#black and bunraku

[ohshy]

Just so ya know you’ve asked for it

WHO’S YOUR TOP 3 FAVORITE BOXERS

MAY WE SEE THE WOMEN’S CIRCUIT AND WHOSE DESIGN ARE YOU MOST PROUD DOF FROM THAT

And finally who would be trusted to watch your kid to watch your children most to least with both men and women circs (hypothetically)

(Giving an anon emoji sign off bc why not statue of litterby )

-🗽

ALRIGHT BUCKLE UP ANON AND THE REST thisll b a long one

king hippo (Duh)

von kaiser

hmmmm thats a tough one uhhhh probably either bear hugger, disco kid, aran ryan or soda popinksi !! but id i had to pick, rn itd b (joe biden voice) SODA !!!!

and now for the womens circuit !!!!

Ok so... starting with the challenger, Cassidy Cornfield !

hailing from farley, iowa, shes a little off her rocker. She believes she was put on earth by aliens to box. Though, this is likely just smth she made up as a result of a vivid dream she had when chowing down one too many corn nobs! Speaking of corn, she WILL talk your ear off about all the supposed ‘’proof’’ she has of alien existence, like the crop circles that show up frequently around her hometown. That being said, she IS determined to prove herself for her alien overlords, so prepare for a challenge!

She's modeled after glass corn, which looks like this (thanks to charlie for that idea !!):

Other details include...

her full name is Cassidy C. Campbell (she won't tell what the C stands for)

she's of irish/cherokee descent

they are a tiny straw weight standing at 5'2 feet and weighing 90 lbs, and an adult little mac trains her !!

Speaking of little mac, unlike him, she had to wait a year to get her boxing license for her 18th birthday. She simply doesn't look old for her age😔 Poor girl still gets handed the childrens menu at restaurants as well!

Her gimmick is that when charged with enough punching power, she can unleash a painful series of punches known as the ‘’Glass corn combo’’. think hondo rush, except like the star punch, it cant be countered, only avoided.

Next up, Beauty Bling !!!

All bling and no brawn !

I've posted her bio before, so i'll keep it brief; basically shes macho man's fame monger younger sister, and unfortunately for her, shes all bling and no brawn! Despite herself though, she's no quitter! She once pulled many all nighters trying to figure out computer science, and now it's one of her biggest hobbies !

other little factoids about her are...

her full name is Brittany Anita Jones

Cis woman, she/her

shes mixed white/native hawaiian (i hc macho to be white/native hawaiian as well).

She's modeled after 00s/y2k fashion

talks like a valley girl

talks on her phone during intermissions. will either b calling her dad or her friends.

Gimmick: Similarly to glass joe, she has poor defense and rarely attacks. Her special attack is her stepping back, moving a hand through her hair, and saying ''Ready to be punched in style?'' and releasing a very easily avoidable uppercut.

Will also say ''rude!'' when you avoid her punch

Next... Axelerator !!!!

The Mighty Mechanic!

This Welsh wrestling-watching mechanic from Cardiff packs a meaner punch than his predecessor ! Too bad this motor mouth gets so excited he can’t resist calling out his attacks every time he throws a punch ! But hey, gotta put on a good show, just like those cool wrestlers on tv !

other factoids about him...

his full name is Axel Cadogan

21 years old

hes a cis woman but goes by he/him pronouns bc hes swag like that

stands at 5 foot tall and weighs 220 lbs.

he wears a mechanic outfit as his boxing uniform.

Gets flustered really damn easily. Especially around hot women. 

Gimmick: Basically a huge motor mouth (haha geddit) who calls out all of his attacks, and gives you plenty of time to avoid them. You do gotta watch out which way you dodge, though. Next up, Silver Hook and Scallywag !!!!!

The Meanest Hook Of The Seven Seas !

Ever since she was a little girl, she wanted to be just like the pirates from the stories she read all the time. This of course, includes having a parrot, which she affectionately named Scallywag. Unfortunately, Scallywag keeps running her mouth and telegraphing her owner’s moves ! Despite this, however, Silver can’t stand the thought of not having her emotional support parrot by her side. 

Other factoids about her:

Her real name is Maria Bermudez

Cis woman, she/her

shes 29 years old

stands at 6'2 feet and weighs 200 pounds

from Santo Domingo, Dominican Republic

Her parrot is a Black-legged parrot. She’s had it since she was 5 years old.

Brings her parrot literally everywhere

Gimmick: Sure, she might be faster than Axel, but she's still a rather predictable fighter who telegraphs her attacks very clearly. You do gotta watch better which way you dodge, though. When the parrot says ''left!'', well, you better watch your left.

Up Next, the minor circuit champion, Dancing Queen !!!!!

Lay All Your Gloves On Me ~

A huge fan of ABBA, if that wasn’t already obvious, veteran Queen’s entire gimmick is based on that of 70’s pop and disco. She’s also by far the happiest person of perhaps the entire WVBA, despite being arguably the lowest ranking champion of all circuits. Some even theorize that she’d be happy, even if she was THE lowest ranked boxer. That’s because everytime she gets in the ring, she’s 17 again. That’s just how happy those Swedes are !

Other factoids:

Her real name is Heidi Karlsson

She's a trans lady, she/her

shes's 45 years old

she stands at 6'4 ft and weighs 215 lbs.

From Jönköping, Sweden

Always seen smiling. Always.

Became a boxer partially to let our her frustrations about disco fading away as a trend

Gimmick: she has a special move called the criss cross punch, where she diagonally raises her fist to punch you and then the other, similiarly to that iconic disco dance.

____________ Now for the major circuit !!!

Disclaimer: I do Not have designs or certain info for the majority of the characters from here on out. Please bare w/ me

Next up, Black and Bunraku !!!!! (props to charlie for the name)

A Boxer based on the japanese art of bunraku, Black and Bunraku actually consists of ''two fighters''; A puppet who hits you, and the puppeteer who controls the puppets movements, covered from head to toe in black. As a result, the woman's identity is a real mystery.

Other factoids:

Refuses to say her real name, age, height and weight, instead letting the puppet do all the talking.

From Osaka, Japan. This is also where the biggest bunraku theatre is located.

Gimmick: Hitting the puppet won't do anything. Once you figure out the trick to hitting her in the head, she's a fairly easy opponent to take down.

Next up: Nike the Great !!!!! A threatrical tirant and a complete history and art geek, Nike longs to be a wise philosopher slash theater actor like the ancient Greeks, with a boxing twist. Her stage name ‘’Nike’’, meaning victory in Greek, is one she holds because she is sure to be the victor, despite only being in the lower major circuit. Oh well, confidence is a stepping stone to success, right?

Other factoids:

Her real name is Nikki Ioannidis

She identifies as a nonbinary woman, she/he/they

27 years old

She stands at 6'0 feet and weighs 220 lbs.

From Athens, Greece

HUGE rivals with Narcis Prince. only ONE can wear the V for victory and that's HER.

Huge rivals with A Lot of people, including Monarch Mayhem (keep reading to see her bio !!)

During her intermissions and fights, she'll show you some of the art she's made, like painted vases. If you punch it out of her hands, she’ll get REAL mad though, so watch yourself !

Gimmick: Pretty clean fighter, outside of the fact she brings art into the ring. Hey, she's an artist after all !

Up next, Moto Mauler, The Electrifying Biker !!!!!!

This biker chick loves nothing more than the rush of the road and the wind in her hair ! and a good tussle of course. She will make sure to knock you out with the great speed she feels on her motor cycle.

Other factoids:

Her real name's Nguyen Lihn

She's a trans woman, she/her

24 years old

She stands at 5'9 ft and weighs 170 lbs.

From Ho Chi Minh City, Vietnam

During her intermissions, she'll talk about how beautiful the sights are and how you oughta be quicker on your feet.

She gets along swimmingly w/ Axel bc duh. mechanic x biker chick, cant go wrong w/ that right?

Gimmick: Clean fighter, outside of entering the ring on a motorcycle. Will try to exhaust you with quick jabs, and when you're tired, releases a series of punches to take you down.

Lastly, Monarch Mayhem, The Monarch of the Major Circuit !!!

Formerly known as Butterfly Bash :3

An unsuccesful artist turned boxer, Monarch Mayhem brings her frustrations into the ring, and with success! She is the crown jewel of the Major Circuit after all. That being said, she will NOT let you forget she's an artist! She will try to hypnotize you with stunning butterfly patterns on her sleeves made by herself of course, and dodge equally elegantly. At least the boxing crowd appreciates her !

Other factoids:

Cis woman, she/her

She's 31 years old

She stands at 6'1 ft and weighs 175 lbs.

From Calabar, Nigeria

Gimmick: Like i said, she'll try to stun you with hypnotizing patterns on her sleeves. The way to avoid this is to block your face, otherwise you'll get dizzy and become incapacitated ! Additionally, she does a lot of fake-outs, making her a formidable champion.

_____________

Now for the world circuit !!!

First off, Scarlet Fever, The Bad Omen !!!!!! Clad with arguably the most unorthodox boxing wear, a robe with a plague doctor mask, Scarlet Fever serves as an omen that the next opponents you’re about to face are the real deal. Other factoids:

Trans woman, she/her

She's 55 years old

Stands at 6'7 ft and weighs 210 lbs.

From Florence, Italy

Doesn’t speak, but does speak in Italian sign language.

Also does plenty of hand gestures in the ring

Secondly, Flossin' Fury, The Mental Dental Case !!!!!

After getting her medical license revoked for malpractise, she's now a dentist turned boxer. Got any cavities? Let's find out!

She's my newest addition to the OC roster, so i. Don't have much apart from a basic premise. She'll get developed soon though dw dw ! Thirdly, Sunny Gunny, The Granny with Guns !!!!!

After becoming tired of being bullied all the time, she trained to defend herself against bullies. Don’t let her old age fool you, she’s still a tanky old lady who can deal quite the mean punches ! That being said, whether you win or lose against her, she’s a nice old woman who’ll bake you some delicious goods !

Other factoids:

Her real name is Sondra ‘’Sunny’’ Seydoux

Cis woman, she/her

She's 80 years old

Stands at 6'5 ft and weighs 180 lbs

From Tallahassee, Florida

Of Haitian American descent

Of course brings baked good in the ring during intermissions. Also Oft seen knitting as well.

Balls of yarn spin around her head when she’s stunned

Gimmick: She just loves hugging her grandchildren, and this bleeds over in the ring as well; she's a real powerful hugger to the point you can b immediately incapacitated when you're hugged. During title defense, She will protect her body with her knitted blanket that can be removed in a certain way. Next up, Butch Diamond, A Girl’s Best Friend !!!!!

An Australian football player turned boxer, Butch has a robust body and an near impenetrable defense, making her a formidable fighter ! She puts her skills she learned from football into good use, so be quick on your feet ! Albeit somewhat cocky, she mostly just hams it up in the ring, and is a kind soul outside of it.

Other factoids:

Her real name is Desmond Kelly

GNC cis woman, she/he

He's 39 years old

He stands at 6'0 ft and weighs 235 lbs

She's from Melbourne, Australia

She's of Aboriginal Australian descent

Very sociable and friendly

Gimmick: Your Glass corn combo won’t work on her stomach! In fact, if you try it, you will lose HP! Instead, try stunning her and hitting her in the face with it! During her title defense, she’ll train harder, and somehow become even more robust. Now, your hands will be incapacitated for a short while if you try to hit her in the stomach repeatedly, longer if you try to do a glass corn combo.

And lastly but not leastly, Nessie,

The Shadow Champion !!!!

I've talked ab her before too, so again will keep it brief.

Gimmick: She's called a shadow champion for a reason ! Somehow, her surroundings become all dark whenever she enters the ring. During title defense, its as if you get pulled underwater. Does she use magic? Is she just that powerful? Nobody knows.

_____________

As for who would be good w/ kids...

Cassidy Cornfield: Not good with kids. Keeps scaring them with stories about aliens.

Axelerator: Axel co-runs his dad's mechanic shop, so hes definitely used to the responsibility.

Silver Hook and Scallywag: Makes kids laugh with her parrot, so pretty good with kids !

Dancing Queen: She has a couple kids of her own ! She's a great momma :3 Loves dancing with them

Black and Bunraku: Nah. Has made kids cry with her puppet. On her own, she's kinda awkward.

Nike the Great: Loves kids ! She loves telling them all kinds of stories ab ancient Greece and myths and being all theatrical about it.

Moto Mauler: Cool big sister type figure. Has a tendency to be too lenient towards kids though.

Monarch Mayhem: Think's kids r alright. Despite how difficult her path as an artist has been, she'd 100% encourage kids to follow their dreams.

Scarlet Fever: Same w/ Cassidy and Bunraku, she scares kids (albeit unintentionally).

Flossin' Fury: She's a dentist. and a scary one at that. So no, kids dont even get close to her vicinity.

Sunny Gunny: Has grandchildren, so naturally adores kids. Would bake delicious goods n spoil them rotten.

Butch Diamond: Also loves kids ! Loves carrying them on her shoulders n letting them climb all over her.

Nessie: Again, scares children, although she finds it funny.

[denimbex1986]

'We are on the verge of a "Hartnettaissance."

Josh Hartnett recently had impressive performances on TV ("Black Mirror") and in movies ("Oppenheimer").

Since he's known best for his work on the big screen, we're highlighting Hartnett's top movie roles.

14. John Tate in "Halloween H20: 20 Years Later" (1998)

In his big screen debut, Hartnett played John, the son of Jamie Lee Curtis' character, Laurie.

It's what you'd expect — he runs for his life from Michael Myers. It's not the most memorable performance, but landing the role did help catapult him into the "next big thing" conversation in Hollywood.

13. Hugo Goulding in "O" (2001)

In this modern-day retelling of Shakespeare's "Othello," Harnett plays the evil Hugo (essentially an adaptation of the Iago character in the classic play), who plots against his supposed friend Odin (Mekhi Phifer) to get the attention of Desi (Julia Stiles) and ruin Odin's life.

Released at a time when Hartnett's star was rising fast, the movie helped show that Hartnett was more than just a pretty face.

12. Dwight "Bucky" Bleichert in "The Black Dahlia" (2006)

Though this Brian DePalma-directed adaptation of James Ellroy's classic pulpy noir didn't get the acclaim you'd expect with such legends attached, Hartnett still shined as a detective investigating one of Los Angeles' most notorious murders.

In a cast that also featured stars like Aaron Eckhart, Scarlett Johansson, and Hilary Swank, Hartnett proves here that his dramatic acting chops are on par with those of genuine movie stars.

11. The Drifter in "Bunraku" (2010)

A rare impressive performance from the decade or so where Hartnett found himself in B-movies that often went straight-to-video or On Demand, Hartnett has a blast in "Bunraku" playing the movie's lead, The Drifter, who stumbles upon some interesting characters — and a lot of blood.

10. Matt Sullivan in "40 Days and 40 Nights" (2002)

Hartnett leans heavily on his heartthrob status in this rom-com, in which he plays a guy who gives up any sexual contact for Lent.

Playing up his character's wide eyes and penchant for hyperventilating as his hormones gradually get out of control, Hartnett delivers big on the laughs and the charm here.

9. K.C. Calden in "Hollywood Homicide" (2003)

A year after doing the rom-com thing, Hartnett teamed up with Harrison Ford for this studio action comedy.

Harnett holds his own across from Ford, delivering a playfulness he doesn't often give us in his filmography.

8. Ernest Lawrence in "Oppenheimer" (2023)

In Christopher Nolan's biopic of J. Robert Oppenheimer, Hartnett stars as one of the real-life physicists who joined the Manhattan Project to create the atom bomb alongside Oppenheimer.

Hartnett plays Ernest Lawrence as a man who is not just friendly with Oppenheimer, but who tries to make the genius understand that his actions, especially his favoritism towards Communist thinking, can lead to problems.

7. Trip Fontaine in "The Virgin Suicides" (1999)

In Sofia Coppola's feature directorial debut about the tragic lives of five teenage sisters, Hartnett plays Trip, the movie's heartthrob who dates the most rebellious sister, Lux (Kirsten Dunst).

Hartnett plays his role perfectly, and Coppola frames him as a high school God on screen, complete with a flowing 1970s-style haircut and stylish outfits.

6. Dave "Boy Sweat" Hancock in "Wrath of Man" (2021)

The recent "Hartnettaissance" can be traced back to this Guy Ritchie action thriller.

This revenge movie set in the world of armored truck guards finds Hartnett playing one of the guards who befriends Jason Statham's character.

It won't be the last time Ritchie calls on Hartnett to bring one of his characters to life.

5. The Salesman in "Sin City" (2005)

As the slick assassin in the Robert Rodriguez adaptation of Frank Miller's iconic comic series, Hartnett's character plays a key role in bookending the movie.

His voiceover narrates his target at the start of the movie at a party. Then, dressed as a doctor at the end of the movie, he encounters a woman in an elevator. She knows from the sight of him that her fate is set.

Though Harnett doesn't get a lot of screen time, his presence in both scenes is thrilling and chilling.

4. Matt Eversmann in "Black Hawk Down" (2001)

Hartnett is front and center in Ridley Scott's acclaimed war movie, which follows the aftermath of a Black Hawk helicopter crashing in enemy territory in Mogadishu in 1993 during the Somali Civil War.

The role was a breakthrough in positioning Hartnett as not just a heartthrob, but a good actor in his own right.

3. Danny Francesco in "Operation Fortune: Ruse de Guerre" (2023)

Teaming again with Guy Ritchie, Hartnett delivers one of his best performances in recent memory. In this Ritchie action movie, Jason Statham plays a spy who must track down a device before an arms dealer (Hugh Grant) sells it to the highest bidder.

Hartnett plays the dealer's favorite actor, whom Statham's character uses to infiltrate the dealer's world.

Here, Hartnett gets to flex his comedic chops, as his egotistical actor character suddenly has to be as tough as the characters he plays on screen.

2. Danny Walker in "Pearl Harbor" (2001)

Michael Bay's blockbuster fictional epic about the attack on Pearl Harbor was slaughtered by critics and became a punching bag for audiences throughout the summer of 2001. But despite all of that, it features one of Hartnett's best performances.

Starring alongside Ben Affleck as two best friends who survive the attack, the role marks the biggest studio job Hartnett has had to date. Not only does Hartnett deliver an impressive dramatic performance, but he also carries the movie's main love story, alongside Kate Beckinsale.

1. Zeke Tyler in "The Faculty" (1998)

The same year Hartnett made his big-screen debut in "Halloween H20," he also starred in Robert Rodriguez's sci-fi horror "The Faculty."

As the rebellious, drug-dealing student at an Ohio high school who is repeating his senior year, Hartnett delivers all the qualities that would go on to make him famous: His boyish good looks, his brooding intensity, his signature deep voice, and that late-1990s look where you wear a long-sleeved shirt under a T-shirt.'

[runawaycarouselhorse]

Jessie and Meowth, dressed like "invisible" (dressed in all black and veiled) puppeteers, maneuvering James like a bunraku puppet.

[pi-seas]

The joy I felt seeing Bunraku in Blue Eye Samurai was so immense, as a Art History/Theatre Major.

It also filled me with so much devastation because the prior knowledge of knowing Bunraku stories almost ALWAYS are tragic, love-lost stories.

But god did it bring me joy to see it. The lil puppeteer grips in all black had me dying.

[mareastrorum]

I have to gush a bit about Episode 5 of Blue Eye Samurai.

MASSIVE SPOILERS AHEAD. I hold nothing back, so unless you want big stuff spoiled, don't read.

I love how this show explores the issues of colonialism, patriarchy, sexism, racism, revenge, etc. It does not shy away from criticizing Japanese culture in the same breath that it shows respect to how and why it developed that way and to the individual people portrayed in the narrative. One particular bit that stuck out was the Bunraku puppeteers and how they were a visual cue about the destructive and self-perpetuating effect of cultural and societal pressures on Miku's path.

Throughout the episode, interspersed with the main story and with flashbacks is a performance of Bunraku, a traditional Japanese puppet theater. Puppeteers wear black to disappear into the background and are meant to be ignored.

First, the performance overlaps with a flashback to Miku's past, when she first began on her quest for revenge against her possible fathers. She isn't experienced yet and gets horrifically injured, then stumbles off for help. The performance begins with an introduction about how the samurai isn't afraid to die, but is afraid of dying before fulfilling his vow of revenge.

At about 8:27, when the samurai sees his future bride, the puppeteers visibly fade in the animation. The overlapping flashback is when Miku, after being injured during her search for her potential father, rediscovers her "mother" (the maid who raised her until their hut burned down). That event leads to Miku foregoing her revenge, marrying Mikio (a disgraced warrior), and trying to settle into a peaceful life.

Miku was making her own choices to live peacefully, even when her family criticized her or talked her down. But Miku kept trying, even pushing back against the others and learning to be diplomatic in the face of their judgment and cruelty. She was breaking the cycle of hate by choosing to be kind and trying to help. It wasn't about shirking Japanese culture nor about acquiescing to gender roles; the puppeters were still gone whether she was trying to be a proper wife or when she showed her true self (a swordsman) to Mikio or when she told him of her oath of revenge and how she lived as a boy.

Of course, that didn't last. (It's not made obvious in the episode whether it was the maid or Mikio who reported Miku, though I'm leaning that it was the maid.)

Regardless, in the overlapping Bunraku performance, the samurai discovers his bride was from his enemy clan that he swore revenge against, and she tries to dissuade his wrath. When Miku is waiting (dressed as a bride, too!) in their home for Mikio to return from delivering the horses to the lord (including her own), she hears numerous horses approaching and takes a kitchen knife. Then, at 34:50, after the samurai beheads his child and bride, the puppeteers are back. Next, Miku leaves the home with a knife in hand to fend off the warriors that have come to kill her, and they confirm someone reported that she (the "white devil") would be there. Mikio arrives and sees her and the blooming fight, then flees, abandoning Miku to die. The dead bride, held aloft by two puppeteers, then becomes an onryō as Miku slaughters the warriors herself with Mikio's naginata.

Miku could have fled or hidden, but she chose to kill. That decision pulled her back into this cycle of destruction and hatred. The puppeteers were back because it was meant to show that outside forces were involved in Miku's decision: the trauma she endured as a mixed race person in Edo period Japan, the culture of honor that bound the warriors to hunt her and Miku to seek revenge, the cowardice of Mikio in the face of a wife stronger than him, the selfishness of the maid that blamed Miku for her suffering. Miku made a choice, but that choice was not made freely--she was forced into this by things she could not resist or escape.

The point was to show that Miku could not live her life freely in a society that demonizes her. Miku seemed to be free of the puppeteers, but the samurai was still a puppet the entire time. The puppeteers were always there. The harmful effects of specific aspects of Japanese culture were always there.

We just didn't see them because Miku was happy.

[nyxknocks]

YESSSSS!!!! FINALLY!! FREAKY WEIRD HORNY SHIT!!!! MY FAVORITE!!!!!!!!!!

If you'll forgive me for once again gushing about The Fall, I will do just that. So much of the general style of this film reminds me SO MUCH about The Fall (made in 2006 starring Lee Pace and the most stunning visually beautiful film with the best story anyway watch it watch it watch it or dishonor on your whole bloodline). Both films touch on suicide. Both films are visually stunning (whereas The Fall utilizes colors like you've never SEEN!!!! I'm stopping now). Both films are stories told through telling a story.

The beginning of the film showing them preparing for the puppet Bunraku (?) play with the phone calls overlapping the bustle of a stage production is CHEFS KISS. (Which, did they show the actual director in that scene? He gave off director energy). Having them discuss the direction they wanted it to go to be more impactful with real people rather than puppets.. omg... And the STAGE HANDS WHEN IT CONVERTED TO REAL PEOPLE!!!!!!!!!!!!!! OH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! I loved this film.

They even utilized the music that is typical with puppet plays in exactly the same way as they would with the puppets as they did with the people--acting as the background music and scene narration. It's still stage direction so it's implied that it's diegetic and they hear it along with the people watching--because this is a PLAY!!!!!!!!!!!!!!!!!!!! Even how all the actors act fits what you would see at a stage production. Oh and the people in black are almost always in frame oh I love it.

Okay, they're visible. But what does this mean. Well, the fates of our actors are literally out of their hands. They are controlled by outside forces (literal puppeteers), forcing them to enact each tragic aspect of this story--from the incestuous relationship to the actions of Koharu and ultimately to the suicide, etc. so on and so forth. Their faces are always expressionless and veiled, really leaning into the omnipotence of their position. And they aren't passive, either. Oh no, they are a very, very active part of the story while being wholly invisible to the characters within the narrative.

The fact that the cousin-wife was the same actress of Koharu is genius too because it's just like how stage plays are--reusing the same actors for different characters with set and costume changes. (Hamilton... Beetlejuice.... just for some modern examples). And the stage direction and changes!!!! The set design!!!!!!!!!!!!!!! Oh my god I loved this movie so much.

The scene when Jihei is crying and we find out its more to do with him being shamed and Osan looks directly at the camera--directly at the audience. That's when she changes her idea of how Jihei should react to Koharu and how he needs to make sure she doesn't die. The puppeteer looming in the foreground while Osan works to change revealing how she wrote to Koharu. Oh, it's so MESSY!!!!!!! And at this point the film is going so fast. The line delivery by the actress for Osan during that whole scene in particular is lightning speed, really driving home the sense of intensity and urgency that's taking place within the story world. The action within the story is reaching a crescendo that is steadily rising throughout and it has such an incredible pay off.

And it's another open at the close movie, with their death poses mirroring how they lay together at the beginning!!!!!!!!!!! I don't even care about over-analyzing meaning because this film is just a brilliant way to show a story and reinvent the genre. It's taking something so well-known and historic to Japanese culture and propelling it right into a contemporary lens and they did it BRILLIANTLY.

SEX IN A GRAVEYARD!!!!!! I LOVE WEIRDOS AND FREAKS!!!

And, to prove I'm not totally insane about the The Fall similarities:

obviously different but you seee!!!! DO YOU SEE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[cvm-jpfilm]

Shinoda - Double Suicide

This movie was awesome! I think this might be one of the most creatively shot and directed film I've ever seen. I really loved the use of contrast in this film because despite clearly being in the era of color, they decided to go on with black and white. And it pays off! The movie creates some hauntingly beautiful shots just through contrast and brightness of the set. Even more so, the film's dedication to its Bunraku origins creates such unique sets, characters, and themes.

I think Double Suicide covers two main themes: one's agency over their choices and selfishness/selflessness in the family structure. The meta commentary through bunraku speaks about fate, while the actual narrative of the movie speaks about family. Let's discuss the first: Shinoda's focus on maintaining the Bunraku influence.

Through his portrayal of Bunraku traditions, Shinoda comments on an individual's agency over their choices, aka the individual against fate or even society. See this movie could have just portrayed the plot of the play, but Shinoda kept the meta structure of Bunraku intact within the film. Why? Well, the Bunraku itself is not merely for display, it's a legitimate force within the story. The most obvious examples go hand-in-hand: the kuroko and the prologue. Kuroko refers to the general name for stagehands seen in traditional Japanese plays like Bunraku, Kabuki, and Noh. They dress in all black and are in charge of moving props and stage equipment, but in the case of Bunraku, they also operate the puppets--the characters. Yes, in this film, the use of kuroko to guide, help, and restrain the characters likens these characters to puppets in a Bunraku play. I think the best example of this might be when Jihei is caught by his brother and restrained. Despite being tied up, we see the kuroko hold Jihei still. When the kuroko let's go, Jihei too relaxes.

It's not just this scene either, the film is filled with shots of exclusively the kuroko, despite being invisible figures in Bunraku, and scenes of the kuroko aiding the characters themselves. They have a presence, and it is through this that Shinoda communicates that greater otherworldly forces are at play in the story. The decisions that these characters make are not just of their own accord, they are manipulated like Bunraku puppets by fate. But does it end at fate? I thought so initially but I think the movie is meta in of itself. The prologue to this movie is a long conversation between what seems to be the screenwriter and the director discussing the filming of this movie, including a plot point that will occur much later, with the film visually showing the set of what seems to be Bunraku. I think that not only does this reinforce the fact that the characters are not just mere puppets, but puppets of the real production staff of this film. The film breaks the fourth wall to literally signal how despite seeming like people, these characters are ultimately puppets, which to me shows the utmost dedication to its Bunraku source.

Additionally, I think Double Suicide's actual narrative is a commentary on the family structure and selflessness the family exhibits to protect each other. Jihei, one of the main protagonists of the movie, is the antithesis to this. His selfishness endangers the family structure when he prioritizes only himself and his love. Constantly throughout the movie, it is through the consideration of his family that the structure is slowly repaired. The wife's, brother's, and even Koharu's (a sort of family) selfless attitude that make progress to restoring the balance. Yet it is through Jihei's selfishness and cowardness again that the family is torn apart when he chooses to not stop his wife's father from taking his wife back.

[dctrreids]

get to know me, top 10 movies edition.

sidekicks

kill bill

return of the jedi

the gray man

pitch black

bunraku

the man from u.n.c.l.e.

the nice guys

antiviral

practical magic

[whisperthatruns]

UDFj-39546284

In bunraku, when you are watching bunraku, there is that sweet moment in your mind

when you stop noticing the three puppeteers hovering around each puppet like earnest ghosts

and begin to follow the story being told by the puppets. The chanter sitting off to the side

voices the love, connivance, outrage, and eventual reconciliation at the heart of each play,

though often what reconciliation actually meant was everyone banished, broken, or dead.

The seeing and non-seeing that make humans humans: I’m thinking now of the placid

English estates where the servants had to face the wall whenever anyone of importance was near,

where workers had to cut the lawns with scissors by candlelight at night, to save the master

the trouble of seeing and hearing all that effort. What the mind does with this kind of information

is probably the knot within the post- in what we call post-modernism, knowing all we know

now about the cruelty that made modernism modernism. In the Philippines, growing up among

servants, I loved the servants the same way I loved my parents, with helplessness and tyranny.

Walking in the exhibit of the black artist’s paintings of young black men in brocaded tableaus,

I am absorbed by their beauty as much as I am by finding out that the intricate backgrounds

were outsourced to painters in Beijing, taking part in the functional ambiguity between

one kind of labor and another. I guess all this matters only as much as you want it to matter,

the mind making its focal adjustments between foreground and context, present and past,

as well as it can. For example, this morning my sister sent me a photograph of my grandmother’s

hands. Sitting outside in her wheelchair, taking in the gold sunshine, my grandmother

had her hands folded in her lap, and I looked at them until I had to stop. This is foreground.

For context, today I learned that the farthest galaxy we know of, located by scientists in 2011,

is 100,000,000,000,000,000,000,000 miles away. It goes by the name of UDFj-39546284,

for reasons that I haven’t yet looked up. In the photograph you can see online, the galaxy looks

like the dusty stuff in the corner of a windowpane, something you could look at sometimes,

something that is nothing, and has nothing to do with what you know about distance and time.

Rick Barot, The Galleons (Milkweed Editions, 2020)

[gion-division]

“We are only puppets, our strings are being pulled by unknown forces.”

Introduction

Honoka Ajisai, also known as Maniakin in rap battles, is the second member of Hana no Joō. A quiet girl who believes herself to be cursed, she finds peace in playing with dolls. Honoka used to be a part of the team Sangyo Stage, but it disbanded which left her incredibly depressed and bitter. Luckily she’s found a new one, will they do better this time?

Biographical Information

Name: Honoka Ajisai / Ajisai Honoka

Honoka (和花) - “Harmony Flower”

Ajisai (紫陽花) - “Hydrangea”

Aliases:

Doll

“That little kid.”

Any insults you can think of, to be honest.

Gender: Female

Age: 18

Birthday: March 21st

Star Sign: Aries

Ethnicity: Japanese

Hair Color: Dark purple with lighter purple streaks

Eye Color: Pink

Height: 153cm / 5’0”

Weight: 88lbs / 39kg

Piercings: N / A

Markings: Injuries on her hands. There are others, but she doesn’t want to talk about it.

Family:

Shin’ya Ajisai (Father)

Tomoe Uchiyama (Mother - Missing)

Fun Facts

MC Name: Maniakin

Occupation: Bunraku puppeteer

Division: Gion

Team: Hana No Joō / Flower Queen

Position: Second Member

Favorite Food: Kushikatsu

Least Favorite Food: When she tries more food she’ll probably tell you what her least favorite is.

Likes: Dolls, psychological horror, urban legends, yokai, fashion, and the color purple.

Dislikes: Horror with a lot of gore, alcohol, lazy people, tight or small spaces, and the cold.

Appearance

Honoka is a small and frail-looking girl, with a deathly pale complexion. Her hair is long and purple, with lighter purple streaks; it’s usually pulled up into loose twin buns, with braids hanging from it. There are two green beads in her hair as well. Her bangs fall over her pink eyes a little at the right.

She’s usually wearing a light purple short-sleeved kimono-like hoodie with longer and even lighter purple oversized sleeves underneath that has frills at the end. Her short waist skirt is dark blue with a green and red cord around it, to give off the image of an obi. Her stockings are black and she wears purple lace shoes. Her hands are wrapped in bandages due to the aforementioned injuries from being reckless with her sewing machine.

Personality

As mentioned before, Honoka believes herself to be cursed. This stemmed from her incredibly low self-esteem, how frequently she gets sick, and the fact that she doesn’t really come from a…loving family. She’s a bit sensitive, you see. This belief about being cursed became worse after her last team disbanded and she fell into an even deeper depression, but she’s doing a lot better after Koyumi took her in.

Due to having lived an extremely sheltered life, she doesn’t know a lot of things and is very naive as a result, having an almost childlike innocence. Honoka is a lover of all things paranormal, and is superstitious because of it; hell she even keeps her dressmaker shears under her pillow to “prevent nightmares”.

When around other people, Honoka becomes extremely shy and quiet. She’s never been allowed to interact with a lot of people, so she gets easily intimidated. Usually it’s out of fear, but there are times where she’s overwhelmed by people that are easily excitable or hyper as well which causes her to hide behind one of her teammates. If you share common interests with her then she can warm up pretty easily, however. As seen with her teammates, she’ll become more energetic around people she’s comfortable with.

Hypnosis Mic

Her long microphone is red and white, resembling a staff. The windscreen is the head of a bunraku puppet; whenever Honoka decides to rap, the puppet head will immediately open it’s mouth to mimic her lip and head movements, as if copying what she’s saying.

Her speakers take the form of a bunraku stage with a bonsai tree in the middle. On the sides are karakuri dolls holding speakers, the one on the left being a boy and the one on the right being a girl, respectively.

Her rap ability is Dummy, which summons a giant bunraku puppet that she can control to defend her team from attacks, and to attack right back. It slowly depraves Honoka of her stamina and makes her weaker the longer it’s out. Moriko calls it a ‘Stand’—She has no idea what that is, do you??

Trivia

Honoka is left-handed.

Her quote is from Georg Buchner.

Her birthday is World Puppetry day.

Her MC name is a play on the word ‘Mannequin’, with the words being ‘maniac’ and ‘kin’ instead.

She was originally born in Osaka, where she lived with Tomoe. After Tomoe disappeared, she went back to Kyoto to live with Shin’ya before running away again with Koyumi and Moriko.

Honoka often switches between her Kansai accents, though admittedly her Kyoto-ben is more forced as she’s not used to talking in a polite, feminine way.

She makes her own clothes for her puppets / dolls, whether they’re traditional or not.

She’s never gone to an actual school, usually only staying at home. Her parents “homeschooled” her but they did a really shitty job at it. Her teammates are currently trying to teach her.

In correlation to the above, she can only read and write basic katakana and hiragana. As in kindergarten to first-grade level.

[exitinertianovella]

Bunraku is a 2010 martial-arts action film written and directed by Guy Moshe based on a story by Boaz Davidson. The film stars Josh Hartnett, Demi Moore, Woody Harrelson, Ron Perlman, Kevin McKidd, and Gackt and follows a young drifter in his quest for revenge.

The title Bunraku is derived from a 400-year-old form of Japanese puppet theater, a style of storytelling that uses 4-foot (1.2 m)-tall puppets with highly detailed heads, each operated by several puppeteers who blend into the background wearing black robes and hoods.

The classic tale is re-imagined in a world that mixes skewed reality with shadow-play fantasy. Its themes draw heavily on samurai and Western films.

[crystal-in-nagasaki]

japanese traditional performing arts: noh

In February of this year, I was lucky to have the opportunity to join a workshop in Kumamoto to learn about the Japanese traditional performing art called Noh.

There are several traditional performing arts that Japan is known for including Kabuki, which relies on heavy costumes and makeup, and Bunraku, which uses puppets. In contrast, Noh is characterized by its use of masks and precise movements. Let's learn more about Noh!

According to Wikipedia, Noh dates back to the 14th century and is the oldest of Japan's traditional performing arts to still be performed today. The shows often incorporate the use of masks, costumes, props, and dance-like movements along to music to tell a story. Noh actors are highly skilled and train for many years, often from the age of three, to perfect their craft.

Real Noh actors who have trained their whole lives in the art of Noh came to Kumamoto to give a demonstration to foreigners in the area. Apparently there are currently no official Noh stages (which are distinct in design and function) in Kumamoto, but they are advocating for the creation of one to share the art of Noh there.

Noh stages consist of a simple and undecorated pavilion covered with a roof and with a connecting bridge where the actors can enter and leave the stage. Since the art of Noh relies heavily on the actors' movements to tell the story, no sets are used except for a single panel with the image of a pine tree. There are also no curtains used, to strengthen the connection between the actors and the audience.

Several props can be used in a Noh performance, but traditionally each actor carries only a single fan which is used to represent a variety of objects in storytelling, such as a sword, a flute, or a writing brush.

The costumes are usually elaborate and made of silk with several layers. But the most important part of each costume is the mask. Masks are traditionally made from Japanese cypress wood and painted with natural pigments on a base of glue and crushed seashell. Each mask is specially designed to indicate the character's age, gender, and social class. Since the mask's expression remains fixed, an important part of the craft of Noh is using body language and movement to express a character's thoughts and emotions without relying on the face. Masks are very important to Noh institutions, and some schools of Noh still hold masks that were created centuries ago as prized relics of their craft.

Apart from the actors themselves, Noh performances are also accompanied by a small group of musicians who sing in a rhythmic chant and play the drums and flute. They dress in black in order to keep the audience's attention on the actors.

At the start of our demonstration, the actors first showed us how to walk. There is a specific technique used by actors in which they arch their spine and move their feet, which keeps their posture straight and gives their movement a gliding effect. The feet are kept flat on the ground and slide forward. They also keep their arms raised and in front of them. It seemed simple at first, but it gets tiring to hold your arms up after a while. The actors told us that during their training they must hold their arms like that for hours at a time.

They also let us try on the traditional Noh masks. They brought several different masks, each representing a specific character. I tried on a small mask with a red face, which they said is meant to depict a drunk male character, who is usually used for comic relief. They also had masks for demons, warriors, and nobility.

After this they picked just one volunteer to dress completely in a Noh costume, complete with wig and mask. They picked a man and dressed him as a female character, using a mask with a small face and a wig of long black hair. The actors worked very quickly to dress him, but there were many layers and it took a bit of time. I can't imagine how long it must take in a real production.

Next they transformed his character. They said it's a common storyline in traditional Noh in which a character can become consumed by jealousy and then turns into a demon. So they changed out the character's mask and wig to show the transformation. The mask was now a terrifying demon face with horns, and the wig a bright and wild red color. They instructed the volunteer that his movements must also change to reflect the character's emotional change. Instead of being more demure and gentle, they should now be quick and jerky. They asked him to walk around the room and whip his head around to look at all of us, and it was so scary!

At the very end, one of the seasoned Noh actors performed a short routine for us to show us what a professional Noh performance might look like. We weren't allowed to record or take pictures of this part, but it was really cool to see the way he glided across the floor and kept very controlled movements.

This was the end of our Noh demonstration. I learned a lot about Noh and had a lot of fun trying out the movements and the mask! I would love to see a real Noh performance someday.

Thanks for reading and I hope you found it interesting too!

[loganinjapan]

Day 8 ACTIVITIES

Tsukiji Honganji / Fish Market: So... we visited a temple. Woooo. Honestly, it was really beautiful and I popped seeing the church organ. The incense smelled really nice too. The rain wasn't fun at all though! After the temple, we visited a tourist trap. Woooo. The Tsukiji Fish Market is super super famous for having super fresh fish and all kinds of stuff. That'd be great... if it weren't for the fact that when we went, it was raining and packed to the brim with people. I didn't get fish, but I did get a gyu-don skewer, an egg & pork steamed bun, some melon, and 100% mandarin orange juice. I think the mandarin orange juice was my favorite. It's a cool place but I don't plan on returning. Lunch: I need a chair and to get away from the rain, so I headed inside a big building in Ginza and headed to Le Blanc. This place was pretty small and quaint but it actually turned out really nice! I loved the corn chowder, and while the salad was drenched in vinaigrette, I didn't mind because the corn chowder was just so awesome. Eventually my main course arrived - I ordered the Doria, a seafood gratin that's originally French, but modified for the Japanese palate. This had rice, seafood, cheese, other sauces, and it was just delicious. I could eat another one right now. After that, I got a cute little strawberry shortcake. It was such a tiny little slice, awww!!!! Tasted great too. Anyways, -1 point for the salad, but this meal was great. 9/10. I went back to the hotel and took a fat nap. Tells you all you need to know. Bunraku Performance: I actually enjoyed this a lot more than I thought I would. While my main focus was to not fall asleep, I was somewhat invested in the story. The bar I set for this was VERY low. I lost track of the character names and the plot multiple times. The puppets were really cool though. I was very spooked at the sight of the men hooded in the black cloth (I know it's designed to keep them "off stage" while being on stage managing the puppets, but still). Also, props to the narrators and the dudes playing that instrument next to then! They all did a wonderful job. Dinner: It's late, not much is open, and I'm tired. Let's try something new! I finally got my hands on some Chinese food when I and 2 groupmates stopped at... uh... here's the name: "中華キッチン刀削麺 登龍閣". We all got lemon sours and I ordered steamed pork buns and shrimp fried rice. This was some of the best fried rice I've ever had. Just absolutely delicious. The pork buns were pretty good, although they were a bit flimsy. I want to give it a 10, but my gut says 9. Sorry. 9/10.

[alexyssc13]

May 13 - Tsukiji Hongwanji | Mitsukoshi Ginza

I’m so happy today was chill after a long day yesterday. At least for me, I felt like it was much needed. I’m also thankful for the fact that I already went to Ginza with Sadia on May 10th because I did most of my shopping then. Thus, my day became even more chill.

First place that we went to was Tsukiji Hongwanji Temple. It had a beautiful exterior design, and the inside looked really nice as well. Two interesting features of this temple were the pipe organ and the stained glass window near the entrance. After checking out the outside area a bit, we went to the next location.

Tsukiji Fish Market was a busy area filled with restaurants, sellers, and lots of tourists. It’s crazy how much food and goods we walked past. Goods included various kinds of fresh fish, but there was also so much seafood. We occasionally passed by produce sellers. Food being sold included fish, seafood, meat, and sweets. When we broke for lunch, my friends and I ended up eating at a food hall. I just ate chicken tandoori.

Once we regrouped, we headed to the last place for the day excursions, which was Ginza. Dr. Smith didn’t hold us for long, letting us shop before we had to meet later. I thought I found a SuperDry store last time I was there, but instead of the clothing store, it was actually a beer store for Asahi. Saddened that it wasn’t the SuperDry that I was hoping for, I headed to Uniqlo’s flagship store. Once I got there, I realized that the Uniqlo I went to before wasn’t this one. I got a video of the swinging shirts that you see right when you enter. Then, I went searching for shirts and a hat for my boyfriend. Once I achieved that goal, I went home.

The final excursion for the day was in the evening, and it was a bunraku performance. Basically, it was a traditional Japanese puppet show. It was a very interesting experience as the narrators put so much into their words. The puppets were also kind of cool to see because multiple people controlled the larger ones. Some of the controllers even put these black bags on their heads to mask their faces. After the performance, Ren and I got dinner and then went home.

[serenasufinjapan]

May 13: Tsukiji Tonwaji, Ginza, and Bunraku

Yesterday we went to Tsukiji Tonwanji, explored Ginza as a class, and got to see a Bunraku play in the evening. Tsukuji Tonwaji was very beautiful with very interesting architecture that is unlike any temple we’ve been to before. It reminded me a lot of a catholic cathedral. Ginza is a luxury shopping district, and I got to see stores such as Hermes, Chanel, LV, and Balenciaga. There was also some gems that sold vintage designer. The whole place felt so high class, almost like the fashion district of New York. Then that evening we went to a play where all of the main characters are puppets and their voices are done by one person. I thought it was pretty cool, albeit a bit hard to follow due to the audio guide not translating the entire dialogue.

Tsukuji Tonwaji was interesting to me because of the clear influences of Christianity on the structure of the temple and the motifs within it. There was rows of chairs that reminded me of pews, and stained glass windows. There was also stone pillars and a copper dome, where there is typically wooden structures. While in Ginza, we got to see the tower that Godzilla destroyed in the clip we watched in our readings. It was mentioned that this clock tower has been around since the 1800s and has always been an iconic symbol of Japan. Many of the department stores in this area have been around for centuries in one form or another, which I thought was really cool. Now there are department stores everywhere in Tokyo, but it seems like the Ginza area is the most high class.

The Bunraku play that we saw was the last two acts of “The Secret Art of Rowing” from 1739. The language that was used is a lot like how Shakespeare sounds to English speakers, and our guide mentioned that she has trouble understanding it at times. The shimasen player seemed so in sync with the storyteller and even without looking at each other they were able to play and speak at the same time. The storytellers and players were switched every act, which is different from American theatre where actors are only switched in the case of an emergency where an understudy steps in. I thought it was really cool that the people who work the face and one of the hands of the puppets get to not wear the black mask that the rest of the puppetmasters do. It’s like they get recognition from being a lead actor in a similar way to main characters in American plays.

[christinaklassenjpt3391]

2/28 Blog

I enjoyed the film “Double Suicide” by Masahiro Shinoda and thought it was an interesting watch. I thought it was very intriguing how the film started out with the kurago (the men dressed entirely in black who handle the puppets) assembling the bunraku puppets in preparation for the performance of “Double Suicide”. The film then shifts into the real world with real actors instead of bunraku puppets. Overall, "Double Suicide" grapples with the universal theme of forbidden love and the tragic consequences that often accompany it. The central characters, Jihei and Koharu, find themselves stuck in a web of societal expectations and moral dilemmas as they navigate their forbidden romance. Their love defies the rigid hierarchies of Edo society, where marriages are arranged and social status reigns supreme. Shinoda uses their story to highlight the inherent conflict between individual desire and societal conformity, highlighting the profound sacrifices that love sometimes demands. The film also delves into the existential despair that permeates the lives of its characters. Jihei and Koharu are trapped in a world devoid of hope, where their dreams are constantly opposed by external forces beyond their control. Their longing for freedom becomes a driving force throughout the story, as they grapple with the harsh realities of their existence. Shinoda captures the existential angst of his characters, infusing the film with a sense of melancholy and resignation. Furthermore, "Double Suicide" also serves as commentary on the oppressive nature of patriarchal society and the limited agency afforded to women. Koharu, in particular, embodies the struggle for autonomy in a world dominated by male authority. Despite her fierce determination to defy societal norms and pursue her own desires, she ultimately finds herself trapped in a cycle of exploitation and despair. Shinoda's portrayal of Koharu's plight serves as a critique of the systemic injustices that pervade society, highlighting the need for social change and gender equality. Finally, I liked the parallel between the beginning and ending shot of the film with Jihei and Koharu lying next to one another on a mat under the bridge. The bridge, which once symbolized the promise of love and freedom, now serves as a reminder of the inevitability of their demise. It is here that Jihei and Koharu confront the harsh reality of their situation, grappling with the consequences of their actions and the futility of their struggle against fate. The dimly lit arches of the bridge cast long shadows over their figures, symbolizing the looming fate of death that hangs over them. In this final scene, Shinoda juxtaposes the innocence and hopefulness of the beginning with the despair and resignation of the end, highlighting the tragic trajectory of Jihei and Koharu's romance. By paralleling these two pivotal moments under the bridge, Shinoda underscores the cyclical nature of their journey and the inescapable forces that govern their lives.