custodians of family honor, exemplified by Hatsue's subjection to a virginity trial orchestrated by her father to verify her purity amid slanderous accusations. This ordeal emphasizes the burden on females to embody chastity as a reflection of familial and communal integrity, reflecting traditional Japanese expectations of feminine virtue. In contrast, men like Shinji are depicted as providers and protectors, their masculinity affirmed through physical feats such as daring pearl dives that demonstrate heroism and economic contribution, ultimately earning social acceptance. Such portrayals reflect the patriarchal structures of mid-20th-century Japanese society, where gender expectations dictate romantic viability.[23] Mishima subtly critiques these norms by illustrating the tension between individual romantic desire and collective obligations, yet resolves it through adherence to tradition, as Shinji and Hatsue's union is sanctified via a formal marriage ritual that reconciles personal passion with societal harmony. This outcome suggests a nostalgic affirmation of communal values, where love triumphs not by subverting norms but by proving its compatibility with them, offering a conservative vision of resolution in the face of modernization's disruptions. The narrative thus balances critique with reinforcement, portraying social structures as both constraining and redemptive.Reception and Legacy
Critical Response
Upon its publication in 1954, The Sound of Waves received praise for its lyrical prose and depiction of a pastoral idyll, offering an escape from the traumas of World War II through its idyllic portrayal of island life.[26] The novel's optimistic tone and simple romance were highlighted as a departure from the darker themes in Mishima's other works, with critics noting its emotional depth and universal appeal in evoking youthful love amid natural beauty.[27] Donald Keene included an excerpt from the novel in his 1956 anthology Modern Japanese Literature, helping introduce Western readers to post-war Japanese fiction's lighter facets.[28] Criticisms emerged in the 1950s, particularly from Japanese left-wing reviewers who accused the book of sentimentality and an overly idealized view of rural traditions, viewing it as escapist amid Japan's rapid post-war industrialization and social upheaval.[29] In mid-20th-century analyses, scholars drew comparisons to Homer's Odyssey for the novel's mythic structure, where the sea voyage and trials of the protagonist Shinji parallel Odysseus's journey of endurance and return, underscoring themes of heroism and homecoming in an isolated setting.[30] Post-2000 scholarship has explored eco-critical dimensions, interpreting the island's harmony with nature as a meditation on human interdependence with the environment, where the sea symbolizes both sustenance and peril.[30] In the 2020s, studies have linked the theme of island isolation to contemporary climate concerns, viewing Uta-jima's vulnerability to storms as a prescient allegory for rising seas and environmental fragility.[30] The novel has been frequently anthologized in collections of Japanese literature.Cultural Impact
The Sound of Waves has played a significant role in Japanese education, particularly as a text that introduces students to themes of tradition and post-war societal values. Since the 1960s, it has been incorporated into high school literature curricula to explore cultural expectations and the interplay between individual desires and communal norms in rural settings.[31] This educational emphasis underscores the novel's value in teaching the preservation of Japanese customs amid modernization.[32] The novel's influence extends to Japanese literature, where it contributed to the development of narratives centered on coastal and island life, often termed "sea literature."[9] Internationally, the book's romantic depiction of young love in a traditional fishing village has inspired modern young adult fiction focusing on similar themes of innocence and social barriers in non-urban settings.[33] Socially, The Sound of Waves resonates in contemporary discussions of rural depopulation and cultural preservation in Japan, highlighting the tensions between tradition and economic pressures in coastal areas. Set on a fictional island modeled after locations in the Izu Peninsula, the story reflects ongoing efforts to maintain fishing village heritage amid declining populations.[34] On the international stage, the novel has shaped Western perceptions of Mishima as a romantic storyteller, contrasting with his later nationalist and extremist phases. Its translation into multiple languages, including English, French, and Spanish, has amplified Mishima's global reputation and introduced audiences to nuanced aspects of post-war Japanese identity.[35] Scholars have cited it in analyses of identity reconstruction following World War II, emphasizing themes of purity and community resilience.[36]Adaptations
Film Versions
The novel The Sound of Waves by Yukio Mishima has been adapted into five live-action films in Japan, all titled Shiosai, spanning from 1954 to 1985, each capturing the core romance between young fisherman Shinji and pearl diver Hatsue amid class tensions and rivalry on a remote island. These adaptations generally remain faithful to the novel's plot, emphasizing the protagonists' innocent love, the antagonist Yasuo's jealousy, and the redemptive power of nature, though later versions occasionally heighten dramatic elements like the rivalry or incorporate contemporary casting choices.[37][38][39][40][41]| Year | Director | Key Cast (Shinji / Hatsue) | Notable Details |
|---|---|---|---|
| 1954 | Senkichi Taniguchi | Akira Kubo / Kyôko Aoyama | Black-and-white; released the same year as the novel; faithful to the source material's plot and themes of love overcoming social barriers; commercially successful, contributing to the early popularity of Mishima's work on screen.[37][42] |
| 1964 | Kenjirô Morinaga | Mitsuo Hamada / Sayuri Yoshinaga | Black-and-white production focusing on visual motifs of the sea and isolation; emphasizes the dramatic rivalry between Shinji and Yasuo more intensely than the novel's subtler tensions.[38][43] |
| 1971 | Shirô Moritani | Katsuhiko Sasaki / Midori Kiuchi | Highlights the novel's motifs of nature and youthful passion; includes stronger visual emphasis on island life and the lovers' forbidden encounters.[39][44] |
| 1975 | Katsumi Nishikawa | Tomokazu Miura / Momoe Yamaguchi | Color film appealing to younger audiences through popular idols; praised for its energetic depiction of romance.[40][45] |
| 1985 | Tsugunobu Kotani | Shingo Tsurumi / Chiemi Hori | The fifth adaptation, maintaining the plot's sensuality in scenes like Hatsue's assault by Yasuo while underscoring environmental harmony with the sea; noted for its polished production values.[41][46] |