Kawakami Bansai, alias Tsunpo or "Deaf Man," operates as vice-chief of the Kiheitai, an extremist Joui faction under Takasugi Shinsuke. Commanding authority in Takasugi’s absences, he earns the respectful address of “Bansai-sama” from subordinates while covertly balancing dual roles: composing chart-topping tracks for idol Terakado Tsuu as music producer Tsunpo and executing lethal missions as a strategic terrorist. His striking visage features teal-green styled hair, sunglasses, and yin-yang-decorated headphones that mask a hearing impairment. The shamisen he carries serves dual purposes—its strings ensnare or slice foes, its neck concealing a blade, while its melodies reflect his artistic duality. Bansai exudes composed refinement laced with calculated brutality, his speech peppered with archaic diction like “de gozaru.” Though physically deaf, he deciphers combat rhythms to predict attacks, a skill dubbed “listening to tunes” that lets him dissect adversaries’ emotions and tactics. This perceptiveness once led him to spare Yamazaki Sagaru after detecting latent potential in the Shinsengumi agent’s fighting "song." A swordsmaster and tactician, he rivaled Sakata Gintoki in speed and cunning, leveraging shamisen strings to immobilize opponents. His schemes ignited the Shinsengumi’s internal collapse by orchestrating Itou Kamotarou’s betrayal and brokered alliances with entities like the Harusame pirates through silver-tongued diplomacy. Loyalty to Takasugi’s vision of dismantling the post-war world’s corruption anchors him, yet he privately scrutinizes his leader’s methods, empathizing with Gintoki’s protective resolve. He shares a bond with Kiheitai member Kijima Matako, prioritizing her safety mid-battle and soothing her concerns over Takasugi’s welfare. Though his past remains shrouded, his namesake echoes the historical assassin Kawakami Gensai, and his hatred for Amanto-driven societal rot fuels his actions. He spearheaded the Shinsengumi Crisis as its central antagonist and reemerged in the Silver Soul Arc to uphold the Kiheitai’s agenda. Musical allegories define his worldview—he likens Gintoki’s brawling to “drunken humming” and frames clashes as orchestrated symphonies, intertwining violence and artistry into a singular philosophy.