SHOGUN ILLUSTRATIONS

Anything labelled (European) CAN (but doesn't have to be) in European
style.  The rest SHOULD but don't absolutely have to be in Japanese
style.  Use your artistic judgment.  Where I could, I've marked these
with the chapter in the book where they occur.

Please don't be too constrained by these suggestions!

1. --ALREADY DONE--

* Erasmus during storm (European) (Prologue)

* View of garden from Mura's house (Chapter 1)

  This is a small garden surrounded by a high wall. It is unlike anything
  you have ever seen: a little waterfall and stream and a small bridge
  and manicured pebbled paths and rocks and flowers and shrubs. It's so
  clean, so neat.

* Yabu climbing down cliff to rescue Rodrigues (Chapter 9)

  Yabu kicks off his thong slippers. He takes the swords out of his belt
  and puts them safely under cover. He barks some orders at one of the
  samurai, then takes off his soaking kimono, and clad only in his
  loincloth, goes to the cliff edge, testing it through the soles of his
  cotton tabi -- his sock-shoes.

  Suddenly, Yabu slips! He grips an outcrop with his left hand, stopping
  his fall. He grinds his toes in a crevice, fighting for another hold,
  but his left hand rips away. His toes find a cleft and he hugs the
  cliff desperately. Then the toehold gives way! He falls the last
  twenty feet.

* Procession (Escape from Osaka) (Chapter 21)

  This is the courtyard of Toranaga's keep within Osaka castle. In the
  forecourt, outside the gate, an escort of sixty heavily armed samurai
  is drawn up in neat lines, every third man carrying a flare.

  Just after dusk Kiri waddled nervously down the steps. She headed for
  her curtained litter that stood beside the garden hut. You are leaning
  against the wall near the fortified gate. You are wearing a belted
  kimono of the Browns and tabi socks and military thongs.

* Japanese warrior (Buntaro? Omi? Yabu?) (see below...)

* Mariko's seppuku (Chapter 56)

  Mariko stops by the lily pond and undoes her obi and lets it fall.
  Chimmoko helps her out of her blue kimono. Beneath it Mariko wears the
  most brilliant white kimono and obi you have ever seen. It is a formal
  death kimono. She unties the green ribbon from her hair and casts it
  aside.

  Clad completely in white, Mariko walks from the garden into the
  forecourt, never looking at you.

  At a sign from Sumiyori everyone bows. Mariko bows to them. Four
  samurai come forward and spread a crimson coverlet over the tatamis.

  Mariko goes to the crimson square and kneels in the center, in front
  of the tiny white cushion. Her right hand brings out her stiletto
  dagger from her white obi and she places it on the cushion in front of
  her. Mariko arranges the skirts of her kimono perfectly, Chimmoko
  helping her, tying a small white blanket around her waist with the
  cord. You know that this is to prevent her skirts being blooded and
  disarranged by her death throes.

2. --SUGGESTIONS--

* Blackthorne (1/2 or less of screen)

* Rodrigues (1/2 or less of screen)

  Rodrigues is a man as tall as you and about your own age, but
  black-haired and dark-eyed and carelessly dressed in seaman's clothes,
  rapier by his side, pistols in his belt. A jeweled crucifix hangs from
  his neck. He wears a jaunty cap.

* Father Sebastio (1/2 or less of screen)

  Sebastio is a short, thick man with dark hair and a long beard. His
  robe is travel-stained and his boots are besmirched with mud. He is
  obviously a Portuguese or Spanish priest, and though his flowing robe
  is orange, there is no mistaking the crucifix and rosary at his belt,
  or the cold hostility on his face.

* Father Alvito (1/2 or less of screen)

  Alvito is a graceful, handsome man, perhaps a few years older than
  you. He wears tabi socks and a flowing kimono that seems, on him, to
  belong. A rosary and a carved golden cross hang at his belt. He has an
  easy elegance, and the aura of strength and natural power of the
  Jesuits.

* Toranaga (1/2 or less of screen)

  Toranaga is a short man with a thick belly and a large nose. His
  eyebrows are thick and dark and his mustache and beard gray-flecked
  and sparse. Eyes dominate his face. He is fifty-eight and strong for
  his age.

* Yabu (1/2 or less of screen)

  Kasigi Yabu is short, squat, and dominating. There's arrogance and
  cruelty in the daimyo's face, you think. He kneels comfortably, his
  heels tucked neatly under him, flanked by four lieutenants, one of
  whom is Kasigi Omi, his nephew and vassal. They all wear silk kimonos
  and, over them, ornate surcoats with wide belts.

* Omi (1/2 or less of screen)

  Omi is a head shorter and much younger than you, his handsome face
  slightly pockmarked though. He wears breeches and clogs and a light
  kimono with two scabbarded swords stuck into the belt. One is
  daggerlike, the other, a two-handed killing sword, is long and
  slightly curved."

* Other characters... (Mariko? Buntaro? etc. etc.)

* Below decks scene on Erasmus (European) (Prologue)

  The crew's quarters of the Erasmus. A companionway leads up to the
  deck. It's dim, warm and close here, and the stench is abominable.
  Most of the survivors of the crew are here in bunks and hammocks, some
  sleeping, some awake.

* Anjiro landscape including Erasmus at anchor (Chapter 1)

  The village is set around a crescent harbor that faces east, perhaps
  two hundred houses unlike any you've ever seen nestling at the
  beginning of the mountain which spills down to the shore. Above are
  terraced fields to the west and dirt roads that lead north and south.
  Below to the east is the waterfront. In the harbor you can see the
  Erasmus riding at anchor.

  This is the waterfront of the village. The ground is cobbled and a
  stone launching ramp goes from the shore into the sea. There are men
  and women cleaning fish. Small islands are visible to the east and
  south. At anchor, to the east, is the Erasmus.

* Looking out of Pit at Omi (Chapter 2-6)

  You are crammed into a deep cellar, one of the many that the fishermen
  use to store sun-dried fish. The cellar is five paces long and five
  wide and four deep, with an earthen floor and walls. The ceiling is
  made of planks with a foot of earth above and a single trapdoor
  set into it.

  The trapdoor opens. Omi looks down at you. Beside him are Mura and the
  priest. Everyone but you begins yelling. "Water! And food, by God!
  Let us out of here!" Omi motions to Mura, who nods and leaves.

  Mura returns with another fisherman, carrying a large barrel. They
  empty the contents, rotting fish offal and seawater, onto your heads.

* Confusion on deck during galley voyage to Osaka (Chapter 8)

  "Watch out for'ard!" Rodrigues shouts. The galley rolls sickeningly,
  twenty oars pulling at air instead of sea and there is chaos aboard.
  The first comber has struck and the port gunwale is awash. The galley
  is floundering.

  Abruptly the galley swerves and you are carried to the down side, your
  legs taken away by some of the rowers who have also slipped their
  safety lines to try to fight some order into their oars.

  The gunwale is under water and one man goes overboard! You feel the rush
  of water carrying you over the gunwale as well!

* Rodrigues overboard (Chapter 8)

  You see the wave take Rodrigues, and you watch him, gasping and
  struggling in the churning sea. You remember that he can't swim.

  The rain slashes down and you see that Rodrigues is being carried
  further from the galley.

  The last you see of Rodrigues is an arm gripping a broken oar.
  
* Osaka Castle (Chapter 10)

  You smile back, take your leave of Rodrigues, and then you are on
  deck, your mind whirling from the impact of Osaka, its immensity, the
  teeming anthills of people, and the enormous castle that dominates the
  city. From within the castle's vastness comes the soaring beauty of
  the donjon, seven or eight stories high, pointed gables with curved
  roofs at each level, the tiles all gilded and the walls blue.

* Toranaga's falcon (Chapter 11)

  Toranaga is repairing a broken wing feather of a hooded falcon as
  delicately as any ivory carver.

  The falcon is a peregrine and she is in her prime. The handler, a
  gnarled old samurai, kneels in front of Toranaga and holds her as if
  she were spun glass. Toranaga cuts the broken quill, dips the tiny
  bamboo imping needle into the glue and inserts it into the haft of the
  feather, then delicately slips the new cut feather over the other end.
  He adjusts the angle until it is perfect and binds it with a silken
  thread. The tiny bells on the falcon's feet jingle, and he gentles the
  fear out of her.

* Bath scene with Mariko and Blackthorne

* Blackthorne giving his sword to Toranaga (Chapter 38)

  (This is just after you and Toranaga and Mariko have survived an
   earthquake; the remains of a crevice are nearby, and you are on
   a hillside plateau.)

  In your hands is Fujiko's sword. It is still scabbarded, though
  muddied and scarred. Your short stabbing sword has disappeared. You
  kneel in front of Toranaga and offer your sword as a sword should be
  offered.

* Blackthorne's mad scene at the last gate in Osaka (Chapter 22)

* Toranaga in drag (Chapter 23)

  Buntaro was covering Toranaga's litter with his body as best he could,
  an arrow stuck into the back of his leather chainmail bamboo armor,
  and then, when the volley ceased, he rushed forward and ripps the
  curtains apart. The two arrows were imbedded in Toranaga's chest and
  side but he was unharmed and he jerked the barbs out of the armor he
  wore beneath the kimono.  Then he tore off the wide-brimmed hat and
  the wig. Toranaga fought out of the curtains and, pulling his sword
  from under the coverlet, leapt to his feet.  He still wore the
  travelling cloak and Kiri's kimono, but the skirts were hitched up out
  of the way, his military leggings incongruous.

* Ninja (Chapter 57)

  They wore tight-fitting clothes of black and black tabi and black
  masks. Their hands and faces were also blackened. These men were armed
  with chain knives, sword, and shuriken. In the center of their black
  hoods was a red spot. On their backs were slung haversacks and short
  thin poles.

* Explosion of bomb (Chapter 57)

* Burned, wrecked Erasmus (Chapter 60)

* Toranaga's Crest (should fit in top half of screen) (Chapter 7)

  "three interlocked bamboo sprays."

  (This is pretty vague; doesn't say shape or color or anything.
  However, I believe that Clavell told me the crest is identical to
  Togugawa Ieyasu's -- he is the model for Toranaga)