Nobuhiro Watsuki

Rurouni Kenshin Vol. 7 by Nobuhiro Watsuki introduces Saito, a swordsman who feels genuinely capable of matching Kenshin. The tension of the arc comes less from the clash itself and more from Saito’s deliberate attempts to provoke a response, drawing Kenshin back toward behaviours he has tried to leave behind. There’s a sense here of Kenshin not just fighting an opponent, but negotiating with an earlier version of himself.

As usual, Watsuki threads in historical detail to ground the show more story, which adds a layer of texture even as the focus stays on character. The closing twist shifts the context in a way that feels significant without fully resolving things, so I’m curious to see how the series builds from here. show less

Rurouni Kenshin Volume 5 by Nobuhiro Watsuki

This volume brings a three episode bonus story centred on Yahiko as he tries to learn to fight on his own. It also introduces Isurugi Raijuta, whose vision of a rebirth of Japanese swordplay is rooted in strength above all else, setting him in a direct values based contrast with Kenshin. Tsukayama Yutaro appears as both rival to Yahiko and potential new student for Kaoru’s dojo.

As with previous volumes, one of my favourite elements remains the show more author’s notes. It is interesting to see how the series was evolving alongside its adaptations, but even more compelling to glimpse Watsuki’s response to early readers and his candid reflections on the struggle to stay focused and keep producing work. There is something reassuring in that reminder that creative difficulty is universal.

Gender balance continues to feel like the series’ most persistent tension. Tsubame’s introduction as a weak willed damsel in distress for Yahiko, something even acknowledged in the notes, reads very much as a product of its time. In contrast, Kaoru is allowed to step more fully into her role as teacher, both in guiding Yahiko and in her interaction with Yutaro. Her willingness to challenge Raijuta adds to that sense of growth, though it is slightly undercut when Kenshin immediately intervenes.

The series remains enjoyable, particularly in the banter between characters and its confident embrace of the setting. The steady rhythm of one on one fights is repetitive, but also intrinsic to a samurai narrative. Kenshin’s resistance to killing continues to function as a principled centre, even as the story inevitably glorifies his superior strength and skill when he prevails. With Raijuta’s conflict unresolved by the end, this volume feels less self contained than some of its predecessors, more like a hinge than a complete arc. show less

Volume 4 completes the arc surrounding Megumi’s rescue, following Kenshin, Sanosuke, and Yahiko as they confront the Oniwabanshū. Kenshin faces two significant battles, while Sanosuke takes centre stage in his own, allowing the volume to broaden its focus beyond Kenshin alone.

One of the continuing highlights for me remains Watsuki’s interspersed reflections. His commentary on responsibility in depicting violence for young male readers, and his pushback against overly black-and-white show more interpretations of the war, add a layer of thoughtfulness that enriches the work. These authorial asides feel like an ongoing conversation and make it clear that this series wants to engage with moral complexity rather than simple power fantasy.

I particularly appreciated the expanded backstory for Aoshi. His motivations are explored with enough nuance to move him beyond a straightforward antagonist, and the emphasis on pride, loyalty, and loss gives his actions emotional weight rather than reducing them to villainy for plot convenience.

That said, I’m still finding the Kaoru–Megumi dynamic frustrating. Kaoru too often slips back into the role of the jealous woman who can’t cook, which feels especially limiting given how few female characters there are. Her brief moment reflecting on the importance of range while teaching Yahiko was a welcome reminder of her credibility and skill, and I wish the narrative leaned into this version of Kaoru more consistently rather than undercutting her with tired tropes.

Unlike some other reviewers, I continue to really enjoy the pauses in the action where fighting styles are explained and strategies unpacked. These moments add clarity and texture, and they reinforce the idea that battles are about knowledge, adaptability, and restraint rather than brute force alone.

Overall, this volume deepens the moral and emotional stakes of the series, even if some character dynamics still feel dated. I’m very much invested at this point and keen to see how the next arcs continue to balance action with reflection. show less

With Kenshin having chosen to stay at the Kamiya Dojo in Volume 1, this instalment first completes the arc of his meeting with Sagara Sanosuke, who soon finds his own place at the dojo as well. The next arc follows a request from the police for help dealing with the murderer Jin-e Kurogasa, who cruelly exploits Kenshin’s care for Kaoru to push him toward the brink of compromising his values. The final segment introduces Takani Megumi and an opium-related plotline that hints at much wider show more corruption.

I’ve continued to really enjoy the story and can absolutely see why people are so fond of this series. I’m now keen to seek out the anime at some point, and Watsuki’s frequent notes about excitement over both the anime and the “CD book” feel like a constant little conversation with the reader - a charming window into the time of publication.

I also continue to appreciate how Meiji-era history is threaded into the narrative. The decision to spotlight the treatment of Sagara Sōzō and the Sekihō Army, despite advice against doing so, is one I really respect. It reinforces that this isn’t just an action series, but one that actively wants to engage with historical injustice and memory.

My one slight drawback was that Kaoru felt a little more sidelined in this volume. From earlier notes by Watsuki, this may partly be down to practical issues like how difficult her hair is to draw, but I would still have liked to see her exert more agency. That said, the moment where she frees herself and, in doing so, helps prevent Kenshin from crossing his own moral line was a satisfying form of redemption. I did briefly find it a little hard to follow exactly what had happened to her in that sequence, and it might have benefited from one of Watsuki’s helpful explanatory notes.

Overall, though, this remains an engaging, thoughtful continuation, and I’m very much looking forward to where the next volume takes things. show less