![]() Toyotomi Hideyoshi used an enemy's suicide in this way on several occasions, the most dramatic of which effectively ended a dynasty of daimyōs. This weakened the defeated clan so that resistance effectively ceased. Sometimes a daimyō was called upon to perform seppuku as the basis of a peace agreement. ![]() Samurai generally could carry out the act only with permission. Those who did not belong to the samurai caste were never ordered or expected to carry out seppuku. It was the assistant's job to decapitate the samurai in one swing, otherwise it would bring great shame to the assistant and his family. The most common form of seppuku for men was composed of the cutting of the abdomen, and when the samurai was finished, he stretched out his neck for an assistant to sever his spinal cord. Later, disgraced warriors were sometimes allowed to carry out seppuku rather than be executed in the normal manner. Samurai could also be ordered by their daimyō ( feudal lords) to carry out seppuku. Seppuku was used by warriors to avoid falling into enemy hands and to attenuate shame and avoid possible torture. The first recorded act of seppuku was performed by Minamoto no Yorimasa during the Battle of Uji in 1180. If the cut is deep enough, it can sever the abdominal aorta, causing a rapid death by blood loss. The ceremonial disembowelment, which is usually part of a more elaborate ritual and performed in front of spectators, consists of plunging a short blade, traditionally a tantō, into the belly and drawing the blade from left to right, slicing the belly open. As a samurai practice, seppuku was used voluntarily by samurai to die with honour rather than fall into the hands of their enemies (and likely be tortured), as a form of capital punishment for samurai who had committed serious offences, or performed because they had brought shame to themselves. It was originally reserved for samurai in their code of honour, but was also practiced by other Japanese people during the Shōwa era (particularly officers near the end of World War II) to restore honour for themselves or for their families. ![]() Harakiri refers solely to the act of disembowelment and would only be assigned as a punishment towards acts deemed too heinous for seppuku. While harakiri refers to the act of disemboweling oneself, seppuku refers to the ritual and usually would involve decapitation after the act as a sign of mercy. 'abdomen/belly cutting', a native Japanese kun reading), is a form of Japanese ritualistic suicide by disembowelment. Still, hopefully Barr has a few more complications in mind as his story gets underway.Seppuku ( 切腹, 'cutting belly'), also called hara-kiri ( 腹切り, lit. The plot is given some weight by the fact that Katana is forced to choose between self-preservation and defending a group of innocent civilians. Diogenes Neves renders said slicing and dicing well enough, but nothing about his figure work particularly stands out. There's lots of slicing and dicing and not much else here. Unfortunately, the action-heavy focus in this chapter allows even less chance for Barr to dig into Katana's psyche than Buccellato does for Deadshot. The Katana story has the novelty of bringing back writer Mike Barr to work on his co-creation. Bogdonavic's facial work is always as expressive as it needs to be, however, and it's just as well that Deadshot spends half the issue covered by a full face mask. Bogdonavic's action scenes are tightly rendered, and he captures the seedy, sordid appeal of Deadshot's world. Bogdonavic is a solid fit for this series, and he brings the same smooth yet gritty approach seen on the recent Arkham Knight prequel comic. Buccellato keeps his script light and breezy, with the promise of a deeper look at Floyd's troubled past and family history in issues to come. The dynamic between these two characters is amusing, though at times Deadshot's partner is so similar to Deadshot himself in terms of look, personality and skills that he barely seems like a character at all. Complicating matters is the addition of a rival sharpshooter assassin with whom Floyd is forced to team up. Writer Brian Buccellato and artist Viktor Bogdonavic tackle the Deadshot story, which sees Floyd Lawton carry out a particularly dangerous mission for Amanda Waller while simultaneously wrestling with a mysterious family matter.
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