Shōgun is a great war epic that never actually shows us any war
24.04.2024 - 15:29
/ polygon.com
[Ed. note: This post contains spoilers for the end of Shōgun.]
Just before he’s forced to commit seppuku in the final moments of Shōgun, Yabushige demands to know how Toranaga’s plan to overthrow Ishido will play out. At this moment, Shōgun shows us a glimpse of tens of thousands of soldiers across five armies amassed on a battlefield. The entire series has seemingly been building up to this point — the training of the cannon regiment, Toranaga’s half-brother shifting his alliance, the Regents all signing a declaration of war — and yet just before the battle is set to begin, Ishido is delivered a note letting him know that the heir’s army will abstain from the battlefield. Without the heir’s banner, the other Regents will turn on him before the battle even begins. But this is just Toranaga’s plan; Shōgun never actually shows us any war.
It’s subversive never to have any war in a historical war epic, with Toranaga’s subversion delaying his impeachment vote (and any declaration of war) until the ninth episode. Most movies or TV shows in the genre set up the narrative to give the viewer a satisfying and violent conclusion to the tension that’s been building, like the final stand in The Return of the King, the faceoff in Braveheart, or even the last stand of The Last Samurai (which is also about a Western military man landing in Japan, and shares some crew with Shōgun). In essence, no matter how brutal and bloody the fight is, an explosive battlefield is the natural climax to the story arc. These movies and shows also often land on one implied conclusion: War, no matter how disgusting it may be, is a justified, even virtuous endeavor.
But while the war genre often posits a “good side” to root for over the evil one, Shōgun complicates the conception with Toranaga, who spends most of the series plotting in the background toward an alliance with key adversaries rather than preparing to fight them. Toranaga is cunning, ruthless, and willing to sacrifice his closest friends if it means he can avoid an all-out war. His motivations are what make Shōgun such a compelling show — while at the same time forcing audiences to reexamine their expectations of a historical war epic.
For Toranaga in Shōgun, there’s only one evil side: war itself. In his final speech to Yabushige, Toranaga describes his dream: “A nation without wars. An era of great peace.” Key to his calculus, however, is his willingness to sacrifice those dearest to him to achieve this peace. From the moment Ochiba returned to Osaka, Toranaga had been prepping Mariko (and her thoughts about death) to make a final appeal to gain allegiance from the heir’s army. And, knowing since the pilot that Yabushige was bound to betray him, Toranaga’s orchestration