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* SugarWiki/SurprisinglyGoodForeignLanguage:
** Omura and Katsumoto are Japanese natives who are quite fluent in English. The Emperor also does a decent job of it at the end, although he speaks somewhat haltingly, and pauses at times to think of the right words. Nobutada barely speaks English but knows enough to get his point across in a few instances.
** Algren knows Blackfoot, and in the span of one winter, learns to speak Japanese.
** Omura and Katsumoto are Japanese natives who are quite fluent in English. The Emperor also does a decent job of it at the end, although he speaks somewhat haltingly, and pauses at times to think of the right words. Nobutada barely speaks English but knows enough to get his point across in a few instances.
** Algren knows Blackfoot, and in the span of one winter, learns to speak Japanese.
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Added explanation label to meme
Changed line(s) 18 (click to see context) from:
** The First Weeaboo.
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** The First Weeaboo.[[labelnote:Explanation]]The misconception that [[ProtagonistTitleFallacy the "Samurai" in the title is singular instead of plural and refers to Nathan Algren]] made people joke that the movie acted as the origin story of the OccidentalOtaku.[[/labelnote]]
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Removing Values Dissonance example. If the value difference is happening within the work and originates from characters rather than the audience, it's Culture Clash rather than Values Dissonance (work page already describes the clashes in more detail, so opting not to relocate it)
Deleted line(s) 41 (click to see context) :
* ValuesDissonance: In-universe, as much of the CharacterDevelopment and plot advancement come from comparisons between Japanese and Western approaches to honor in combat, and in general.
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* DesignatedHero: The audience is supposed to sympathize with the rebellious remnant of what, art and culture aside, amounts to a hereditary caste of armed thugs who retained carte blanche to abuse and kill commoners for offenses that we would find ridiculous and petty, who demanded exemption from taxation and to be the only ones allowed to fight and bear arms, and who had already led to countless military insurrections and would never stop. Samurai were rendered mostly superfluous during the relative peace of the Tokugawa shogunate, and they either spent their time absorbing resources produced by the peasants and prosecuting internecine conflict or were pressed into the role of bureaucrats (the forerunners of the modern {{Salaryman}}) or soldiers. Indeed, for the most part, modern Japanese history tends to cast the people who instigated the Meiji Rebellion (and subsequently staffed the modern Imperial government) as heroes, not as villains that destroyed Japan's warrior traditions, and only consider some of them as WellIntentionedExtremist at worst.
Changed line(s) 40,42 (click to see context) from:
* ValuesDissonance:
** The audience is supposed to sympathize with the rebellious remnant of what, art and culture aside, amounts to a hereditary caste of armed thugs who retained carte blanche to abuse and kill commoners for offenses that we would find ridiculous and petty, who demanded exemption from taxation and to be the only ones allowed to fight and bear arms, and who had already led to countless military insurrections and would never stop. Samurai were rendered mostly superfluous during the relative peace of the Tokugawa shogunate, and they either spent their time absorbing resources produced by the peasants and prosecuting internecine conflict or were pressed into the role of bureaucrats (the forerunners of the modern {{Salaryman}}) or soldiers. Indeed, for the most part, modern Japanese history tends to cast the people who instigated the Meiji Rebellion (and subsequently staffed the modern Imperial government) as heroes, not as villains that destroyed Japan's warrior traditions, and only consider some of them as WellIntentionedExtremist at worst.
** Also in-universe, as much of the CharacterDevelopment and plot advancement come from comparisons between Japanese and Western approaches to honor in combat, and in general.
** The audience is supposed to sympathize with the rebellious remnant of what, art and culture aside, amounts to a hereditary caste of armed thugs who retained carte blanche to abuse and kill commoners for offenses that we would find ridiculous and petty, who demanded exemption from taxation and to be the only ones allowed to fight and bear arms, and who had already led to countless military insurrections and would never stop. Samurai were rendered mostly superfluous during the relative peace of the Tokugawa shogunate, and they either spent their time absorbing resources produced by the peasants and prosecuting internecine conflict or were pressed into the role of bureaucrats (the forerunners of the modern {{Salaryman}}) or soldiers. Indeed, for the most part, modern Japanese history tends to cast the people who instigated the Meiji Rebellion (and subsequently staffed the modern Imperial government) as heroes, not as villains that destroyed Japan's warrior traditions, and only consider some of them as WellIntentionedExtremist at worst.
** Also in-universe, as much of the CharacterDevelopment and plot advancement come from comparisons between Japanese and Western approaches to honor in combat, and in general.
to:
* ValuesDissonance:
** The audience is supposed to sympathize with the rebellious remnant of what, art and culture aside, amounts to a hereditary caste of armed thugs who retained carte blanche to abuse and kill commoners for offenses that we would find ridiculous and petty, who demanded exemption from taxation and to be the only ones allowed to fight and bear arms, and who had already led to countless military insurrections and would never stop. Samurai were rendered mostly superfluous during the relative peace of the Tokugawa shogunate, and they either spent their time absorbing resources produced by the peasants and prosecuting internecine conflict or were pressed into the role of bureaucrats (the forerunners of the modern {{Salaryman}}) or soldiers. Indeed, for the most part, modern Japanese history tends to cast the people who instigated the Meiji Rebellion (and subsequently staffed the modern Imperial government) as heroes, not as villains that destroyed Japan's warrior traditions, and only consider some of them as WellIntentionedExtremist at worst.
** Also in-universe,ValuesDissonance: In-universe, as much of the CharacterDevelopment and plot advancement come from comparisons between Japanese and Western approaches to honor in combat, and in general.
** The audience is supposed to sympathize with the rebellious remnant of what, art and culture aside, amounts to a hereditary caste of armed thugs who retained carte blanche to abuse and kill commoners for offenses that we would find ridiculous and petty, who demanded exemption from taxation and to be the only ones allowed to fight and bear arms, and who had already led to countless military insurrections and would never stop. Samurai were rendered mostly superfluous during the relative peace of the Tokugawa shogunate, and they either spent their time absorbing resources produced by the peasants and prosecuting internecine conflict or were pressed into the role of bureaucrats (the forerunners of the modern {{Salaryman}}) or soldiers. Indeed, for the most part, modern Japanese history tends to cast the people who instigated the Meiji Rebellion (and subsequently staffed the modern Imperial government) as heroes, not as villains that destroyed Japan's warrior traditions, and only consider some of them as WellIntentionedExtremist at worst.
** Also in-universe,
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* RetroactiveRecognition: The kid who plays Katsumoto's nephew Higen? [[Film/ShinKamenRider2023 20 years later, he becomes a new take on Japan's greatest superhero]].
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* AluminumChristmasTrees: A white samurai? [[https://en.wikipedia.org/wiki/William_Adams_(sailor,_born_1564) It's been done.]] [[https://en.wikipedia.org/wiki/Jules_Brunet Multiple times]] [[https://en.wikipedia.org/wiki/List_of_foreign-born_samurai_in_Japan even]].
