WEBVTT - From the Vault: The Ninja, Part 4

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<v Speaker 1>Hey, it's Robert Lamb. Welcome to Stuff to Blow Your Mind.

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<v Speaker 1>It is Saturday, so we have a vault episode for you.

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<v Speaker 1>This is going to be The Ninja Part four. It

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<v Speaker 1>originally published eight six, twenty twenty four. Let's dive right.

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<v Speaker 2>In Welcome to Stuff to Blow Your Mind production of iHeartRadio.

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<v Speaker 1>Hey, welcome to Stuff to Blow Your Mind.

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<v Speaker 3>My name is Robert Lamb and I am Joe McCormick.

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<v Speaker 3>And today we're back with part four of our series

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<v Speaker 3>on the Ninja. Now, if you haven't heard the previous

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<v Speaker 3>three episodes, you should probably go back and check those

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<v Speaker 3>out first, but for a brief refresher. In the previous parts,

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<v Speaker 3>we talked about the origins of the term ninja and

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<v Speaker 3>its functional equivalent shanobi no mono, meaning a person who

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<v Speaker 3>practices sneaking secrecy, invisibility or in an alternate reading patience,

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<v Speaker 3>or endurance. We talked about the alleged historical origins of

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<v Speaker 3>the shinobi nomono as practitioners of espionage and undercover warfare

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<v Speaker 3>in Singoku era Japan, which covered parts of the fifteenth

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<v Speaker 3>and sixteenth centuries and was characterized by frequent uprisings and

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<v Speaker 3>civil wars, but we also discussed the complicated historical question

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<v Speaker 3>of to what extent the people who practiced spying, sabotage,

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<v Speaker 3>and sneak attacks during this period can actually be said

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<v Speaker 3>to connect to the modern literary archetype of the ninja,

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<v Speaker 3>which has evolved over several centuries and is almost certainly

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<v Speaker 3>composed in large part of legendary development and invented tradition.

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<v Speaker 3>We talked, especially in the first part of this series,

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<v Speaker 3>about how the ninja entered international pop culture in the

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<v Speaker 3>twentieth century and the characteristics of the pop culture ninja

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<v Speaker 3>and how those don't really match up with much of

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<v Speaker 3>even the historical legendary version of the ninja. We talked

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<v Speaker 3>about some individual shanobi warriors from legend and history, including

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<v Speaker 3>stories of ninja esque sorcerers who could ride on spectral toads,

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<v Speaker 3>and in the last episode, we talked about some of

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<v Speaker 3>the fantastic tools and techniques described in popular ninjitsu manuals

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<v Speaker 3>that were compiled and published beginning in the seventeenth century,

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<v Speaker 3>including everything from the use of gunpowder and pharmacology to

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<v Speaker 3>the so called water spider device that wouldn't allow you

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<v Speaker 3>to do something in water questions remain.

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<v Speaker 1>That's right. And so we're back here for the final installment,

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<v Speaker 1>Part four, and as is often the case with our series,

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<v Speaker 1>part four is kind of and the rest. So we're

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<v Speaker 1>going to have examples of content that match up with

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<v Speaker 1>everything we just highlighted from the previous episodes. So like

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<v Speaker 1>a little bit more of everything we've been talking about,

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<v Speaker 1>I think getting into some I know some things that

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<v Speaker 1>were probably you know, pinging in your mind as you

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<v Speaker 1>listen to the first three, like when are they going

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<v Speaker 1>to talk about throwing stars?

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<v Speaker 3>That's right. One of the inanimate objects most closely associated

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<v Speaker 3>with the ninja in modern movies and storytelling is the

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<v Speaker 3>shuri can at the throwing star aka the ninja star.

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<v Speaker 1>This is of course one of the big ninja weapons

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<v Speaker 1>of pop culture, and one of the things is just

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<v Speaker 1>instantly attractive about the ninja that you can't help but

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<v Speaker 1>want to throw a shuri caan at somebody or at

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<v Speaker 1>the wall. Even when my family when we were in Japan,

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<v Speaker 1>one of the hotels that we stayed at in Tokyo

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<v Speaker 1>had a ninja theme, and when your families were checking in,

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<v Speaker 1>they would give the kids like pretend suri can to

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<v Speaker 1>throw at a target on the wall.

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<v Speaker 3>Yes, I was reading about how shuri caan ranges are

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<v Speaker 3>like a common stop on sort of like ninja tourist offerings.

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<v Speaker 1>Yeah. Yeah, so literally it basically means a blade in

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<v Speaker 1>the hand. And yeah. These are typically depicted in Japanese

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<v Speaker 1>ninja media as something you sling out rapid fire, like

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<v Speaker 1>kind of like you're dealing cards, throwing cards or something,

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<v Speaker 1>while a lot of Western ninja tails tend to present

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<v Speaker 1>them as these kind of deadly one shots. I think

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<v Speaker 1>we've all seen a movie in which a ninja throws

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<v Speaker 1>a shuri can and it gets somebody right in the

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<v Speaker 1>forehead and somehow kills them dead.

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<v Speaker 3>Rob correct me if you have a different impression. But

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<v Speaker 3>I feel like a lot of ninja movies emphasize a

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<v Speaker 3>theme with the shuracan that's almost like in fact, you

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<v Speaker 3>mention another Western movie that borrows from a Japanese origin,

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<v Speaker 3>in The Magnificent Seven, there's that scene where there's you know,

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<v Speaker 3>James Coburn brings a knife to a gunfight and he

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<v Speaker 3>beats the gunfighter by throwing the knife faster than the

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<v Speaker 3>gunfighter can draw his gun. Of course, that movie is

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<v Speaker 3>based on seven Samurai originally, but there is I think

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<v Speaker 3>a similar thing going on with the Shura can and

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<v Speaker 3>a lot of these movies. It's like the blade, the

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<v Speaker 3>bladed Star beats technology every time.

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<v Speaker 1>Yeah, and it helps to have those rapid fire cuts too,

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<v Speaker 1>because of course, the way you typically do a knife

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<v Speaker 1>throw or a surer can throw in cinema is you

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<v Speaker 1>just like cut two or pan over to where the

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<v Speaker 1>that the fake surrokin or the fake blade is already

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<v Speaker 1>like stuck in the person, so you know it's lightning fast.

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<v Speaker 1>It's like bam, there it is. It's like magically appeared

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<v Speaker 1>in their forehead.

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<v Speaker 3>Now, I think we mentioned in a previous episode. If not,

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<v Speaker 3>I'll go ahead and mention now that one thing that

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<v Speaker 3>is quite surprising is that suri can actually do not

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<v Speaker 3>feature in any of the classic ninjitsu manuals that we

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<v Speaker 3>were talking about from beginning in the seventeenth century in

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<v Speaker 3>the last episode. Though that doesn't mean they did not

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<v Speaker 3>exist at all. There are some historical artifacts that can

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<v Speaker 3>sort of fit in this box. It's just the historically

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<v Speaker 3>until I'll get to this in a minute, until basically

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<v Speaker 3>the twentieth century, they were not particularly associated with ninja

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<v Speaker 3>or shanobi.

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<v Speaker 1>Yeah, and it's it's interesting to sort of tease to

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<v Speaker 1>the history of like just the the weapon itself. I

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<v Speaker 1>was reading about this in Heroko Yoda and Matt Alts

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<v Speaker 1>Ninja Attack, which again is an excellent little illustrated book

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<v Speaker 1>that covers all the all these highlights. But they point

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<v Speaker 1>out that not all of these various designs of the

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<v Speaker 1>shurican that we we do have would have been thrown.

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<v Speaker 1>Some of them were simply small handheld blades. And that's

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<v Speaker 1>interesting too, because when in ninja media, I can't think

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<v Speaker 1>of an example of anyone doing anything with a shurcan

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<v Speaker 1>other than throw it. You know, I don't think I've

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<v Speaker 1>ever seen anybody like whittle with one, or open open

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<v Speaker 1>a soda pop with one, or anything. You know. They're

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<v Speaker 1>just for throwing. And apparently of the ones that were thrown,

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<v Speaker 1>what the more likely scenario here is that they would

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<v Speaker 1>have been a close range nuisance or distraction weapon, as

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<v Speaker 1>opposed to that stale the one shot kill.

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<v Speaker 3>Yeah, that very much squares with my understanding. So I

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<v Speaker 3>was reading about the origins of the association between shurikan

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<v Speaker 3>and ninja in a book that I've been referencing throughout

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<v Speaker 3>this series. It's a book called Ninja Unmasking the Myth

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<v Speaker 3>by a historian named Stephen Turnbull, which goes a lot

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<v Speaker 3>into the complicated questions the historicity of the ninja tropes

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<v Speaker 3>that exist today, and so in order to understand the

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<v Speaker 3>association that emerged between shurikan and ninja, it's apparently important

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<v Speaker 3>to understand a particular Japanese martial artist and author who

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<v Speaker 3>lived in the twentieth century named Fuji ta Seiko, who

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<v Speaker 3>was a practitioner and claimed to be a preserver of

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<v Speaker 3>the Ninjasu tradition of the Coca region of Japan. Fuji

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<v Speaker 3>to Seko lived from eighteen ninety eight to nineteen sixty six,

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<v Speaker 3>and fujits the writings were influential in creating the image

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<v Speaker 3>of the ninja that emerged in the mid twentieth century

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<v Speaker 3>after the conclusion of World War Two. I'm not going

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<v Speaker 3>to completely cover his biography, but I will say that

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<v Speaker 3>he is a fascinating and somewhat controversial figure worth reading

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<v Speaker 3>more about, just to hit some of the top lines.

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<v Speaker 3>In nineteen thirty six, he published a book called Ninjutsu Hiroku,

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<v Speaker 3>which means something like Secret Notes on Ninjutsu which is

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<v Speaker 3>allegedly based on the secret Koca traditions that had been

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<v Speaker 3>passed down to his family through direct instruction without being

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<v Speaker 3>published for a general audience, and he claimed that he

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<v Speaker 3>was publishing this information about ninjutsu to help Japan win

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<v Speaker 3>its war against China. However, actually a lot of the

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<v Speaker 3>information that he includes in this book does come from

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<v Speaker 3>other pre existing ninjitsu manuals like the ones we talked

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<v Speaker 3>about in the last part of this series, like the

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<v Speaker 3>mans in Chukai or the bens in Chukai. So the

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<v Speaker 3>Ninjitsu Heroku reframes a lot of information from these previous

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<v Speaker 3>ninjasu manuals of the Tokugawa period, But apparently it does

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<v Speaker 3>things like rationalize a lot of magical sounding claims. For example,

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<v Speaker 3>techniques that originally were presented as ways of transforming magically

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<v Speaker 3>into a rat are instead presented as making a noise

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<v Speaker 3>like a rat to confuse and distract guards, Or like

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<v Speaker 3>the idea that one could potentially turn invisible is rationalized

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<v Speaker 3>as well. You can walk in a certain way so

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<v Speaker 3>that you cannot be seen, thus causing the impression that

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<v Speaker 3>you've become invisible.

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<v Speaker 1>Okay.

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<v Speaker 3>A lot of this book also concerns self glorifying claims

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<v Speaker 3>of practices of physical endurance and austerity. For example, he

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<v Speaker 3>claimed that, you know, as part of his practice, he

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<v Speaker 3>could like break glass bottles over his own head to

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<v Speaker 3>prove his toughness. He says he can do forty glass

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<v Speaker 3>bottles in a row.

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<v Speaker 1>Oh, do not do not attend that, no idea.

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<v Speaker 3>I'm going to mention a few other things. Don't do

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<v Speaker 3>any of this, please. This is not a good training regime.

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<v Speaker 3>Even if you want to be a ninja, he says.

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<v Speaker 3>The shanobi must be able to withstand torture without giving

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<v Speaker 3>up information. So he says, I have stabbed myself with

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<v Speaker 3>hundreds of needles. Here's a picture of me with all

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<v Speaker 3>the needles in me, and I have eaten roof tiles,

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<v Speaker 3>glass bricks, and rat poison. Again questionable whether he actually

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<v Speaker 3>did some of that. I think people did claim that

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<v Speaker 3>they saw him eating glass. I don't know about the poison,

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<v Speaker 3>but don't do any of this. He also apparently claimed

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<v Speaker 3>that he like knew dog language and thus could like

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<v Speaker 3>communicate with dogs to like call them for help if needed,

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<v Speaker 3>or make maybe make them fight each other.

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<v Speaker 1>Well, aside from the making them fight each other Please

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<v Speaker 1>feel free to experiment with this one. You can talk

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<v Speaker 1>to dogs.

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<v Speaker 3>Yes, better than eating poison and glass. Yeah. But one

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<v Speaker 3>of Fujiita Seko's most enduring contrabbutions to the ninja mythology

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<v Speaker 3>of today is his attachment of the shuriken in its

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<v Speaker 3>current form to the ninja legend. So I'm going to

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<v Speaker 3>try to get into that. Steven Turnbull in his book

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<v Speaker 3>actually as a whole chapter just on where the shuriican

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<v Speaker 3>comes from and how it connects to ninjitsu. So there

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<v Speaker 3>are references to the word shuriken in seventeenth century ninjitsu manuals,

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<v Speaker 3>but they are apparently referring to completely different objects than

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<v Speaker 3>we have in mind. We picture the ninja star that's

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<v Speaker 3>got you know. It's a star shaped, vaguely circular object

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<v Speaker 3>made of metal that has points all around so you

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<v Speaker 3>can throw it in the spinning fashion and wherever it

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<v Speaker 3>hits somebody, it's going to stab into them.

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<v Speaker 1>That's right, And again we've seen this in movies time

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<v Speaker 1>and time again. I actually looked back at the James

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<v Speaker 1>Bond film that we talked about being pivotal in the

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<v Speaker 1>history of introducing the idea of the ninja to international

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<v Speaker 1>audience only live twice. And look, I didn't watch the

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<v Speaker 1>film in full, but I did find some YouTube clips

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<v Speaker 1>of it official on the James Bond YouTube page. Okay,

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<v Speaker 1>And there is a scene late in the film where

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<v Speaker 1>someone I think it's Bond himself throws a shuri can

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<v Speaker 1>at Blofeld and Blowfelt has a pistol, hits him in

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<v Speaker 1>the hand, knocks a pistol out of his hand.

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<v Speaker 3>This is actually a common thing in the movies where

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<v Speaker 3>the ninja will use it to disarm an opponent who

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<v Speaker 3>has them at a loss.

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<v Speaker 1>Yeah, and I guess, again, issues of accuracy and power aside.

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<v Speaker 1>You know, I guess that's more realistic than the instant kill.

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<v Speaker 3>Yeah. I'm going to get to the likely use of

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<v Speaker 3>it in a second, to the extent it's even being

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<v Speaker 3>recommended to a ninja. But so, okay, what is this

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<v Speaker 3>If the shuracan referenced in the seventeenth century in ninjuitsu

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<v Speaker 3>manuals is not what we have in mind, what is it? Well?

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<v Speaker 3>One of the earliest references, according to Turnbull, is in

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<v Speaker 3>a is in a text called the gun Po Geoshu

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<v Speaker 3>of sixteen fifty three, and in this case, the shurcan

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<v Speaker 3>is said to be quote a torch made from split

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<v Speaker 3>wood and fitted into a metal base with a spike.

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<v Speaker 3>So that's interesting a torch. But the idea here is

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<v Speaker 3>you're a sentry up on a castle wall, and you

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<v Speaker 3>know it's nighttime, surrounded by darkness, and you need to

0:13:21.160 --> 0:13:24.280
<v Speaker 3>see what's happening down on the ground below at the

0:13:24.320 --> 0:13:28.800
<v Speaker 3>base of the castle wall, so you throw down this shuriken.

0:13:28.960 --> 0:13:32.960
<v Speaker 3>This object is a sort of combination torch lawn dart,

0:13:33.360 --> 0:13:36.280
<v Speaker 3>and the metal spike sticks into the soil and the

0:13:36.320 --> 0:13:39.360
<v Speaker 3>torch illuminates the ground around the base of the wall.

0:13:39.960 --> 0:13:42.040
<v Speaker 1>All right, seems reasonable, seems practical.

0:13:42.600 --> 0:13:46.840
<v Speaker 3>Yeah, that's a totally logical sounding tool. And it's interesting

0:13:46.920 --> 0:13:50.080
<v Speaker 3>because again, this sort of crosses that boundary that keeps

0:13:50.120 --> 0:13:54.239
<v Speaker 3>getting blurred in the history of ninja lore between weapons

0:13:54.320 --> 0:13:57.680
<v Speaker 3>intended for direct violence and things that are just tools

0:13:57.800 --> 0:14:03.079
<v Speaker 3>used to gather information. However, when it comes to direct references,

0:14:03.120 --> 0:14:07.920
<v Speaker 3>there is another early reference to shuricken that is also dissimilar,

0:14:08.679 --> 0:14:11.880
<v Speaker 3>dissimilar to what's the word there, disimilar to or dissimilar from.

0:14:11.960 --> 0:14:14.679
<v Speaker 3>It's not the same as a ninja star. This is

0:14:14.720 --> 0:14:18.880
<v Speaker 3>the bow churicken mentioned in some seventeenth century texts, which

0:14:18.960 --> 0:14:22.480
<v Speaker 3>is a bar or rod shaped object that could be

0:14:22.520 --> 0:14:24.840
<v Speaker 3>thrown by hand. So essentially this is just a large

0:14:24.880 --> 0:14:25.800
<v Speaker 3>steel dart.

0:14:26.360 --> 0:14:28.400
<v Speaker 1>Yeah, these these are really neat, and of course when

0:14:28.440 --> 0:14:32.080
<v Speaker 1>you start looking up weapons of the sort ninja weapons seeing,

0:14:32.120 --> 0:14:33.560
<v Speaker 1>you find there's a lot of drift. There's a lot

0:14:33.560 --> 0:14:38.560
<v Speaker 1>of like modernization and whether the weapon actually existed historically

0:14:38.680 --> 0:14:41.440
<v Speaker 1>or not somebody has made it now you can you

0:14:41.440 --> 0:14:43.760
<v Speaker 1>know again, buy it at the mall or something. But

0:14:43.800 --> 0:14:45.880
<v Speaker 1>these are pretty cool, and these are one of I

0:14:45.880 --> 0:14:48.520
<v Speaker 1>feel like just to dip back into Dungeons and Dragons

0:14:48.560 --> 0:14:52.160
<v Speaker 1>for a second. Anytime darts are are are mentioned, or

0:14:52.240 --> 0:14:54.960
<v Speaker 1>darts come up as a possible weapon in Dungeons and Dragons,

0:14:55.160 --> 0:14:58.120
<v Speaker 1>I feel like most people's mind, you know, given the

0:14:58.240 --> 0:15:02.160
<v Speaker 1>often sort of like Western eye fantasy setting of Dungeons

0:15:02.160 --> 0:15:05.240
<v Speaker 1>and Dragons, you often think of like a dart from

0:15:05.320 --> 0:15:10.040
<v Speaker 1>a pool hall, right, Yeah, dart board just small, you know,

0:15:10.320 --> 0:15:13.480
<v Speaker 1>basically a harmless weapon. And I would always want to

0:15:13.720 --> 0:15:17.760
<v Speaker 1>advise me, no, look up some bow shurikean and imagine

0:15:17.800 --> 0:15:19.600
<v Speaker 1>that for your character instead. It's still not going to

0:15:19.640 --> 0:15:21.520
<v Speaker 1>do a lot of damage in the game, but it

0:15:21.560 --> 0:15:22.520
<v Speaker 1>looks cooler.

0:15:22.720 --> 0:15:25.360
<v Speaker 3>Yes, But coming back to the idea of not necessarily

0:15:25.360 --> 0:15:29.760
<v Speaker 3>needing to do a lot of damage. That actually connects

0:15:29.800 --> 0:15:34.400
<v Speaker 3>to where we get the first references too star shaped

0:15:34.600 --> 0:15:38.280
<v Speaker 3>churicken in an actual ninjitsu text, and that's in the

0:15:38.320 --> 0:15:41.200
<v Speaker 3>twentieth century. So here we're coming back to Fujita seiko

0:15:41.920 --> 0:15:45.160
<v Speaker 3>in Ninjitsu Heroku again, this is from the year nineteen

0:15:45.240 --> 0:15:49.480
<v Speaker 3>thirty six. He has a passage about shurikeen in his text,

0:15:49.560 --> 0:15:53.160
<v Speaker 3>and so I'm gonna hear read from Turnbull's featured translation.

0:15:53.600 --> 0:15:56.800
<v Speaker 3>So the author here writes, if you have to defend

0:15:56.840 --> 0:16:00.200
<v Speaker 3>yourself against a sudden attack by an enemy, puts some

0:16:00.240 --> 0:16:03.640
<v Speaker 3>distance between you to ensure your safety. In this case,

0:16:03.880 --> 0:16:07.400
<v Speaker 3>use the small weapon called a toby dogu, which means

0:16:07.440 --> 0:16:12.000
<v Speaker 3>throwing weapon, known to the author as shuriken. Samurai normally

0:16:12.080 --> 0:16:15.760
<v Speaker 3>despised these and other throwing weapons, but they are most

0:16:15.760 --> 0:16:19.200
<v Speaker 3>effective if used skillfully. The shuri caan can do great

0:16:19.320 --> 0:16:23.680
<v Speaker 3>damage if it hits someone's eye, So even in this

0:16:23.760 --> 0:16:26.720
<v Speaker 3>take from the nineteen thirties, the shuri caan is not

0:16:27.000 --> 0:16:30.760
<v Speaker 3>a primary weapon, but the idea seems to me to

0:16:30.800 --> 0:16:33.800
<v Speaker 3>be more like throwing sand in somebody's eyes. It's like

0:16:33.880 --> 0:16:37.120
<v Speaker 3>a trick you can use to buy time or advantage

0:16:37.160 --> 0:16:39.480
<v Speaker 3>if you're caught off guard or being chased.

0:16:39.880 --> 0:16:43.320
<v Speaker 1>Yeah, and in this scenario, especially keeping the samurai from

0:16:43.360 --> 0:16:47.680
<v Speaker 1>closing the distance between themselves and you, because that's life

0:16:47.720 --> 0:16:49.320
<v Speaker 1>and death at that point. If you can if you

0:16:49.320 --> 0:16:52.840
<v Speaker 1>can just keep the distance between yourself and the samurai,

0:16:52.960 --> 0:16:54.800
<v Speaker 1>then maybe you've got a chance to get away.

0:16:55.000 --> 0:16:57.440
<v Speaker 3>Right, It's the idea is throwing something to keep the

0:16:57.480 --> 0:16:59.080
<v Speaker 3>samurai out of sword range.

0:16:59.360 --> 0:17:01.640
<v Speaker 1>Yeah, this reminds me a little bit. We did, you know,

0:17:01.680 --> 0:17:03.880
<v Speaker 1>a past episode of Stuff to Blow your mind. We

0:17:03.920 --> 0:17:08.200
<v Speaker 1>did a series talking about like throwing animals, throwing things,

0:17:08.200 --> 0:17:12.520
<v Speaker 1>and then we got for one episode into an overview

0:17:12.600 --> 0:17:16.159
<v Speaker 1>of like human history with thrown weapon objects, and you know,

0:17:16.200 --> 0:17:18.760
<v Speaker 1>they ranged from from well, I would say they range

0:17:18.760 --> 0:17:21.680
<v Speaker 1>from rocks to more complex weapons. But I remember, even

0:17:21.680 --> 0:17:25.919
<v Speaker 1>in talking about throwing rocks and stones as weapons, you know,

0:17:25.960 --> 0:17:27.680
<v Speaker 1>there's a lot more to it. You know, there's a

0:17:27.680 --> 0:17:31.400
<v Speaker 1>lot of selection involved in picking up the exact correct object.

0:17:31.640 --> 0:17:32.960
<v Speaker 1>And this is a case where we get to that

0:17:33.040 --> 0:17:37.000
<v Speaker 1>next level of Okay, what have we crafted the items

0:17:37.040 --> 0:17:39.159
<v Speaker 1>that we wish to throw so that they could be

0:17:39.520 --> 0:17:40.040
<v Speaker 1>used more.

0:17:39.920 --> 0:17:45.199
<v Speaker 3>Optimally describing what devices to throw for this purpose. Fujiita advises,

0:17:45.440 --> 0:17:48.680
<v Speaker 3>for one thing, improvised hand thrown weapons such as knives

0:17:48.720 --> 0:17:51.800
<v Speaker 3>or hairpins, so it's like, if you know, throw whatever

0:17:51.840 --> 0:17:54.159
<v Speaker 3>you can get your hands on, but if you're going

0:17:54.240 --> 0:17:57.520
<v Speaker 3>to have a dedicated weapon to throw. He also illustrates

0:17:57.680 --> 0:18:01.240
<v Speaker 3>dedicated shurriken designs, and one of the illustrations is a

0:18:01.240 --> 0:18:04.879
<v Speaker 3>classic bo shurikan, a large steel dart. But he also

0:18:05.000 --> 0:18:08.480
<v Speaker 3>includes pointed metal stars, and so here we get our

0:18:08.600 --> 0:18:14.719
<v Speaker 3>first illustration of throwing stars in a ninjutsu text. So

0:18:14.920 --> 0:18:17.720
<v Speaker 3>one of the things he illustrates is cross shaped it

0:18:17.760 --> 0:18:21.040
<v Speaker 3>has four points, and another one is shown with eight points.

0:18:21.160 --> 0:18:24.479
<v Speaker 3>This is in nineteen thirty six, the first ninja text

0:18:24.600 --> 0:18:28.640
<v Speaker 3>showing the star shaped shurican. However, it's clear that Fujiita

0:18:28.680 --> 0:18:33.040
<v Speaker 3>Seko did not invent this device from his imagination, because

0:18:33.080 --> 0:18:37.120
<v Speaker 3>even though earlier ninjitsu texts don't include them, we do

0:18:37.240 --> 0:18:41.600
<v Speaker 3>have evidence from earlier periods of vaguely star shaped blades

0:18:41.720 --> 0:18:45.640
<v Speaker 3>or cross shaped blades that did exist and could possibly

0:18:45.680 --> 0:18:48.560
<v Speaker 3>be thrown. So instead of looking for them in the

0:18:48.680 --> 0:18:51.359
<v Speaker 3>nunjitsu manuals, you can find them in the jiu jitsu

0:18:51.600 --> 0:18:56.440
<v Speaker 3>arsenals of the Tokugawa period, particularly associated with a martial

0:18:56.520 --> 0:19:00.720
<v Speaker 3>arts tradition called the Sego Reu. One of the documents

0:19:00.760 --> 0:19:04.199
<v Speaker 3>allegedly associated with this school of martial arts includes an

0:19:04.240 --> 0:19:07.479
<v Speaker 3>illustration of a weapon that is quite similar that is

0:19:07.520 --> 0:19:11.240
<v Speaker 3>described like two knife blades fastened in the middle with

0:19:11.320 --> 0:19:14.880
<v Speaker 3>a hinge. So the way I'm picturing this finder stand

0:19:14.880 --> 0:19:17.600
<v Speaker 3>it right, is it's like a pair of scissors, but

0:19:17.760 --> 0:19:21.719
<v Speaker 3>instead of one side of each blade being handles, it's

0:19:21.760 --> 0:19:27.360
<v Speaker 3>just blades on every point. Now, for several reasons, Turnbull

0:19:27.480 --> 0:19:30.880
<v Speaker 3>thinks that Fuji ta Seiko was probably not familiar with

0:19:31.000 --> 0:19:36.040
<v Speaker 3>this exact document that I just mentioned, and probably was

0:19:36.359 --> 0:19:41.119
<v Speaker 3>getting his knowledge of the star shaped throwing weapon just

0:19:41.359 --> 0:19:45.680
<v Speaker 3>from seeing these artifacts around. And there is other evidence

0:19:45.720 --> 0:19:50.240
<v Speaker 3>from history of people like having versions of these artifacts

0:19:50.240 --> 0:19:53.680
<v Speaker 3>even going back to the Tokugawa period. But they just traditionally,

0:19:54.400 --> 0:19:56.719
<v Speaker 3>it doesn't seem like they were super common, and they

0:19:56.720 --> 0:20:00.000
<v Speaker 3>weren't particular. They weren't associated as far as anybody knows,

0:20:00.200 --> 0:20:04.320
<v Speaker 3>with nujitsu until the twentieth century, and now that's all

0:20:04.359 --> 0:20:05.320
<v Speaker 3>they're associated with.

0:20:06.640 --> 0:20:08.920
<v Speaker 1>Yeah, I think we probably have to sort of try

0:20:08.960 --> 0:20:13.240
<v Speaker 1>and imagine that most likely more historically accurate vision of

0:20:13.280 --> 0:20:20.080
<v Speaker 1>Shanobi operatives as being you know, plain clothes espionage operatives

0:20:20.440 --> 0:20:23.359
<v Speaker 1>who you know, if you're going to carry items on you, like,

0:20:23.480 --> 0:20:25.919
<v Speaker 1>are you going to really commit to having these some

0:20:25.960 --> 0:20:29.119
<v Speaker 1>sort of a throwing star, sure, a can on your person,

0:20:29.480 --> 0:20:32.600
<v Speaker 1>something that again is I think going to be at

0:20:32.680 --> 0:20:34.399
<v Speaker 1>least in the modern understanding of it, is going to

0:20:34.440 --> 0:20:38.639
<v Speaker 1>be more obviously a weapon and therefore subject to you know,

0:20:39.440 --> 0:20:42.760
<v Speaker 1>I mean being judged in the illegal weapon or also

0:20:42.920 --> 0:20:46.040
<v Speaker 1>just being suspect in nature that you have it as

0:20:46.040 --> 0:20:49.480
<v Speaker 1>a and again, think about when you would supposedly use it,

0:20:49.600 --> 0:20:52.359
<v Speaker 1>like when the samurai are coming after you, or when

0:20:52.680 --> 0:20:56.240
<v Speaker 1>guards are coming after you, like really in the worst

0:20:56.320 --> 0:20:58.600
<v Speaker 1>case scenarios, and that might be a better place to

0:20:58.680 --> 0:21:02.320
<v Speaker 1>maybe depend on just throwing say, you know, found objects

0:21:02.320 --> 0:21:05.200
<v Speaker 1>like a bottle or some other item in your immediate vicinity,

0:21:06.359 --> 0:21:10.520
<v Speaker 1>as opposed to having some specialty device on your person instead.

0:21:12.000 --> 0:21:15.360
<v Speaker 3>There's one detail from Turnbull's chapter that is so interesting

0:21:15.400 --> 0:21:18.400
<v Speaker 3>I had to bring it up. It's about the design

0:21:18.760 --> 0:21:23.000
<v Speaker 3>that many people have probably seen of these basically swastika

0:21:23.040 --> 0:21:26.359
<v Speaker 3>shaped a throwing star that occurs in a lot of media.

0:21:26.520 --> 0:21:29.280
<v Speaker 3>This is a very familiar design for movies and stuff,

0:21:29.320 --> 0:21:32.720
<v Speaker 3>and apparently a lot of modern ninja books have featured

0:21:32.720 --> 0:21:37.360
<v Speaker 3>this design as if it were a traditional shuriken design,

0:21:37.760 --> 0:21:40.960
<v Speaker 3>but it is not, and in fact, there is an

0:21:41.160 --> 0:21:45.240
<v Speaker 3>anecdote from this chapter about how an actor who worked

0:21:45.359 --> 0:21:51.880
<v Speaker 3>on a nineteen sixties TV series in Japan called on Mitsukinschi,

0:21:52.359 --> 0:21:56.199
<v Speaker 3>which had a throwing star of this design, described that

0:21:56.720 --> 0:22:00.359
<v Speaker 3>really this design was created for the show because pause

0:22:00.520 --> 0:22:04.719
<v Speaker 3>these straight pointed throwing stars were deemed too dangerous on set,

0:22:05.320 --> 0:22:08.960
<v Speaker 3>so this was essentially a safety innovation that was later

0:22:09.040 --> 0:22:13.600
<v Speaker 3>misinterpreted as a real design of throwing stars as weapons.

0:22:14.080 --> 0:22:17.640
<v Speaker 1>Yeah, that's that's crazy, like basically a safety shit shuriken.

0:22:18.000 --> 0:22:23.560
<v Speaker 1>That's great. Yeah, I have another example of shurrokan inspired

0:22:23.600 --> 0:22:27.480
<v Speaker 1>fictional weaponry, and this one I thought was interesting because

0:22:27.480 --> 0:22:29.800
<v Speaker 1>it kind of stands, at least to my eyes, as

0:22:29.880 --> 0:22:33.959
<v Speaker 1>kind of like the ultimate in sci fi and fantasy

0:22:34.400 --> 0:22:39.600
<v Speaker 1>transformation of the ninja myth. So in the Warhammer forty

0:22:39.640 --> 0:22:43.520
<v Speaker 1>thousand universe, like a far future, you know, grim Dark scenario,

0:22:44.040 --> 0:22:46.760
<v Speaker 1>you have these. You have this species known as the

0:22:46.920 --> 0:22:48.920
<v Speaker 1>l Dar, and they're kind of like a sci fi

0:22:49.000 --> 0:22:51.920
<v Speaker 1>take on the elves. I mean, that's exactly what they are.

0:22:52.320 --> 0:22:57.280
<v Speaker 1>And they use pistols and rifles that use shurrocans as ammunition.

0:22:58.280 --> 0:23:02.480
<v Speaker 1>So these are said to be molecular, cutting edge weapons

0:23:02.680 --> 0:23:06.359
<v Speaker 1>fired in bursts from these guns and like they're so

0:23:06.480 --> 0:23:09.720
<v Speaker 1>sharp and they hit so it was with such velocity

0:23:09.960 --> 0:23:12.479
<v Speaker 1>that they just shred whatever they hit, be it a

0:23:12.520 --> 0:23:17.480
<v Speaker 1>mechanical foe or an organic foe. And again pretty far

0:23:17.560 --> 0:23:21.000
<v Speaker 1>removed from anything even remotely realistic we're talking about here,

0:23:21.200 --> 0:23:22.919
<v Speaker 1>but again I thought it was interesting. It's kind of

0:23:22.920 --> 0:23:25.920
<v Speaker 1>like the extreme transformation of the shuriken in sci fi

0:23:25.920 --> 0:23:29.880
<v Speaker 1>and fantasy. I also, I didn't remember this at all

0:23:29.960 --> 0:23:32.639
<v Speaker 1>because I don't have a lot of memories regarding two

0:23:32.680 --> 0:23:36.720
<v Speaker 1>thousand and four as Alien versus Predator, But you might

0:23:36.760 --> 0:23:39.800
<v Speaker 1>remember that in other Predator movies he has this disc

0:23:40.680 --> 0:23:43.719
<v Speaker 1>that he throws that cuts people in half. And in

0:23:43.760 --> 0:23:45.600
<v Speaker 1>this film they decided they were like, that looks too

0:23:45.680 --> 0:23:48.600
<v Speaker 1>much like a frisbee. Let's give the predator a shuriken.

0:23:48.800 --> 0:23:50.840
<v Speaker 1>And so he has this thing that it was least

0:23:50.880 --> 0:23:53.600
<v Speaker 1>at least described as a shura can. I included an

0:23:53.600 --> 0:23:56.200
<v Speaker 1>image here for you, Joe. It's it's really way too large.

0:23:56.280 --> 0:23:59.240
<v Speaker 1>It reminds me more of the weaponing Kroll, the what

0:23:59.400 --> 0:23:59.880
<v Speaker 1>is it boss?

0:24:00.240 --> 0:24:03.240
<v Speaker 3>The glave Yeah, which also is a word that means

0:24:03.240 --> 0:24:07.760
<v Speaker 3>something else elsewhere. But yeah, that's very confusing. It looks

0:24:07.960 --> 0:24:11.639
<v Speaker 3>almost exactly like the krawl thing. It's like kind of

0:24:11.800 --> 0:24:15.840
<v Speaker 3>almost like starfish shaped in a way, with these wispy

0:24:16.000 --> 0:24:20.560
<v Speaker 3>curving blades coming out. It looks too delicate, you know,

0:24:20.640 --> 0:24:22.000
<v Speaker 3>it looks like they would break off.

0:24:22.720 --> 0:24:24.679
<v Speaker 1>Yeah. Yeah, So I don't know. I don't remember what

0:24:24.760 --> 0:24:26.560
<v Speaker 1>this thing did in action. I guess it just cut

0:24:26.600 --> 0:24:30.399
<v Speaker 1>through stuff. But anyway, I wanted to.

0:24:30.240 --> 0:24:33.240
<v Speaker 3>Mention that based on my memory, probably doesn't do much

0:24:33.280 --> 0:24:35.960
<v Speaker 3>because I remember the Predator is just getting like beat

0:24:36.119 --> 0:24:39.600
<v Speaker 3>up in that movie. The movie is very like oh

0:24:39.680 --> 0:24:42.600
<v Speaker 3>yeah singles, you know, more full takedown and Predator. It's

0:24:42.680 --> 0:24:43.440
<v Speaker 3>kind of surprising.

0:24:43.680 --> 0:24:45.960
<v Speaker 1>Uh, well, I think it should. I think it should.

0:24:46.960 --> 0:24:49.720
<v Speaker 3>Yeah, Okay, it's a fair hunt.

0:24:49.840 --> 0:24:52.080
<v Speaker 1>Yeah, I don't know. I like to say I don't

0:24:52.119 --> 0:24:54.639
<v Speaker 1>remember that film all that well, but I did see it.

0:24:54.680 --> 0:25:06.880
<v Speaker 1>I might have seen in the theater. All right. Well, anyway,

0:25:06.920 --> 0:25:12.280
<v Speaker 1>coming back to the Shanobi, the pop culture Ninja and

0:25:12.560 --> 0:25:15.159
<v Speaker 1>the shur Can again, it's like you got to if

0:25:15.200 --> 0:25:18.920
<v Speaker 1>you try and think you know, realistically about any scenario

0:25:18.960 --> 0:25:20.760
<v Speaker 1>in which you have to bring a certain amount of tools,

0:25:20.840 --> 0:25:23.080
<v Speaker 1>you have your sort of desert island list of tools

0:25:23.119 --> 0:25:29.360
<v Speaker 1>to bring. Would throwing stars make the list? Again, items

0:25:29.359 --> 0:25:32.199
<v Speaker 1>that might only be used when you were about to

0:25:32.280 --> 0:25:34.879
<v Speaker 1>kill a samurai, and your main defense is like, what

0:25:34.960 --> 0:25:39.320
<v Speaker 1>have I made them angry? So I think there's reason

0:25:39.400 --> 0:25:41.560
<v Speaker 1>to doubt that. And it's interesting too when you look

0:25:41.600 --> 0:25:46.560
<v Speaker 1>at some of these ninjitsu manuals, again with proper caveats

0:25:46.560 --> 0:25:51.159
<v Speaker 1>about where they factor into the transformation from historical accuracy

0:25:51.240 --> 0:25:55.200
<v Speaker 1>into myth and fiction. There are sometimes lists of tools,

0:25:55.600 --> 0:25:59.600
<v Speaker 1>and in fact, there's a sixteen eighty one text Sho Ninki,

0:25:59.640 --> 0:26:03.560
<v Speaker 1>a Record of proper Nanjotsu, that includes six tools that

0:26:03.600 --> 0:26:07.560
<v Speaker 1>apparently every ninja had to have, and throwing stars did

0:26:07.560 --> 0:26:10.840
<v Speaker 1>not make the list. Instead, you have and I think

0:26:10.880 --> 0:26:12.679
<v Speaker 1>this is actually kind of a telling list, Like this

0:26:12.760 --> 0:26:15.720
<v Speaker 1>is a list that I mean, it certainly can apply

0:26:15.880 --> 0:26:21.040
<v Speaker 1>to any pop cultural view of vision of the ninja

0:26:21.040 --> 0:26:22.760
<v Speaker 1>that you have, but it also makes a lot of

0:26:22.760 --> 0:26:26.600
<v Speaker 1>sense if you're just imagining some sort of espionage operative

0:26:26.640 --> 0:26:30.159
<v Speaker 1>that's maybe doing like some extra sneaky stuff, Because the

0:26:30.240 --> 0:26:34.320
<v Speaker 1>list includes first of all kagi nawa a grappling hook

0:26:34.359 --> 0:26:36.160
<v Speaker 1>and rope, All right, makes sense. You need to get

0:26:36.160 --> 0:26:38.320
<v Speaker 1>over a wall. Grappling hook and some rope is a

0:26:38.320 --> 0:26:41.640
<v Speaker 1>way to do it. Then you've got this one. This one.

0:26:41.680 --> 0:26:46.280
<v Speaker 1>I was surprised by kasa a conical straw hat, like

0:26:46.280 --> 0:26:49.520
<v Speaker 1>a wide brimmed straw hat. This would have been widely

0:26:49.640 --> 0:26:52.040
<v Speaker 1>used by plenty of people who are not involved in

0:26:52.040 --> 0:26:55.320
<v Speaker 1>shanobi operations. But that's part of a part of it, right,

0:26:55.359 --> 0:26:59.840
<v Speaker 1>It's like not conspicuous, and you could apparently hide tools,

0:27:00.480 --> 0:27:02.560
<v Speaker 1>like it's large enough, you could, you know, maybe secret

0:27:02.600 --> 0:27:04.600
<v Speaker 1>some items up there under the brim.

0:27:05.160 --> 0:27:06.159
<v Speaker 3>It makes sense to me.

0:27:06.359 --> 0:27:09.400
<v Speaker 1>Yeah, And then here's a good one. Chalk in order

0:27:09.440 --> 0:27:12.720
<v Speaker 1>to leave irasable secret messages for other operatives.

0:27:13.040 --> 0:27:16.560
<v Speaker 3>Ah. Yeah, that's interesting because when you think about some

0:27:16.600 --> 0:27:18.800
<v Speaker 3>of these other Ninjasu manuals we were talking about, like

0:27:18.840 --> 0:27:23.480
<v Speaker 3>the Men's in Chucai, places a big emphasis on the

0:27:23.480 --> 0:27:27.320
<v Speaker 3>the operative must survive in order to deliver information. So

0:27:27.359 --> 0:27:31.840
<v Speaker 3>it's like propagandizing the reader against the idea of you know,

0:27:31.920 --> 0:27:35.080
<v Speaker 3>going out to die in honorable death while doing the mission.

0:27:35.160 --> 0:27:37.520
<v Speaker 3>It's like, no, you must live in order to deliver

0:27:37.640 --> 0:27:40.960
<v Speaker 3>the information. But if you can deliver information in some

0:27:41.080 --> 0:27:43.919
<v Speaker 3>other way, like by writing a message somewhere, you know,

0:27:43.960 --> 0:27:46.320
<v Speaker 3>down somewhere for someone else to read, then I guess

0:27:46.320 --> 0:27:47.560
<v Speaker 3>that takes some of the pressure off.

0:27:47.840 --> 0:27:50.399
<v Speaker 1>Yeah, yeah, so it makes sense. And also, like chalk

0:27:50.800 --> 0:27:54.040
<v Speaker 1>generally not considered sus if you're caught with chalk, it's

0:27:54.040 --> 0:27:57.280
<v Speaker 1>not You're not going to be instantly sent to your execution.

0:27:57.520 --> 0:28:01.000
<v Speaker 1>I'm assumed, all right. Some of the others a tinder box,

0:28:01.119 --> 0:28:04.280
<v Speaker 1>you know, just for a little fire, a towel, bring

0:28:04.320 --> 0:28:06.200
<v Speaker 1>a towel with you, you know, it's there are a

0:28:06.200 --> 0:28:09.520
<v Speaker 1>lot of uses for the towel is very versatile. And

0:28:09.560 --> 0:28:14.280
<v Speaker 1>then there's also this category kusuri, and this would have

0:28:14.280 --> 0:28:18.119
<v Speaker 1>been various chemical compounds for different purposes. And this would

0:28:18.119 --> 0:28:22.080
<v Speaker 1>include things like poison but also basically like first aid

0:28:22.119 --> 0:28:24.639
<v Speaker 1>as well as bug repellent. So I feel like this

0:28:24.680 --> 0:28:27.280
<v Speaker 1>is a pretty solid list because, if nothing else, it

0:28:27.320 --> 0:28:31.440
<v Speaker 1>speaks to some of the practical aspects of imagine shanobi activities.

0:28:31.480 --> 0:28:34.760
<v Speaker 1>You might need some bugspray, you might need to bring

0:28:34.760 --> 0:28:36.480
<v Speaker 1>a light, you might need to bring a towel.

0:28:36.920 --> 0:28:39.160
<v Speaker 3>Yeah, I mean, towel's just always a good idea.

0:28:39.360 --> 0:28:42.880
<v Speaker 1>Yeah, In the book Ninja Attack, Yoda and All highlight

0:28:42.960 --> 0:28:46.680
<v Speaker 1>some other alleged Ninja weapons, and they're kind of a

0:28:46.720 --> 0:28:49.520
<v Speaker 1>mix of things that maybe feel a little more fantasy

0:28:49.760 --> 0:28:52.720
<v Speaker 1>based and others that just sound very standard. Like one

0:28:53.240 --> 0:28:56.360
<v Speaker 1>is a kunai, a standard field knife. I think we

0:28:56.480 --> 0:28:58.360
<v Speaker 1>mentioned this in passing in the last one when we're

0:28:58.360 --> 0:29:03.400
<v Speaker 1>talking about the the idea that ninja's had a specialized

0:29:03.560 --> 0:29:07.320
<v Speaker 1>ninja would have a specialized sword, and we brought up that, well,

0:29:07.480 --> 0:29:09.720
<v Speaker 1>why would you have this illegal weapon on you that

0:29:09.760 --> 0:29:12.000
<v Speaker 1>takes up a fair amount of room that also might

0:29:12.040 --> 0:29:13.800
<v Speaker 1>not serve your mission all that well, when you could

0:29:13.840 --> 0:29:16.440
<v Speaker 1>just bring like a standard field knife, something that would

0:29:16.440 --> 0:29:19.840
<v Speaker 1>not necessarily be considered a straight up weapon and would

0:29:19.840 --> 0:29:25.400
<v Speaker 1>have various practical uses. There's another one, goshiki may, which

0:29:25.440 --> 0:29:28.120
<v Speaker 1>would have been it's supposed to have been dyed rice

0:29:28.200 --> 0:29:30.920
<v Speaker 1>grains that you could leave, you could leave behind you

0:29:30.960 --> 0:29:34.320
<v Speaker 1>as as a codd trail. Again, I'm not so sure

0:29:34.320 --> 0:29:37.080
<v Speaker 1>about that when that one sounds a little more exciting,

0:29:37.120 --> 0:29:39.280
<v Speaker 1>like maybe a little too exciting to be an actual,

0:29:40.440 --> 0:29:46.160
<v Speaker 1>you know, artifact of spycraft. Now, Gandhal a bucket based

0:29:46.240 --> 0:29:49.800
<v Speaker 1>focused lantern that does sound useful for sneaking around, you know,

0:29:49.920 --> 0:29:52.800
<v Speaker 1>basically like a you know something, so you're not lighting

0:29:52.880 --> 0:29:56.040
<v Speaker 1>up in the whole room, you're not lighting yourself up,

0:29:56.080 --> 0:29:58.800
<v Speaker 1>but you can have a very focused light for sneaking around,

0:29:58.920 --> 0:30:00.000
<v Speaker 1>maybe looking at document.

0:30:00.080 --> 0:30:04.040
<v Speaker 3>It's oh, I see sort of a beam light. Yeah.

0:30:04.200 --> 0:30:06.719
<v Speaker 1>Another one is a michi hakari. This would have been

0:30:06.760 --> 0:30:10.280
<v Speaker 1>like a measuring stick. Again. You know, sometimes espionage is boring.

0:30:10.400 --> 0:30:13.200
<v Speaker 1>It's just about how how bigger things, So you might

0:30:13.240 --> 0:30:15.080
<v Speaker 1>need to measure things when you when you're when you're

0:30:15.080 --> 0:30:15.640
<v Speaker 1>out and about.

0:30:15.960 --> 0:30:17.760
<v Speaker 3>Uh, this is not boring at all. This is a

0:30:17.880 --> 0:30:21.520
<v Speaker 3>major part of espionage activities in these old warfare manuals.

0:30:21.560 --> 0:30:25.440
<v Speaker 3>It's about like giving giving dimensions and topography. It's like,

0:30:26.040 --> 0:30:28.680
<v Speaker 3>go somewhere and tell me what it's like. Make a map.

0:30:28.960 --> 0:30:33.200
<v Speaker 1>Yeah, they mentioned shakomi and this would have been like

0:30:33.360 --> 0:30:38.360
<v Speaker 1>various concealed weapons, including cane swords, blow guns, that sort

0:30:38.400 --> 0:30:42.400
<v Speaker 1>of thing. Again. Uh, certainly this would make sense, especially

0:30:42.400 --> 0:30:46.320
<v Speaker 1>if you're engaging in some sort of potential assassination scenario.

0:30:46.480 --> 0:30:49.800
<v Speaker 1>But it also of course leans I think heavily into

0:30:50.160 --> 0:30:52.520
<v Speaker 1>the myth of espionage. I mean, who doesn't love a

0:30:52.560 --> 0:30:55.760
<v Speaker 1>good secret weapon. Some sort of a James Bond device right.

0:30:56.720 --> 0:30:58.760
<v Speaker 1>Then there's a shikoro. This would have been like a

0:30:58.800 --> 0:31:01.960
<v Speaker 1>serrated hand tool for sawing, again like a basic tool

0:31:02.400 --> 0:31:05.880
<v Speaker 1>that might come in handy for certain practices. And then

0:31:05.920 --> 0:31:08.840
<v Speaker 1>there's a casou gai. This would have been These would

0:31:08.840 --> 0:31:13.080
<v Speaker 1>have been climbing aids, like specialized like iron climbing aids

0:31:13.120 --> 0:31:15.560
<v Speaker 1>for foot and hand holds. It could be inserted into

0:31:15.920 --> 0:31:19.680
<v Speaker 1>the cracks of a wall that the examples that are

0:31:19.880 --> 0:31:23.120
<v Speaker 1>included in the book are pretty neat looking. I'm not

0:31:23.120 --> 0:31:26.840
<v Speaker 1>sure how historically accurate this would be, again, because we

0:31:26.880 --> 0:31:30.160
<v Speaker 1>talked about the importance of a ladder, and certainly, you know,

0:31:30.160 --> 0:31:32.440
<v Speaker 1>we talked about you know, grappling hooks, So I don't know,

0:31:32.560 --> 0:31:35.080
<v Speaker 1>I'm not sure if this is if this is something

0:31:35.120 --> 0:31:37.480
<v Speaker 1>that would have been regularly done, because the ladder is

0:31:37.480 --> 0:31:41.000
<v Speaker 1>also included in the in the book. Here, there's also

0:31:41.560 --> 0:31:45.280
<v Speaker 1>uh subo kiri, like a handheld drilling tool from like

0:31:45.320 --> 0:31:48.600
<v Speaker 1>making a like holes in a wall for like a

0:31:48.640 --> 0:31:53.000
<v Speaker 1>peep pole. Yeah, peep pole, So this sounds reasonable. They

0:31:53.040 --> 0:31:56.920
<v Speaker 1>mentioned they mentioned the fabulous floating shoes that we talked

0:31:56.960 --> 0:32:00.960
<v Speaker 1>about last time, but they also mentioned something called mizugaki,

0:32:01.360 --> 0:32:03.520
<v Speaker 1>which would have been would have been apparently a type

0:32:03.520 --> 0:32:07.520
<v Speaker 1>of footwear that was useful in muddy areas. Okay, yeah,

0:32:07.560 --> 0:32:09.800
<v Speaker 1>and I guess this is reasonable, right, if you're like

0:32:09.840 --> 0:32:15.440
<v Speaker 1>potentially sneaking out of of of a building or an area,

0:32:15.640 --> 0:32:18.760
<v Speaker 1>or dealing in any fashion with a moat, it might

0:32:18.840 --> 0:32:20.600
<v Speaker 1>make sense to have specialized footwear.

0:32:21.000 --> 0:32:22.959
<v Speaker 3>Well, right, as we talked about it in the last episode,

0:32:22.960 --> 0:32:27.200
<v Speaker 3>the idea of the mizugumo, the water walking shoes, the

0:32:27.240 --> 0:32:31.240
<v Speaker 3>water spider shoes almost certainly would not work as generally

0:32:31.280 --> 0:32:34.000
<v Speaker 3>interpreted in twentieth century sources, where like they allow you

0:32:34.040 --> 0:32:36.560
<v Speaker 3>to walk across the top of the water. So if

0:32:36.720 --> 0:32:39.360
<v Speaker 3>such a device were actually used, it was probably more

0:32:39.480 --> 0:32:41.560
<v Speaker 3>like an inner tube type thing that you would sit

0:32:41.640 --> 0:32:43.120
<v Speaker 3>in and float across the water in.

0:32:43.600 --> 0:32:46.400
<v Speaker 1>Yeah, yeah, kind of like a makeshift raft, which was

0:32:46.680 --> 0:32:50.960
<v Speaker 1>is Actually there's another item like this included in the book,

0:32:51.360 --> 0:32:54.880
<v Speaker 1>the kami Gatta, which would apparently have been and I

0:32:54.920 --> 0:32:56.880
<v Speaker 1>don't have a clear vision of what this would look like,

0:32:56.960 --> 0:33:00.920
<v Speaker 1>but a makeshift raft using a bamboo frame in empty

0:33:00.960 --> 0:33:05.280
<v Speaker 1>clay jars. So you know, perhaps a scenario where it's like, Okay,

0:33:05.360 --> 0:33:07.520
<v Speaker 1>I got to I got to build a boat tonight

0:33:07.920 --> 0:33:10.760
<v Speaker 1>in order to make it across this river or this

0:33:10.880 --> 0:33:13.560
<v Speaker 1>moat or what have you. What could you use to

0:33:13.680 --> 0:33:15.920
<v Speaker 1>make it? How you could you mcguiver up a boat.

0:33:16.360 --> 0:33:17.560
<v Speaker 3>That's good knowledge to have.

0:33:19.240 --> 0:33:22.720
<v Speaker 1>Now, there are various other ninja weapons that we could

0:33:22.840 --> 0:33:26.120
<v Speaker 1>potentially talk about. I think the common thread, though, is

0:33:26.160 --> 0:33:30.320
<v Speaker 1>going to be how realistic is this and how much

0:33:30.440 --> 0:33:34.160
<v Speaker 1>historical evidence is there for this? And how cool does

0:33:34.200 --> 0:33:38.480
<v Speaker 1>it look? You know, like you see things like Techo

0:33:38.560 --> 0:33:42.520
<v Speaker 1>Kagi and Nko te These would have been two different

0:33:42.640 --> 0:33:46.840
<v Speaker 1>versions of like giving your ninja's claws, so the former

0:33:46.960 --> 0:33:49.600
<v Speaker 1>being like a wolverine claw that you wear as a gauntlet.

0:33:49.920 --> 0:33:52.000
<v Speaker 1>I guess also you could this is like basically what

0:33:52.040 --> 0:33:54.920
<v Speaker 1>Shreder has in teenage mutant ninja turtles. And then the

0:33:55.120 --> 0:33:58.160
<v Speaker 1>neck o t would would have been something that goes

0:33:58.160 --> 0:34:01.960
<v Speaker 1>over your fingertips. And these would have been like poisoned

0:34:02.040 --> 0:34:05.160
<v Speaker 1>or some sort of a nuisance weapon for like scratching somebody.

0:34:05.120 --> 0:34:07.000
<v Speaker 3>Over the fingertips. Yikes.

0:34:07.240 --> 0:34:08.520
<v Speaker 1>Yeah, so like you with the.

0:34:08.600 --> 0:34:11.960
<v Speaker 3>Open hand swinging at the Yeah.

0:34:11.560 --> 0:34:14.160
<v Speaker 1>Well, you're not as big as Freddy Krueger or anything.

0:34:14.880 --> 0:34:17.319
<v Speaker 1>I think I did an artifact episode a while back

0:34:17.320 --> 0:34:20.040
<v Speaker 1>talking about like some of the physics of strapping blades

0:34:20.080 --> 0:34:22.920
<v Speaker 1>to your fingers, Like that's Freddy Krueger glove would be

0:34:22.920 --> 0:34:25.359
<v Speaker 1>a great way to break all your fingers. You can

0:34:25.440 --> 0:34:27.719
<v Speaker 1>actually use that as a weapon, and you are not

0:34:27.800 --> 0:34:31.160
<v Speaker 1>a supernatural entity of some sort. Yes, but if it's

0:34:31.200 --> 0:34:34.120
<v Speaker 1>wrist mounted, okay, you know potentially that could work. But

0:34:34.160 --> 0:34:36.600
<v Speaker 1>then again you get into that question why would it

0:34:36.680 --> 0:34:39.560
<v Speaker 1>work more than a standard weapon? Why would it be

0:34:39.600 --> 0:34:41.960
<v Speaker 1>a better choice compared to a knife or a sword

0:34:42.040 --> 0:34:42.600
<v Speaker 1>or what have you.

0:34:43.200 --> 0:34:45.080
<v Speaker 3>As with a lot of these things we're describing, you

0:34:45.080 --> 0:34:47.080
<v Speaker 3>can see how they might have more appeal as a

0:34:47.120 --> 0:34:52.040
<v Speaker 3>meme than actual functional utility, Like they could be successful

0:34:52.200 --> 0:34:55.560
<v Speaker 3>in texts like these because they're interesting ideas.

0:34:56.160 --> 0:35:00.640
<v Speaker 1>Yeah, Another thing that comes up is like, which cases

0:35:00.680 --> 0:35:02.760
<v Speaker 1>do we see some sort of an alleged ninja weapon

0:35:02.800 --> 0:35:05.600
<v Speaker 1>that might have its roots in sort of a repurposing

0:35:06.120 --> 0:35:09.160
<v Speaker 1>of other items, Like for instance, there are various forms

0:35:09.200 --> 0:35:14.520
<v Speaker 1>of teko or techo, and these would have been I've

0:35:14.560 --> 0:35:16.000
<v Speaker 1>seen it seen it written that these would have been

0:35:16.000 --> 0:35:20.000
<v Speaker 1>like a basically a weaponized iron stirrup that is turned

0:35:20.000 --> 0:35:23.920
<v Speaker 1>into something kind of like brass knuckles, you know, And

0:35:23.960 --> 0:35:26.239
<v Speaker 1>I think like brass knuckles are a great example of

0:35:26.280 --> 0:35:30.200
<v Speaker 1>something where you can see various knucks and other weapons

0:35:30.239 --> 0:35:34.319
<v Speaker 1>that can be very specialized and ornate, but various other

0:35:34.400 --> 0:35:37.080
<v Speaker 1>things could also work, you know, like a roll of

0:35:37.160 --> 0:35:39.200
<v Speaker 1>quarters or you know, some other just like a simple

0:35:39.200 --> 0:35:41.560
<v Speaker 1>band of iron that goes around your knuckles, that sort

0:35:41.560 --> 0:35:45.160
<v Speaker 1>of thing. And so there's a long list of alleged

0:35:45.520 --> 0:35:51.600
<v Speaker 1>ninja weapons. They include miniaturized firearms, sharpened hair ornaments, and chopsticks,

0:35:51.760 --> 0:35:55.120
<v Speaker 1>particularly for female shanobi. And you know, I think part

0:35:55.200 --> 0:35:56.880
<v Speaker 1>of that is just like the idea of like, oh,

0:35:56.920 --> 0:36:01.279
<v Speaker 1>these the hair ornaments look very sharp, they look like

0:36:01.320 --> 0:36:03.840
<v Speaker 1>they could be a weapon. What if they were a weapon?

0:36:05.200 --> 0:36:09.440
<v Speaker 1>And therefore the myth building takes place. There are at

0:36:09.520 --> 0:36:14.200
<v Speaker 1>least a couple of chain based weapons, the manriki gusari.

0:36:14.840 --> 0:36:16.799
<v Speaker 1>This is like a length of chain with a weight

0:36:16.880 --> 0:36:19.480
<v Speaker 1>on either end, and I think the basic idea here

0:36:19.640 --> 0:36:22.680
<v Speaker 1>is like, the samurai are coming to kill you, what again,

0:36:22.719 --> 0:36:26.480
<v Speaker 1>what can you throw at them to potentially buy yourself

0:36:26.480 --> 0:36:30.359
<v Speaker 1>a little time and or wrap around their weapons. There's

0:36:30.400 --> 0:36:32.879
<v Speaker 1>also one the kusari gama, which would have been much

0:36:32.880 --> 0:36:35.480
<v Speaker 1>the same idea, but with a blade or sickle on

0:36:35.480 --> 0:36:38.200
<v Speaker 1>one end of the chain. This would ideal. It yeah,

0:36:38.200 --> 0:36:40.360
<v Speaker 1>be a situation where someone's coming at you with a weapon,

0:36:40.560 --> 0:36:42.839
<v Speaker 1>maybe you could use the chain to like wrap up

0:36:42.880 --> 0:36:46.400
<v Speaker 1>their weapon and so forth. So again, all the standard

0:36:46.480 --> 0:36:50.200
<v Speaker 1>caveats apply to considering the historical accuracy of these weapon descriptions.

0:36:50.560 --> 0:36:54.520
<v Speaker 1>But I think we if we scrape the ninja mystique

0:36:54.520 --> 0:36:57.839
<v Speaker 1>off of each of them, while still acknowledging the use

0:36:57.920 --> 0:37:00.560
<v Speaker 1>of some form of martial art, we're dealing with sneaky

0:37:00.600 --> 0:37:03.280
<v Speaker 1>weapons that have as much, if not more in common

0:37:03.320 --> 0:37:08.600
<v Speaker 1>with typical criminal implements like small knives, small clubs, concealable firearms,

0:37:09.239 --> 0:37:14.040
<v Speaker 1>maybe even concealed swords and cane swords and all you know,

0:37:14.120 --> 0:37:18.400
<v Speaker 1>hidden blades, hidden flails and so forth. But again, I

0:37:18.400 --> 0:37:21.359
<v Speaker 1>think you end up having pasked that question like would

0:37:21.400 --> 0:37:24.319
<v Speaker 1>this actually be practical? Can you see somebody using this

0:37:24.440 --> 0:37:27.359
<v Speaker 1>in a very serious life and death, you know, very

0:37:27.440 --> 0:37:31.760
<v Speaker 1>risky scenario where the goal might not be some sort

0:37:31.800 --> 0:37:37.160
<v Speaker 1>of like crazy cinematic ninja scenario, but something more like

0:37:37.600 --> 0:37:40.640
<v Speaker 1>getting the measurements of a guard house, or you know,

0:37:40.920 --> 0:37:44.040
<v Speaker 1>looking at some documents, overhearing something that you're not supposed

0:37:44.040 --> 0:37:48.360
<v Speaker 1>to hear, and so forth. Now, there are various techniques

0:37:48.520 --> 0:37:51.319
<v Speaker 1>that ninja techniques that are brought up in the book

0:37:51.360 --> 0:37:53.880
<v Speaker 1>by Yoda and Alt and one that I was particularly

0:37:53.880 --> 0:37:57.280
<v Speaker 1>amused by is the idea that you could as a ninja,

0:37:57.360 --> 0:37:59.839
<v Speaker 1>as a shanobi operative out in the field, you need

0:37:59.880 --> 0:38:04.840
<v Speaker 1>to tell what time it is without any other information

0:38:04.920 --> 0:38:07.360
<v Speaker 1>to go on. You could look into a cat size

0:38:07.800 --> 0:38:09.319
<v Speaker 1>and therefore tell what time it is.

0:38:09.840 --> 0:38:13.080
<v Speaker 3>Oh interesting, now is this telling time in the nighttime

0:38:13.200 --> 0:38:14.000
<v Speaker 3>or in the daytime.

0:38:15.239 --> 0:38:17.239
<v Speaker 1>I have a lot of questions about how practical this

0:38:17.320 --> 0:38:20.040
<v Speaker 1>would be. I think this is definitely one of those

0:38:20.080 --> 0:38:24.279
<v Speaker 1>ideas that sounds more intriguing than it actually you know,

0:38:24.320 --> 0:38:27.000
<v Speaker 1>and then than it is useful. I think maybe it

0:38:27.040 --> 0:38:29.960
<v Speaker 1>has something to do with the idea quite understandably that

0:38:30.040 --> 0:38:32.520
<v Speaker 1>we feel a kinship between the ninja and the cat.

0:38:33.920 --> 0:38:36.680
<v Speaker 1>We like the idea too of a ninja stopping and maybe,

0:38:36.719 --> 0:38:39.520
<v Speaker 1>you know, talking with the cat like your the household

0:38:39.520 --> 0:38:41.879
<v Speaker 1>cat doesn't care he or she is ready to sell

0:38:41.920 --> 0:38:45.840
<v Speaker 1>you out to the shnovii at a moment's notice. They're

0:38:45.880 --> 0:38:47.800
<v Speaker 1>happy to conspire.

0:38:47.760 --> 0:38:49.040
<v Speaker 3>Cast speak with animals.

0:38:49.080 --> 0:38:52.360
<v Speaker 1>Yeah, yeah, But the basic idea is that, okay, the

0:38:52.440 --> 0:38:54.920
<v Speaker 1>shape of the pupil in the cat's eye is going

0:38:54.960 --> 0:38:57.919
<v Speaker 1>to change throughout the day, and you could potentially match

0:38:57.920 --> 0:39:02.200
<v Speaker 1>it up with specific times. The trick, the challenge that

0:39:02.800 --> 0:39:04.800
<v Speaker 1>Yoda and All point out is that, of course you

0:39:04.840 --> 0:39:06.799
<v Speaker 1>would have to be able to get close enough to

0:39:06.880 --> 0:39:10.799
<v Speaker 1>the cat to do this, presumably a stranger's cat to

0:39:10.880 --> 0:39:14.040
<v Speaker 1>make this reading, which is betting a lot on random

0:39:14.120 --> 0:39:17.440
<v Speaker 1>cat personalities, because there are cats that I've seen plenty

0:39:17.480 --> 0:39:19.319
<v Speaker 1>of times and I've never gotten close enough to look

0:39:19.320 --> 0:39:23.040
<v Speaker 1>at their pupils. But then you'll just encounter like a

0:39:23.080 --> 0:39:25.640
<v Speaker 1>cat out on a walk, and the cat will come

0:39:25.680 --> 0:39:27.960
<v Speaker 1>straight up and is like ready to share that information

0:39:28.080 --> 0:39:28.360
<v Speaker 1>with you.

0:39:28.840 --> 0:39:32.400
<v Speaker 3>This is why you rub your face with sardines, you

0:39:32.480 --> 0:39:33.439
<v Speaker 3>get the cat in there.

0:39:35.080 --> 0:39:37.920
<v Speaker 1>So I looked into this a little bit more. I

0:39:37.920 --> 0:39:41.239
<v Speaker 1>couldn't find much concrete and about this, because, of course,

0:39:41.239 --> 0:39:43.880
<v Speaker 1>the other question is like, what kind of specific scenario

0:39:44.080 --> 0:39:46.680
<v Speaker 1>is this where there is no other information to go

0:39:46.719 --> 0:39:50.080
<v Speaker 1>on other than a cat's eide. You know, I feel

0:39:50.120 --> 0:39:52.600
<v Speaker 1>like you'd have a there would be better ways to

0:39:53.480 --> 0:39:55.279
<v Speaker 1>reasonably estimate what time it.

0:39:55.200 --> 0:39:58.680
<v Speaker 3>Is, and hey, you know, it's not impossible that someone

0:39:58.719 --> 0:40:03.080
<v Speaker 3>could find clever ways of getting surprisingly accurate information from

0:40:03.120 --> 0:40:06.360
<v Speaker 3>the natural world. I often think back to that series

0:40:06.400 --> 0:40:11.160
<v Speaker 3>of episodes we did about Pacific islander navigation techniques that

0:40:11.320 --> 0:40:14.840
<v Speaker 3>you know, without any kind of electronics or modern equipment,

0:40:14.840 --> 0:40:19.440
<v Speaker 3>people were able to figure out incredibly accurate ways of navigating.

0:40:19.520 --> 0:40:22.160
<v Speaker 3>And so maybe there's stuff like this in the eyes

0:40:22.200 --> 0:40:24.640
<v Speaker 3>of animals or in plants that can tell you exactly

0:40:24.680 --> 0:40:26.640
<v Speaker 3>what time it is. Is it true?

0:40:28.320 --> 0:40:32.040
<v Speaker 1>Yeah, I've looked up an article. I found this article

0:40:32.840 --> 0:40:36.160
<v Speaker 1>on the website of the National Wildlife Federation by one

0:40:36.239 --> 0:40:39.279
<v Speaker 1>Donna Johnson, who, by the way, alludes to this being

0:40:39.280 --> 0:40:43.719
<v Speaker 1>a New England tradition. So I don't know where it originates.

0:40:43.760 --> 0:40:46.439
<v Speaker 1>Maybe it originates in multiple culture anytime you're close enough

0:40:46.440 --> 0:40:49.520
<v Speaker 1>to a cat to look at their eyes. But she

0:40:49.560 --> 0:40:52.880
<v Speaker 1>does do a breakdown of the idea, like, basically, cats

0:40:52.920 --> 0:40:57.879
<v Speaker 1>have elliptically shaped pupils to compensate for their light sensitivity,

0:40:58.160 --> 0:41:02.480
<v Speaker 1>which otherwise aids them in low light hunts. But the

0:41:02.560 --> 0:41:05.560
<v Speaker 1>greater the amount of light, the more slit like the pupil.

0:41:05.960 --> 0:41:09.640
<v Speaker 1>So it technically works, but it also seems again like

0:41:09.680 --> 0:41:13.880
<v Speaker 1>maybe not the most reliable time telling technique. And I

0:41:13.920 --> 0:41:16.239
<v Speaker 1>can't imagine a situation where the cat's eyes would be

0:41:16.239 --> 0:41:19.840
<v Speaker 1>the only thing to go off of, so many questions

0:41:19.880 --> 0:41:22.520
<v Speaker 1>would emerge here, but it's a neat idea. I guess, well.

0:41:22.560 --> 0:41:24.799
<v Speaker 3>I mean, if the cats eyes are responding to the

0:41:24.920 --> 0:41:27.800
<v Speaker 3>level of light, would the ninja not also be able

0:41:27.880 --> 0:41:30.360
<v Speaker 3>to see the level of light exactly?

0:41:41.040 --> 0:41:43.080
<v Speaker 1>All right? The final thing I want to hit on

0:41:43.160 --> 0:41:46.080
<v Speaker 1>here in this series is the idea of the ninja

0:41:46.120 --> 0:41:50.239
<v Speaker 1>as hero, because when it comes to pop cultural transformations,

0:41:50.239 --> 0:41:52.200
<v Speaker 1>I think it's always interesting to look at the point

0:41:52.200 --> 0:41:56.520
<v Speaker 1>where something completely flips from what it originally was. For instance,

0:41:56.520 --> 0:41:58.400
<v Speaker 1>in past episodes of Stuff to Blow Your Mind, we

0:41:58.440 --> 0:42:02.920
<v Speaker 1>discussed how various fear some monsters, especially in Japanese culture,

0:42:03.000 --> 0:42:05.600
<v Speaker 1>but we also looked at some examples from Western horror movies,

0:42:06.320 --> 0:42:11.719
<v Speaker 1>eventually make the transformation from like a symbol symbolized like

0:42:12.640 --> 0:42:15.080
<v Speaker 1>aspect of reality, you know, some sort of you know,

0:42:15.200 --> 0:42:19.480
<v Speaker 1>dark aspect of reality that is embodied in some sort

0:42:19.520 --> 0:42:23.040
<v Speaker 1>of a being and imagine being, you know, a fearsome entity.

0:42:23.560 --> 0:42:23.640
<v Speaker 3>Uh.

0:42:23.800 --> 0:42:25.880
<v Speaker 1>The point at which we take that and flip it

0:42:25.920 --> 0:42:29.040
<v Speaker 1>into something cute, something that would you know, make for

0:42:29.080 --> 0:42:31.040
<v Speaker 1>a nice mascot, look at it on a bumper sticker,

0:42:31.120 --> 0:42:33.359
<v Speaker 1>or even be a stuffed animal. I think there's something

0:42:33.520 --> 0:42:38.280
<v Speaker 1>telling about reaching that point when the monster becomes cute

0:42:38.560 --> 0:42:41.560
<v Speaker 1>or in this case, when the ninja becomes a hero.

0:42:42.800 --> 0:42:45.880
<v Speaker 3>When we've talked about this with regard to monsters, I

0:42:45.920 --> 0:42:48.279
<v Speaker 3>remember one of my thoughts about it was that this

0:42:48.440 --> 0:42:53.440
<v Speaker 3>impulse is driven by franchising concerns, Like the further you

0:42:53.520 --> 0:42:56.720
<v Speaker 3>get into sequels and the more like movies or stories

0:42:56.760 --> 0:42:59.480
<v Speaker 3>you've had exposing you to this monster over and over,

0:43:00.200 --> 0:43:03.480
<v Speaker 3>the less comfortable it is for the monster to continue

0:43:03.520 --> 0:43:07.000
<v Speaker 3>to be purely fearsome or evil, and there's an impulse

0:43:07.040 --> 0:43:10.520
<v Speaker 3>to make it more friendly or at least maybe funnier

0:43:10.760 --> 0:43:14.000
<v Speaker 3>or something. So you can see this in you know,

0:43:14.080 --> 0:43:19.200
<v Speaker 3>like Godzilla originally is not nice and is not fun,

0:43:19.200 --> 0:43:23.080
<v Speaker 3>but eventually it becomes Godzilla becomes the defender essentially against

0:43:23.120 --> 0:43:26.480
<v Speaker 3>these worst monsters. You know, the new monster is the

0:43:26.480 --> 0:43:29.239
<v Speaker 3>worst one and Godzilla is the one we're familiar with

0:43:29.280 --> 0:43:31.799
<v Speaker 3>fighting it off. And you can see over time that

0:43:31.920 --> 0:43:35.239
<v Speaker 3>Freddy Krueger goes from being just like a gross, disgusting

0:43:35.480 --> 0:43:39.279
<v Speaker 3>murderer into becoming like a jokester who's more just kind

0:43:39.280 --> 0:43:41.680
<v Speaker 3>of like mugging for the camera and yuck, yucks.

0:43:41.880 --> 0:43:43.440
<v Speaker 1>Yeah, he becomes a violent clown.

0:43:43.800 --> 0:43:47.080
<v Speaker 3>Yeah, and so forth. I think it's a really common pattern.

0:43:47.160 --> 0:43:51.040
<v Speaker 3>It's something about like familiarity takes the edge off of

0:43:51.080 --> 0:43:54.759
<v Speaker 3>something and makes you want to recast it as a

0:43:54.760 --> 0:43:56.000
<v Speaker 3>friend rather than a foe.

0:43:56.600 --> 0:43:59.279
<v Speaker 1>And so with the Ninja, you know, we've discussed at

0:43:59.360 --> 0:44:03.000
<v Speaker 1>length than nebulous reality and origins of the shnobi, and

0:44:03.040 --> 0:44:07.000
<v Speaker 1>how we're mostly talking about shadowy espa espionage operatives made

0:44:07.040 --> 0:44:10.160
<v Speaker 1>up of commoners and even criminals that engage in dirty,

0:44:10.239 --> 0:44:13.720
<v Speaker 1>if not outright shameful acts that are necessary, a necessary

0:44:13.719 --> 0:44:18.400
<v Speaker 1>part of warfare, alongside the more celebrated noble and aristocratic

0:44:18.560 --> 0:44:22.799
<v Speaker 1>exploits of rulers in the Samurai. But then coming out

0:44:22.840 --> 0:44:25.000
<v Speaker 1>of the Warring States period and into the Edo period

0:44:25.000 --> 0:44:26.719
<v Speaker 1>and beyond, we see the myth making. We see the

0:44:26.719 --> 0:44:29.880
<v Speaker 1>fiction transforming the myth of the ninja in numerous ways,

0:44:30.239 --> 0:44:33.520
<v Speaker 1>giving it the form everyone instantly recognizes today. And so

0:44:33.800 --> 0:44:37.480
<v Speaker 1>many Ninja remain villains in these later treatments, but they

0:44:37.520 --> 0:44:41.400
<v Speaker 1>inevitably cross over into anti hero and even hero territory.

0:44:41.920 --> 0:44:44.480
<v Speaker 1>And this kind of takes me back to our initial

0:44:44.480 --> 0:44:50.040
<v Speaker 1>discussion talking about our initial introductions to ninja growing up,

0:44:50.440 --> 0:44:52.680
<v Speaker 1>and I look back and I think some of my

0:44:52.800 --> 0:44:57.120
<v Speaker 1>initial introductions to ninja actually cast them as heroes, like

0:44:57.440 --> 0:45:00.279
<v Speaker 1>that nineteen eighty one canon film Entered the Ninja has

0:45:00.360 --> 0:45:06.000
<v Speaker 1>been built around Franco Niro, an Italian actor, as at

0:45:06.120 --> 0:45:08.200
<v Speaker 1>least an anti hero. I don't think he's maybe quite

0:45:08.239 --> 0:45:10.600
<v Speaker 1>a hero in that, but he's at least an anti hero.

0:45:11.239 --> 0:45:13.960
<v Speaker 3>I feel like the majority of the ninja media I

0:45:14.160 --> 0:45:17.200
<v Speaker 3>consumed when I was a kid had ninjas as heroes

0:45:17.320 --> 0:45:19.240
<v Speaker 3>rather than villains, or had them as both.

0:45:19.719 --> 0:45:21.839
<v Speaker 1>Yeah, I think that's not very common as well, going

0:45:21.880 --> 0:45:24.080
<v Speaker 1>back to like g I Joe, like Snake Eyes is

0:45:24.080 --> 0:45:27.040
<v Speaker 1>a black clad ninja and is very much on the

0:45:27.200 --> 0:45:31.240
<v Speaker 1>certified good guy team. There's no it's it's black and white.

0:45:31.320 --> 0:45:35.160
<v Speaker 1>Literally though it's flipped because our black clad ninja is

0:45:35.160 --> 0:45:36.919
<v Speaker 1>good and our white clad ninja is bad.

0:45:37.280 --> 0:45:41.080
<v Speaker 3>Yeah or yeah, so often they were both, but I

0:45:41.120 --> 0:45:43.360
<v Speaker 3>think there's an impulse there that it's just like, well,

0:45:44.080 --> 0:45:47.600
<v Speaker 3>especially in kid focus to media, ninja's are cool, and

0:45:47.719 --> 0:45:49.640
<v Speaker 3>kids want to root for the good guys, and they

0:45:49.680 --> 0:45:51.960
<v Speaker 3>want they want the good guys to be cool, So

0:45:52.400 --> 0:45:54.160
<v Speaker 3>you got to make the ninja a good guy.

0:45:54.440 --> 0:45:57.239
<v Speaker 1>Yeah, Like I mean, the teenage meeting ninja turtles. Obviously

0:45:57.400 --> 0:46:01.120
<v Speaker 1>they're turtles they're teenagers, but they are ninjas. They're very

0:46:01.200 --> 0:46:03.680
<v Speaker 1>much the good guys. But then, going back to the

0:46:03.719 --> 0:46:07.000
<v Speaker 1>Bond film You Only Live Twice again vitally important in

0:46:07.239 --> 0:46:12.080
<v Speaker 1>bringing the Ninja into the international market and into Western cinema.

0:46:12.480 --> 0:46:15.279
<v Speaker 1>All the Ninja in that all the Shnobi operatives were

0:46:15.320 --> 0:46:17.799
<v Speaker 1>working on James Bod's Bond's team. They were all good

0:46:17.880 --> 0:46:19.040
<v Speaker 1>guys essentially.

0:46:18.719 --> 0:46:22.440
<v Speaker 3>Right, Yeah, yeah, I think so there might be some

0:46:22.560 --> 0:46:24.920
<v Speaker 3>working for the bad guys, but I don't recall specifically.

0:46:25.000 --> 0:46:26.560
<v Speaker 3>The ones I remember are good guys.

0:46:26.680 --> 0:46:28.640
<v Speaker 1>Yeah, there's like the big scene at the end where

0:46:28.680 --> 0:46:33.839
<v Speaker 1>they storm the Specter compound and Bond lets the Ninjas in.

0:46:33.960 --> 0:46:36.279
<v Speaker 1>He's like he opens the door and here come the

0:46:36.360 --> 0:46:38.600
<v Speaker 1>Ninjas down on like wires and all.

0:46:38.960 --> 0:46:39.920
<v Speaker 3>Yeah. Yeah.

0:46:40.000 --> 0:46:42.399
<v Speaker 1>So, anyway, like getting down to discussion like when when

0:46:42.440 --> 0:46:45.200
<v Speaker 1>are ninjas allowed to become not just anti heroes but

0:46:45.239 --> 0:46:49.840
<v Speaker 1>outright good guys. Well, according to Yoda and all discussion

0:46:49.920 --> 0:46:53.200
<v Speaker 1>in Ninja Ninja Attack, there's a definite place to single

0:46:53.239 --> 0:46:58.320
<v Speaker 1>out perhaps is the first true ninja heroes in popular culture,

0:46:58.800 --> 0:47:02.120
<v Speaker 1>and it's the Chikawa pocket books. This would have been

0:47:02.200 --> 0:47:05.640
<v Speaker 1>the period around nineteen twelve through nineteen twenty six series

0:47:05.680 --> 0:47:08.279
<v Speaker 1>of books written by a group of writers that were

0:47:08.360 --> 0:47:13.800
<v Speaker 1>credited as Seka Sanjan a series of novels for juvenile

0:47:13.880 --> 0:47:17.360
<v Speaker 1>so like essentially like young reader or children's books that

0:47:17.520 --> 0:47:22.000
<v Speaker 1>detailed the adventures of a pair of rival ninja that

0:47:22.320 --> 0:47:24.399
<v Speaker 1>they were on the same team. To be clear, they're

0:47:24.440 --> 0:47:27.920
<v Speaker 1>not like rival teams or rival clans, but they have

0:47:28.040 --> 0:47:30.840
<v Speaker 1>differing personalities. They're kind of an odd couple, and that's

0:47:31.040 --> 0:47:37.719
<v Speaker 1>Saratobi Saske and Kira Gakura Saizo. And these books established

0:47:37.760 --> 0:47:41.840
<v Speaker 1>these two as quote poster boys for the ego koga

0:47:41.960 --> 0:47:46.279
<v Speaker 1>rivalry and ninja as a potential force for good. And

0:47:46.400 --> 0:47:49.759
<v Speaker 1>it was inspired by These tales were inspired by both

0:47:49.880 --> 0:47:53.960
<v Speaker 1>real life at least attributed ninja exploits, as well as

0:47:54.000 --> 0:47:58.520
<v Speaker 1>the Chinese literary classic Journey into the West. How is

0:47:58.520 --> 0:48:00.399
<v Speaker 1>it related to the Journey into the West. A lot

0:48:00.400 --> 0:48:03.200
<v Speaker 1>of it comes down to the character of Saratobi Saske,

0:48:03.719 --> 0:48:06.560
<v Speaker 1>a young boy raised by monkeys and then taken in

0:48:06.600 --> 0:48:09.560
<v Speaker 1>by a ninja master and then recruited by the warlords

0:48:09.600 --> 0:48:14.000
<v Speaker 1>Sonata due to his mischievous nature and his great skill

0:48:14.120 --> 0:48:16.600
<v Speaker 1>and of course the ninja arts, so he ends up

0:48:16.600 --> 0:48:18.920
<v Speaker 1>going on missions for his master but he's also, you know,

0:48:19.000 --> 0:48:21.320
<v Speaker 1>a bit of a trickster, a bit happy go lucky,

0:48:21.560 --> 0:48:23.319
<v Speaker 1>and he does a lot of side quests to help

0:48:23.480 --> 0:48:28.040
<v Speaker 1>the less fortunate. But the name here Saratobi means leaping monkey,

0:48:28.120 --> 0:48:31.320
<v Speaker 1>and he is in some ways a Japanese ninja version

0:48:31.440 --> 0:48:32.279
<v Speaker 1>of the Monkey King.

0:48:32.920 --> 0:48:35.800
<v Speaker 3>It's interesting that you mentioned him doing sort of side

0:48:35.840 --> 0:48:38.479
<v Speaker 3>quests to help the less fortunate, because I have seen

0:48:39.360 --> 0:48:42.000
<v Speaker 3>that it is I have read at least that it

0:48:42.040 --> 0:48:46.080
<v Speaker 3>is common in literature that portrays the ninja as heroes

0:48:46.200 --> 0:48:49.960
<v Speaker 3>or good guys to include some kind of class element

0:48:50.080 --> 0:48:54.200
<v Speaker 3>where they are sort of they act on behalf of

0:48:54.360 --> 0:48:58.080
<v Speaker 3>the economic underclass of like the of the poor and

0:48:58.120 --> 0:49:01.160
<v Speaker 3>the less fortunate, and help them in the face of say,

0:49:01.320 --> 0:49:03.839
<v Speaker 3>like rich oppressors, like an evil samurai.

0:49:04.400 --> 0:49:06.120
<v Speaker 1>Yeah yeah, and a lot of the I think we

0:49:06.239 --> 0:49:08.399
<v Speaker 1>touched on some of these older tales that are either

0:49:08.480 --> 0:49:12.240
<v Speaker 1>ninja or ninja adjacent that are essentially robin hood stories,

0:49:12.280 --> 0:49:17.319
<v Speaker 1>like some sort of person from the criminal element, you know,

0:49:17.400 --> 0:49:20.160
<v Speaker 1>and from the lower classes that is sticking up for

0:49:20.200 --> 0:49:23.600
<v Speaker 1>the little guy. Now, the other of these two the rival.

0:49:23.640 --> 0:49:25.719
<v Speaker 1>So we have the happy go lucky guy, the more

0:49:25.760 --> 0:49:28.640
<v Speaker 1>like the sort of the more pure hero here. But

0:49:28.719 --> 0:49:32.879
<v Speaker 1>then we have Kira Gakua Saizo, who is born into

0:49:32.880 --> 0:49:35.560
<v Speaker 1>the ninja life. It has said he's trained with the best,

0:49:36.120 --> 0:49:38.400
<v Speaker 1>and he has become a master of clouds and lightning,

0:49:38.480 --> 0:49:41.560
<v Speaker 1>of mists and thunder, so you know, he can summon

0:49:41.640 --> 0:49:45.560
<v Speaker 1>various weather effects to mask his ninja movements. And the

0:49:45.680 --> 0:49:50.560
<v Speaker 1>name here means cloaked and missed. So while Saske is lighthearted,

0:49:50.640 --> 0:49:53.680
<v Speaker 1>Sizo is brooding, like this is more of your your

0:49:53.760 --> 0:49:57.839
<v Speaker 1>kind of like goth superstar character here. Nice they wind

0:49:57.880 --> 0:49:59.920
<v Speaker 1>up on the same ninja team. This would be Sonata

0:50:00.000 --> 0:50:03.880
<v Speaker 1>as Ten Heroes or the Ten Braves, but their rivals.

0:50:04.200 --> 0:50:08.480
<v Speaker 1>They're an odd couple to say the least. And Yoda

0:50:08.480 --> 0:50:10.440
<v Speaker 1>and all point out that, yeah, the nature of these

0:50:10.440 --> 0:50:12.880
<v Speaker 1>two characters kind of flows perfectly into modern times. So

0:50:13.239 --> 0:50:15.640
<v Speaker 1>Saske was always a hit with the kids, but then

0:50:15.680 --> 0:50:20.120
<v Speaker 1>Sizo was irresistible to you know, many in the post

0:50:20.200 --> 0:50:24.600
<v Speaker 1>war period, especially as like you know, older ninja fans

0:50:24.640 --> 0:50:28.960
<v Speaker 1>and adults told and retold stories. He's like a natural

0:50:29.040 --> 0:50:31.960
<v Speaker 1>character to latch onto. He's got this kind of angst

0:50:32.360 --> 0:50:36.200
<v Speaker 1>sort of in bridging the gap between anti hero and hero,

0:50:36.560 --> 0:50:38.800
<v Speaker 1>you know, So it fits that mold of the brooding

0:50:38.880 --> 0:50:43.040
<v Speaker 1>sort of Batman esque hero. I guess I included an

0:50:43.080 --> 0:50:45.160
<v Speaker 1>image here, Joe. This is from one of the many

0:50:45.239 --> 0:50:49.520
<v Speaker 1>more modern treatments from anime and manga. And you can

0:50:49.520 --> 0:50:52.000
<v Speaker 1>guess which one is which you know, which one is

0:50:52.160 --> 0:50:54.720
<v Speaker 1>your brooding character and which one is your more happy,

0:50:54.719 --> 0:50:55.640
<v Speaker 1>go lucky character.

0:50:56.160 --> 0:50:58.080
<v Speaker 3>Oh, Sizo even has like emo hair.

0:50:58.440 --> 0:51:03.000
<v Speaker 1>Yeah yeah, yes, like again, just a natural fit, you know,

0:51:03.080 --> 0:51:06.319
<v Speaker 1>for for like kind of an angsty emo character. And

0:51:06.360 --> 0:51:09.640
<v Speaker 1>then we have the Trickster, the essentially the monkey King

0:51:09.680 --> 0:51:12.400
<v Speaker 1>in ninja form. Of course they're not going to completely

0:51:12.400 --> 0:51:14.880
<v Speaker 1>get along, but they are going to ultimately work, you know,

0:51:14.960 --> 0:51:15.840
<v Speaker 1>for the same cause.

0:51:16.160 --> 0:51:16.760
<v Speaker 3>That's sweet.

0:51:17.680 --> 0:51:19.959
<v Speaker 1>Yeah, so yeah, I thought that was interesting, this idea

0:51:20.000 --> 0:51:23.040
<v Speaker 1>of like, okay, these might be the patient zeros for

0:51:23.200 --> 0:51:27.000
<v Speaker 1>good guy ninjas in popular culture, and these are characters

0:51:27.000 --> 0:51:29.680
<v Speaker 1>that get used again and again. Now I think Sizo

0:51:29.880 --> 0:51:33.640
<v Speaker 1>has also been used as an antagonist in some modern treatment.

0:51:33.760 --> 0:51:35.200
<v Speaker 1>So it kind of comes back to what we were

0:51:35.200 --> 0:51:38.000
<v Speaker 1>saying about monsters. Just because a monster goes cute, it

0:51:38.040 --> 0:51:40.240
<v Speaker 1>doesn't mean you can't go back and make them fearsome again.

0:51:40.440 --> 0:51:42.799
<v Speaker 1>This kind of thing happens all the time, and so

0:51:42.880 --> 0:51:46.319
<v Speaker 1>there's always going to be continued exploration and re exploration.

0:51:46.640 --> 0:51:49.839
<v Speaker 1>Just because Ninja's become heroes or anti heroes in one

0:51:49.920 --> 0:51:54.000
<v Speaker 1>property doesn't mean they can't be just absolute villains in another.

0:51:54.440 --> 0:51:56.720
<v Speaker 1>You know, we can continue to have fun in that regard.

0:51:57.040 --> 0:51:59.319
<v Speaker 3>Yeah, it's a saw tooth effect. I mean you you

0:51:59.360 --> 0:52:02.680
<v Speaker 3>know the seventies, you've already got all monsters attack and

0:52:03.120 --> 0:52:05.960
<v Speaker 3>the ones where Godzilla is like, oh, he's a good dad.

0:52:07.800 --> 0:52:09.920
<v Speaker 3>But then you come back decades later and you can

0:52:09.960 --> 0:52:12.960
<v Speaker 3>get Chinn Godzillo. Yeah, where the monster is a problem

0:52:13.000 --> 0:52:13.480
<v Speaker 3>yet again.

0:52:13.840 --> 0:52:17.320
<v Speaker 1>Yeah, all right, Well there you have it Part four

0:52:17.560 --> 0:52:20.560
<v Speaker 1>of the Ninja. I don't know that we covered everything,

0:52:20.560 --> 0:52:23.960
<v Speaker 1>but we covered a lot of things related to the Ninja.

0:52:24.080 --> 0:52:26.279
<v Speaker 1>If we missed anything, or if there's some detail you

0:52:26.280 --> 0:52:29.040
<v Speaker 1>would like to bring up, write in. We would love

0:52:29.080 --> 0:52:32.680
<v Speaker 1>to hear from you. Just a reminder that Stuff to

0:52:32.680 --> 0:52:34.880
<v Speaker 1>Blow Your Mind is primarily a science and culture podcast

0:52:34.920 --> 0:52:37.520
<v Speaker 1>with core episodes in Tuesdays and Thursdays. We do a

0:52:37.560 --> 0:52:41.480
<v Speaker 1>short form episode on Wednesdays. Fridays we do Weird House Cinema.

0:52:41.600 --> 0:52:43.719
<v Speaker 1>That's our time to set aside most serious concerns to

0:52:43.840 --> 0:52:45.920
<v Speaker 1>just talk about what a weird film and currently we

0:52:46.040 --> 0:52:50.640
<v Speaker 1>run rerun or volve episodes on Saturdays and on Mondays,

0:52:51.040 --> 0:52:54.879
<v Speaker 1>where we've been experimenting with different format. But we are

0:52:54.960 --> 0:52:57.520
<v Speaker 1>going to have more listener mail episodes pop up. In fact,

0:52:57.719 --> 0:53:00.319
<v Speaker 1>there should be one popping up this Thursday. Then goes

0:53:00.320 --> 0:53:04.560
<v Speaker 1>according to plan and let's see finally, Oh yeah, if

0:53:04.600 --> 0:53:07.160
<v Speaker 1>you're on social media, look us up. We're probably on there.

0:53:07.239 --> 0:53:09.640
<v Speaker 1>Follow us. If you're on Instagram, we are st b

0:53:09.880 --> 0:53:12.880
<v Speaker 1>y M podcast. Just help me help us get our

0:53:13.520 --> 0:53:16.560
<v Speaker 1>our subscriber or follower base up there a bit. It's

0:53:16.600 --> 0:53:20.120
<v Speaker 1>a it's a newer account. The old one went away

0:53:20.160 --> 0:53:23.160
<v Speaker 1>and ninjas took it down, so so help us get

0:53:23.160 --> 0:53:25.720
<v Speaker 1>some numbers on that new one if you use the format,

0:53:25.760 --> 0:53:27.480
<v Speaker 1>but don't sign up for it if you're not using

0:53:27.520 --> 0:53:31.040
<v Speaker 1>it already, I mean really all the social media stuff, yeah,

0:53:31.320 --> 0:53:32.680
<v Speaker 1>don't put a lot of work into it.

0:53:32.920 --> 0:53:36.600
<v Speaker 3>Huge thanks as always to our excellent audio producer JJ Posway.

0:53:36.680 --> 0:53:38.279
<v Speaker 3>If you would like to get in touch with us

0:53:38.320 --> 0:53:41.080
<v Speaker 3>with feedback on this episode or any other, to suggest

0:53:41.080 --> 0:53:43.240
<v Speaker 3>a topic for the future, or just to say hello,

0:53:43.360 --> 0:53:46.160
<v Speaker 3>you can email us at contact Stuff to Blow your

0:53:46.200 --> 0:53:54.840
<v Speaker 3>Mind dot com.

0:53:54.960 --> 0:53:57.880
<v Speaker 2>Stuff to Blow Your Mind is production of iHeartRadio for

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0:54:00.920 --> 0:54:13.440
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0:54:22.080 --> 0:54:22.120
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