Good news, everyone: The subtitles have been fixed for the previous episode of The World Is Dancing, which means the pivotal performance of “Komachi at the Gravepost” can finally be enjoyed by those of us who have yet to get our Japanese language certifications. I’m glad it finally worked out, too, because the context of that performance really is pivotal to understanding just why Oniyasha’s performance goes over so well when it concludes here in “To the Other Side of the Bridge.” It’s one thing for the judge to explain the obvious symbolism of the stage and performance acting as a bridge to the netherworld, which is to say they both, in tandem, invite the audience to reflect on the daily struggles and everyday triumphs of mortal life. Knowing that the original dialogue is all about an old woman arguing for empathy and mercy from an overly academic and dogmatic Buddhist monk helps to make this point all the more realized.

Of course, the real message is for the Shogun himself, which Yoshimitsu begrudgingly acknowledges as a brilliant play. For all of his pride, the man cannot berate the boy for showing him the simple truth that the shogunate holds the lives of all citizens, even the lost and forgotten, in his hands. It’s a great conclusion to an all-around showstopper of a performance…but I do have some reservations. Namely, I wish we got more insight into Oniyasha’s whole creative process. For this entire season, so much emphasis has been placed on the boy discovering his creative process and forming an artistic perspective, and yet the most pivotal performance of his life arrives fully formed without giving us a look at how it all shook out. The only concession that Oniyasha gives is the admission that he relied heavily on the source material that his father developed, but that makes his victory feel more hollow, as if he himself barely realizes what he has accomplished.

At the very least, the whole ordeal gives us a much deeper look into Zojiro’s perspective, and you have to feel for the boy. Imagine witnessing a rival put on a show so incredible that it causes the doomed future of an entire art form flashing before your eyes. Since we’re omniscient time travelers viewing all of this from the comfort of our side of the fourth wall, we know full well that Sarugaku defeats Dengaku in the culture wars and goes on to shape the tradition of Noh theater. That doesn’t make things any easier for poor Zojiro, who has to shoulder the burden of his mother’s untimely death while also facing up to the shame of simply not being good enough to compete on Oniyasha’s level.

Thankfully, the Shogun defers to Oniyasha after Zojiro throws his tantrum and tries to withdraw from the whole competition, and our little genius is as gracious as you’d hope. Even more than the prospect of seeing how Zojiro uses this defeat to inspire his own growth as an artist, I loved seeing the breakthrough that caused him to seek out his rival and beg for a chance to collaborate. Great minds think alike.

Also, I can’t be the only one who was fully convinced that Oniyasha and Zojiro were going to start kissing in the middle of that dramatic rainstorm, right? Or was that just me?

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James is a writer with many thoughts and feelings about anime and other pop-culture, which can also be found on BlueSky, his blog, and his podcast.

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