It takes around seven and a half minutes for there to be a proper conversation in episode 3 of Rurouni Kenshin: Tsuioku-Hen. That is not to say there is not dialogue, but there is very much not conversation. Instead, the characters talk past each other, make observations and shut down conversation with simple acceptance or disagreement. If Kenshin and Tomoe are supposed to be pretending to be in love, they are doing an unconvincing job. Something the OVA has done exceptionally well, particularly in the extended sequence of Kenshin and Tomoe’s flight from Kyoto and then throughout the episode, is use non-verbal cues and landscape montages to evoke a mood. It is an extremely understated and repressed anime about repressed and uncommunicative – and, it turns out – secretive characters.
When I began watching Rurouni Kenshin I felt a prequel showing the creation and life of the “Manslayer”, its central character (a retired, remorseful assassin who has laid down arms but cannot escape the past he created) would be superfluous; it seemed as a series to be showing a very “Ryosuke Takahashi” tale of someone with a past they were unprepared to share being reminded of it and trying to deal with it in ways which did not get in the way of their new life – even if they had to give up on that second chance for the greater good (Chirico Cuvie in Armored Trooper VOTOMS being the obvious parallel here but this is a theme that even turns up, in more optimistic terms, in Guy in King of Braves Gaogaigar – prepared to take up the mantle of hero which he believes has irreversibly dehumanised him unto death). Nevertheless, I was strongly recommended Tsuioku-hen, the prequel OVA, as one of the best pieces of animation the recommender had seen and I was richly rewarded by how in its first episode it set up something that far exceeded the usual sort of supersoldier backstory or “dark past seeking redemption” tale.