Live-Action TV
Description
In the 2003 live-action film Onmyoji II, Abe no Seimei is the court's most powerful and enigmatic onmyoji, a master of the esoteric arts of divination, spell-casting, and spirit manipulation. Set during the Heian period of medieval Japan, Seimei is portrayed as a figure of great mystery and otherworldly grace, often dressed in beautifully colored and patterned court robes. His appearance carries a faintly vulpine quality, a visual nod to his mythological origins, and he is frequently seen with a sly, knowing expression or a distinctive noblewoman's laugh that hints at his amusement with the world around him.
Seimei's personality is defined by a profound detachment from the concerns of human society. He operates from a place far above the mundane politics and passions of the imperial court, viewing the world through a lens of cosmic balance rather than personal sentiment. This detachment often manifests as a cool, friendly, and courteous demeanor, but it masks a more complex interior. He can be secretive about his plans and possesses a mischievous, occasionally sadistic streak, taking subtle pleasure in the discomfort of others or the absurdity of their situations. Despite his power, he is not a hero driven by a grand sense of justice; his motivations are often pragmatic or born of intellectual curiosity. A key line from the film reveals his philosophy: Without demons, human life would be pretty dull, wouldn't it?
His central role in the story is to act as the protector of the capital, Heian-kyo, though this is a duty he accepts with characteristic nonchalance. The Emperor tasks Seimei with solving a series of gruesome murders in which a demon devours a specific body part from each victim. As Seimei investigates, he uncovers a complex plot orchestrated by a rival mystic named Genkaku, who seeks to awaken the destructive god Susano-o no Mikoto to enact revenge on the Yamato clan for the destruction of his Izumo village eighteen years prior. Seimei's role is to unravel this supernatural conspiracy, confront Genkaku, and prevent the apocalypse.
The most significant relationship in Seimei's life is his close friendship with the nobleman Minamoto no Hiromasa. This odd friendship is the emotional core of both films, as the two men have almost nothing in common. Where Seimei is detached and all-knowing, Hiromasa is earnest, wide-eyed, and often bumbling. Hiromasa acts as Seimei's morality pet; while Seimei professes little care for the human world, he consistently acts to protect it because of his bond with Hiromasa. Conversely, Hiromasa provides the human connection that keeps Seimei grounded. Their dynamic is one of genuine affection and playful teasing, a stark contrast to the more sinister relationships Seimei has with other mystics. His primary antagonist in the sequel is Genkaku, a tragic and vengeful figure whose immense powers rival Seimei's own. He also interacts with the young princess Himiko, who senses his otherworldly nature, commenting that he looks like a white fox.
While Seimei does not undergo a dramatic personality shift, the events of the film do serve to reinforce his key traits. His fundamental detachment remains, but his actions repeatedly demonstrate a growing investment in the world he protects, largely through his connection to Hiromasa. He is forced to engage more directly with the raw, destructive power of vengeful gods and the consequences of human cruelty, confronting the madness of Genkaku. In the climax, he even cross-dresses as the shrine maiden Ame no Uzume to perform a ritual, showing a willingness to use any means necessary, no matter how undignified, to set things right.
Seimei's notable abilities are vast and rooted in the practices of onmyodo. He is a master of divination and astrology, capable of foreseeing events and understanding cosmic patterns. He uses paper talismans inscribed with magical symbols, including his signature pentagram, to perform a variety of spells, from exorcisms and barriers to attacking enemies. He commands shikigami, invisible spirits that can be bound to physical forms; his constant attendant, Mitsumushi, is a butterfly brought back to life to serve him. He can perform powerful rituals, such as the Taizan Fukun no Sai, a dangerous ceremony to resurrect the dead, as he did for Hiromasa in the first film. In the sequel, he invokes the Four Gods to create powerful barriers and ultimately duels Genkaku in a magical confrontation, proving his superiority as the greatest onmyoji of his age.
Seimei's personality is defined by a profound detachment from the concerns of human society. He operates from a place far above the mundane politics and passions of the imperial court, viewing the world through a lens of cosmic balance rather than personal sentiment. This detachment often manifests as a cool, friendly, and courteous demeanor, but it masks a more complex interior. He can be secretive about his plans and possesses a mischievous, occasionally sadistic streak, taking subtle pleasure in the discomfort of others or the absurdity of their situations. Despite his power, he is not a hero driven by a grand sense of justice; his motivations are often pragmatic or born of intellectual curiosity. A key line from the film reveals his philosophy: Without demons, human life would be pretty dull, wouldn't it?
His central role in the story is to act as the protector of the capital, Heian-kyo, though this is a duty he accepts with characteristic nonchalance. The Emperor tasks Seimei with solving a series of gruesome murders in which a demon devours a specific body part from each victim. As Seimei investigates, he uncovers a complex plot orchestrated by a rival mystic named Genkaku, who seeks to awaken the destructive god Susano-o no Mikoto to enact revenge on the Yamato clan for the destruction of his Izumo village eighteen years prior. Seimei's role is to unravel this supernatural conspiracy, confront Genkaku, and prevent the apocalypse.
The most significant relationship in Seimei's life is his close friendship with the nobleman Minamoto no Hiromasa. This odd friendship is the emotional core of both films, as the two men have almost nothing in common. Where Seimei is detached and all-knowing, Hiromasa is earnest, wide-eyed, and often bumbling. Hiromasa acts as Seimei's morality pet; while Seimei professes little care for the human world, he consistently acts to protect it because of his bond with Hiromasa. Conversely, Hiromasa provides the human connection that keeps Seimei grounded. Their dynamic is one of genuine affection and playful teasing, a stark contrast to the more sinister relationships Seimei has with other mystics. His primary antagonist in the sequel is Genkaku, a tragic and vengeful figure whose immense powers rival Seimei's own. He also interacts with the young princess Himiko, who senses his otherworldly nature, commenting that he looks like a white fox.
While Seimei does not undergo a dramatic personality shift, the events of the film do serve to reinforce his key traits. His fundamental detachment remains, but his actions repeatedly demonstrate a growing investment in the world he protects, largely through his connection to Hiromasa. He is forced to engage more directly with the raw, destructive power of vengeful gods and the consequences of human cruelty, confronting the madness of Genkaku. In the climax, he even cross-dresses as the shrine maiden Ame no Uzume to perform a ritual, showing a willingness to use any means necessary, no matter how undignified, to set things right.
Seimei's notable abilities are vast and rooted in the practices of onmyodo. He is a master of divination and astrology, capable of foreseeing events and understanding cosmic patterns. He uses paper talismans inscribed with magical symbols, including his signature pentagram, to perform a variety of spells, from exorcisms and barriers to attacking enemies. He commands shikigami, invisible spirits that can be bound to physical forms; his constant attendant, Mitsumushi, is a butterfly brought back to life to serve him. He can perform powerful rituals, such as the Taizan Fukun no Sai, a dangerous ceremony to resurrect the dead, as he did for Hiromasa in the first film. In the sequel, he invokes the Four Gods to create powerful barriers and ultimately duels Genkaku in a magical confrontation, proving his superiority as the greatest onmyoji of his age.