Shogun (1975) Chapters 36-61 (Finale)
Score: 6.5/10;
Overall Score for Part 1 & 2: 7/10
Read the Part 1 Book Review here
From Magnificent to Meh
“The book is always better” has been the long-standing belief regarding book-to-film/TV adaptations, but this is not necessarily always true. Studio Ghibli’s Howl’s Moving Castle is vastly different from Diana Wynne Jones’ original novel of the same name, yet many fans who are familiar with both prefer Miyazaki’s movie over the book. Another such example is Lord of the Rings fans preferring Peter Jackson’s thrilling trilogy over the lengthy (and at times outdated and racist) books. For FX’s SHOGUN, a drama series that has been sweeping awards shows and was arguably the most talked about TV show of 2024, the verdict is up to the reader/viewer, but the favor seems to lie more with the TV adaptation, particularly with Japanese audiences.
The original 1975 novel by James Clavell is lengthy, a whopping 1100+ pages. It goes into further detail for each of the characters, offering more internal monologue, backstory, and dialogue than the series has time for, but I can’t seem to avoid the book reader crime of making comparisons to the TV series. The scenes that were thrilling in the show are equally as exciting in the book, but overall the tone of the book and the writing is much drier. Simply put, Shogun the book is good, but in my eyes its quality is diminished by the shadow of just how magnificent the series was.
Linguistic Sins
As a native Japanese speaker, it’s difficult to overlook the egregious Japanese errors and the general feeling of annoyance of trying to slog through the Japanese used in the dialogue throughout the novel. The constant, repetitive use of “-neh?” to end a sentence is almost as annoying as Naruto ending every phrase with “-dattebayo!” (which happens to be, rather adorably, grammatically incorrect). I feel it must be said that “-neh” is technically grammatically correct, but its frequent usage is impractical and unrealistic. In modern Japanese, it’s a word young children often use to end a sentence, and is rarely used by adults in my experience. To see it spoken so often by highborn adults in formal settings, AND in what is meant to be old Japanese, it starts to feel like Clavell threw that word in to remind his audience that the characters are still speaking Japanese.
Other minor annoyances: the constant use of “so sorry” (although the fault with this phrase lies more with the way British narrator Ralph Lister reads it in the audiobook version), the completely historically inaccurate way Kiri calls the noble Lord Toranaga “Tora-chan” (the use of the –chan label didn’t even begin until the 1800s, according to the Unabridged Dictionary of the Japanese Language), and the full-length phrases of romaji that Clavell felt were necessary to include during some parts of the dialogue. The romaji sentences are cumbersome to both read and hear narrated, and makes me wish they were left out altogether.
A Turn Away from Orientalism
That being said, I was surprised to find that Clavell’s writing is less of a romantic, orientalist account of feudal Japan and more of an honest look at brutality and political scheming, especially considering the time period in which it was written and Clavell’s British background. John Blackthorne does not find himself in the Mystical East, but rather a cruel and unfamiliar landscape that continues to surprise him at every turn. I appreciated that in the latter half of the book, Blackthorne’s Japanese language skills are improving and he seems to understand more about Japan every day, yet one twist will have him questioning everything he thought he had learned. It’s a complicated and honest portrayal of the foreigner-in-Japan experience, a sentiment that can still be felt in the modern day.
“Things in Japan will never be solved by any method other than by Japanese method.”
-Mariko, Chapter 39
Clavell’s writing is not inherently racist, nor does it indicate at any point that the West is superior. It feels baffling at times that someone who was a POW during World War II could paint Japan in such a light, without resorting to ugly stereotypes and racist descriptions of the characters. He is able to capture feudal Japan in a way that other Western-made works have not. One moment that stood out to me is when Blackthorne laments how dirty his people are back home in England, while the people of Japan bathe regularly and are clean and pest-free (Chapter 40). It’s not framed as one of many gross “Asian women are so pure and clean” orientalist stereotypes, but rather as an effective means of communicating how Blackthorne reflects on the cultural differences between Japan and his home country.
Plot Recap
Following the sake-soaked fight between Blackthorne and Buntaro (Episode 5), Toranaga scolds his son Naga[kado] for his brashness and for being easily tricked by the likes of the Kasigi men. Here we have one of several interactions between Toranaga and his beloved falcon, a relationship that he likens to his many vassals.
There is news from Kiri, still in Osaka, of Toranaga’s half-brother Zataki [Saeki] joining the Regents. This is one of four great deviations between the novel and the show: in the series, Saeki meets Toranaga and feigns being his ally until his shocking dinnertime betrayal, but in the book, they have a much more hostile relationship. Toranaga is not unfazed, but unsurprised that Zataki has sided with Ishido and replaced Sugiyama on the Council of Regents (Episode 7).
The subsequent key chapters introduce the iconic Willow World scene (Episode 6), with more insight into Kiku the courtesan and Gyoko [Gin], the tea house owner. This part of the book plays out very similarly to the show, minus the introduction of, ahem, some select “pillow instruments” that (shockingly!) do not make an appearance in the series.
The second great deviation: Naga does not make an attempt on Zataki’s life, and therefore does not die. He lays low for the rest of the book, but is still very much alive at the end. I was shocked by this omission when reading the book, since Nagakado’s death (Episode 7) was such an unexpectedly integral part of Toranaga’s plan to execute Crimson Sky and win.
The third great deviation: Hiromatsu does not commit seppuku (Episode 8) in the book. While this was considered necessary in the series to keep up the illusion that Toranaga had truly given up, it’s left out entirely in the book, another shocking omission of a shocking death.
Crimson Sky pans out about the same in both book and series. Mariko arrives at Osaka Castle and demands to be allowed to leave the castle with Kiri and Lady Sazuko [Shizu No Kata]. When her request is denied, she claims she has no choice but to commit seppuku as she cannot faithfully fulfill her lord’s wishes. The seppuku is stopped at the last second by a relenting Ishido, and the castle rejoices, believing the conflict is over (Episode 9). However, the treacherous Yabu[shige] lets ninja assassins into the castle. In the ensuing battle Mariko is tragically killed by an explosion, and a grief-stricken Blackthorne mourns her loss.
“My poor darling, he thought. You knew all along there’d never be an autumn.”
-Blackthorne, Chapter 59
The fourth great deviation: the Battle of Sekigahara is not bloodless, by any means. Although the series portrays it as a relatively quick and peaceful affair (Episode 10), the book describes the battle as “the slaughter began… forty thousand heads were taken” (Chapter 61). Ishido suffers a terrible fate of being buried up to the neck in dirt, where he dies three days later. While the mention of the battle in the book is just as brief as the moment featured in the series finale, the description is far more violent and indicates the terrible cost of Toranaga winning the war.
Another Dream Within a Dream
One detail that I thought was done better in the series: Toranaga’s desire to become Shōgun of Japan. The series finale is far more subtle; as Yabushige prepares to commit seppuku, he asks Toranaga if it was his plan all along to become Shōgun. Toranaga coyly replies “why tell a dead man the future?” before Yabu takes a sword to the gut, and then the head. However, in the book Toranaga’s desire is much more direct.
“That’s what I’ve fought for and planned for all my life. I, alone, am heir to the realm. I will be Shogun. And I have started a dynasty.”
-Toranaga, Chapter 61
Without his secretive, knowing smiles and indirect answers, with book Toranaga we never really get a glimpse of what lies within his secret heart. His dream is much more direct, yes, but it ruins the surprise of what he was really working towards. TV Toranaga is much more sly and cunning, keeping viewers on their toes, while book Toranaga doesn’t shy away from being candid about his goals. I think watching TV Toranaga’s plans unfold was a far more emotionally rewarding experience overall.
Final Verdict: Worth a Read
James Clavell’s work is not perfect by any means, nor does it offer the same depth of character development for many of the main characters (the women, mostly), but I was happily surprised to find that it had aged relatively well. There was no outlandishly racist commentary or usage of stereotypes, and the world Clavell describes is a vibrant one, with the line between two countries and two cultures blurring at times.
The novel does drag a bit at certain points, and given the historically short attention spans in modern human beings, it’s easy to understand why someone would prefer dedicating ~10 hours to watching the TV adaptation than slogging through the book. However, for those who were truly captivated by the story portrayed on the big screen, the novel is worth checking out for an extra boost in character motivations and background information. By reading the book, you are only further enriching your viewer experience, and as a series fan myself I felt as though I came back with a greater appreciation for the craftsmanship that went into the series. So why not take a peek at the book… neh?
“So many marvelous things to do, once I’ve won, if I win, when I win. We are a very predictable people.”
-Toranaga, Chapter 61
Check out our Top Picks page, where you can buy the book in print or audio as well as the original 1980 series with Richard Chamberlain, Toshiro Mifune and Yoko Shimada.
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