Chapter 22: The Road to Iwanami

The 35mm film, once a simple circular reel, snakes its way around small pillars to reach the other side, winding itself back into a disc. It has no inkling that, after passing through a glass-like lens, the images it carries will be projected onto a monitor. Even less does it notice that the hand which pulled it—the hand that threaded it through—has only three fingers.

Since the days of the Fangwen era, the Iwata Group had been transitioning into the entertainment industry, so the members actually possessed some specialized skills. Take, for instance, the old man currently handling the editing, Shimazu Kei. While editing work is best performed by someone with all their limbs intact, the reality is that everything is done by machine now; as long as the thumb and index finger are functional enough to guide the film, it is not much of a problem.

*Violent Man* is the work of Takeshi Iwata, and as the director, he naturally has to oversee the editing. But to be honest, he feels more like a pretentious artist these days. Film editing in the future is so much more convenient—digital technology and the internet have made it incredibly easy, removing almost all barriers to entry. That is exactly why being a "content creator" has become a viable profession.

Right now, watching the film wind back and forth through the little pillars on the editing deck, one cannot help but feel a sudden surge of realization: *This is what making a movie is really about!* The sense of ritual is complete.

But Takeshi Iwata has to hide his excitement. He cannot appear too much like a time-traveler, right? Besides, he needs to focus on the edit; many of the plot points require his specific direction. As for the story of *Violent Man*, it is quite simple, and the clapboard marks were clear during filming, so the veteran Shimazu Kei has no trouble cutting it together. Working in tandem, their efficiency is high.

They have to stop and rest every so often. Although the monitor bears the Sony logo, those screens are known for their heavy saturation, which tires the eyes easily.

"Young Master, I heard from Ichigyo that you’ve been asking about that 'Big Sister Takenaka'."

"That’s right."

Shimazu Kei is a veteran who has served two generations; he should know a great deal of history. Takeshi Iwata has been interested in Big Sister Takenaka for quite some time.

"Let’s put it this way: four years ago, we... well, what I mean is, among the many brothers I know, no one had ever heard of this 'Big Sister Takenaka'."

"Oh? You mean..."

"Boss Takenaka left us suddenly, and the situation at home was clear to everyone, but there was no sign of any 'Big Sister Takenaka' back then."

"Go on."

"Later... I’m not sure when exactly, rumors started spreading that Boss Masahisa Takenaka had an illegitimate daughter, and that woman is the one we now call 'Big Sister Takenaka'."

"Has it been about a year?"

"Just about."

"I see..."

"Young Master, to be honest, I suspect this woman might be a fake."

"You’ve read my mind, but given the current situation..."

"Exactly. Regardless of the truth, we cannot afford to be negligent."

The information Shimazu Kei provided is truly vital to Takeshi Iwata. When was four years ago? It was the time of the Yama-Ichi War and the assassination of Masahisa Takenaka. If what Shimazu says is true—that no one had heard of this woman until about a year ago—her identity is highly suspicious.

However, in the context of the Yakuza, this "Big Sister Takenaka" still possesses a degree of plausibility. Generally, a Yakuza either has children in their teens—much like Yusuke Urameshi, who, although a manga character, is quite representative—or they have children in their forties, as a "late-life blessing." Why is that? What about the years in between? When you are constantly caught up in bloodshed, there is no time to raise children.

Thinking of this, Takeshi Iwata inexplicably associates it with the "996" work culture. If you are stuck in a 996 grind, how could you possibly have time to raise a child? See? It is practically the same thing. Could one formulate an equation: Yakuza = Showa-era programmer?

*What kind of nonsense is this!* Iwata shakes these thoughts away.

In terms of age, Big Sister Takenaka fits perfectly. Moreover, her tattoo is definitely not fake. Yakuza tattoos are not done with the modern, painless machines; they use traditional methods, sometimes even sharpened bamboo sticks, and the process is excruciatingly painful. Speaking of bamboo tattoos, one cannot help but think of a certain Canadian...

Judging by the size of the tattoo, one can certainly tell who is more senior. This is why Ken Shimura was able to create that legendary sauna tattoo skit.

Bringing his thoughts back, Iwata asks Shimazu: "Did you suspect it from the very beginning?"

The editing room is quite enclosed, but Shimazu still lowers his voice: "No one dares to say Big Sister Takenaka is a fake right now, but many of the older brothers feel that something is off. Besides, Young Master, you know it too, don't you? The events of four years ago, at their core..."

Iwata says nothing, only nods. Four years ago, of course, refers to the Yama-Ichi War. Does he understand what Shimazu is implying? In truth, the crux of the Yama-Ichi War—the real reason for the violent struggle between the two factions of the Yamaguchi-gumi—was a clash of ideologies.

Why couldn't Hiro Yamamoto secure the position of leader? It was understandable that the Third Generation had designated Kenichi Yamamoto, but why did Fumiko Yamaguchi insist on bringing up Masahisa Takenaka? And why was Takenaka so arrogant?

Hiro Yamamoto was a man who kept his hair neatly combed, his suit perfectly pressed, and wore large-framed glasses. He had no trace of a killer's aura; he was no different from a businessman. The path he proposed was for the Yamaguchi-gumi to move away from gambling and drugs and focus on legitimate business. That was the reason! Fumiko represented the violent faction, while Hiro Yamamoto represented the pacifist faction. In the end, the conflict resorted to violence.

Shimazu then brings up two other names. "Suo and Moriyama—I truly cannot fathom their situation."

Iwata nods again. If one follows the previous intelligence, coupled with the fact that the Moriyama Group previously tried to muscle in on the Iwata Group, it becomes clear: Suo and Moriyama also want to make money in the entertainment industry; they are not part of the violent faction. So, isn't it contradictory for them to be seeking out Big Sister Takenaka? And the fact that Kazuko Takenaka came to find Iwata to win him over...

"Young Master, please be careful."

Iwata gives Shimazu a confident smile. "I understand. From the moment Big Sister Takenaka stepped into our group, those two old bastards, Suo and Moriyama, were never going to let us be."

Shimazu looks relieved. After a few more words, he returns to editing. Takeshi Iwata watches the progress, but his mind is elsewhere. For now, he has acknowledged Takenaka’s status, and her aura as a "Big Sister" seems authentic. However, the current result of her actions is clear: she has escalated the conflict between the Iwata, Suo, and Moriyama groups. Surely she isn't doing all this just for that?

Forget it. Better to focus on the film; this movie cannot be allowed to fail.

***

Red Romance remains as romantic as ever.

"Big Sister Takenaka didn't come today."

"Oh, I see."

Suo and Moriyama are drinking and smoking once again, yet the person they were waiting for never arrived. As they watch the waiter leave, the conversation opens up.

"Brother, you’ve heard it too, haven't you?"

"Yeah."

"That kid Iwata... could it be that he was connected to Big Sister Takenaka all along?"

"It’s possible!"

Both men recall the incident involving the ten million yen. Even Iwata himself had forgotten about it. Well, that’s fair; one only remembers what hurts. The two Yakuza start to deduce: Big Sister Misora definitely stands with the old guard of the Third Generation. Although there is no evidence that Big Sister Takenaka is one of Misora’s people, they are likely in the same camp. Iwata knew the truth about Big Sister Misora’s illness—how did he find out?

The conclusion:

"Big Sister Takenaka doesn't trust us."

"And she trusts that kid Iwata?"

"What if she knows that kid is unreliable?"

"I get it."

"Remember, we cannot use guns. It will cause too much trouble."

"Understood."

The two old men break into sinister smiles.

***

Summer vacation in Japan usually lasts until the end of August. Shinobu counts the days; she will have to put her school uniform back on soon.

She is unhappy. Her sister seems to notice.

"Silly girl, I have good news for you."

"Oh?"

"That uncle of yours is quite efficient. The movie is about to be sent to Iwanami."

"Huh? So fast? That means..."

"That doesn't mean it will definitely be screened."

"What is that supposed to mean! You... Sister, you're just jealous, aren't you?"

"What? Who would be jealous of an ugly duckling like you!"

"Haha..."

Although Miho Nakayama bickers with her sister, she is actually in a good mood. Indeed, the speed of filming *Violent Man* exceeded her expectations. Even now, she finds it hard to believe that Iwata’s group could be so efficient. But jealous? How could that be!

This year, the great beauty has made significant progress in her music career. Her song "Mermaid Princess" is currently topping some of the weekly charts. Although it is still fourth on the comprehensive charts, that is already quite impressive. But whenever she’s on set...

"I-don't-mind, I-don't-mind~"

Shinobu has found a sock, rolled it into a ball, and is using it as a microphone, cosplaying her sister on the spot.

"You're dead!" The beauty’s face flushes. "You sing even worse than I do!"

Ah... she finally said it. The two sisters cannot help but burst into laughter. The records she sells are processed in a studio; when it comes to live performances, people are better off just watching her dance, so no one really pays attention to whether she hits the notes or not.

Soon, Shinobu stops teasing her sister and goes to make a phone call.

"Who are you calling?"

"Uncle."

Whenever Miho hears "uncle," she feels something is off, though she can't quite put her finger on it. Forget it, never mind.

The call connects, and then...

"Oh, it's Shinobu."

"Where's Uncle?"

"He, he is currently..."

"What's wrong?"

"He's in special training."

"Huh?"

The person answering the phone is Blondie A-Qing. He is hesitant because his boss had previously ordered that no calls be taken. But since it’s Shinobu...

"How do you have time to call, kid?"

"I..."

Takeshi Iwata’s voice comes over the line, and Shinobu hesitates. She doesn't know that Blondie A-Qing is rubbing his temples, suffering in silence. What kind of special training is Iwata actually doing? Regardless, when he picks up the phone, he is drenched in sweat, with weights tied to both his arms.

"Can, can I go to Iwanami? I hope to see..."

Before Shinobu can finish, Iwata laughs and agrees. "Of course, no problem."

After all, she is the lead actress, a key part of the production—even if she doesn't have a single line of dialogue in the film. The two talk for a long time, laughing out loud from time to time. They have no idea what they are about to experience on the road to Iwanami...