i keep thinking about ocelot takarazuka i dont really see the influence like he just looks like a middle age guy with masc features manner and fashion so what do you think the artist actually meant? there's nothing feminine about ocelot like how does the "is that a man or woman" thing play in here cause i don't see it. He's not like raiden or raikov. He's just a guy đ§ââď¸so how does the all female theatre thing apply
Hello Anon! Full, immediate disclosure, this answer is messy and disjointed. I probably don't even answer the question your asking end of the day, but I'll try my best.
I believe this is the post you're wondering about?
As I said in this earlier post I'm not a Japanese speaker, so I have to go on interpretation, and what has been offered by the translations available. I can't help but think there is going to be some sort of nuance missing as a result, but I'll do my best.
To start, I think you and I might have a slightly different view on masculine and feminine-to me the two concepts are pretty interchangeable, but I do understand where you're (probably, I don't know you personally after all) are coming from and that, no, Ocelot doesn't have many traditional 'feminine' characteristics.
You'll note that in the original post, Shinkawa refers to getting inspiration from the idea of 'women in their 40's (the age Ocelot almost is in MGSV)' and 'long, flashing eyelashes'. (My interpretation here is that by this, he means in the way long eyelashes that are considered sexy have an eye-catching flow to them. Sort of like how we can say 'fluttering lashes'. Intended to draw a person's gaze in, and command their presence).
Doing some cursory research tells me that the Takarazuka Revue (because Takarazuka is also a city in HyĹgo Prefecture, Japan.) is an all-female musical troupe located within that same city. Started in 1913, by IchizĹ Kobayashi.
(I also got distracted by this version that is a performance of Casino Royale, so there's that)
Anyway, ahem.
"Kobayashi believed that it was the ideal spot to open an attraction of some kind that would boost train ticket sales and draw more business to Takarazuka. Since Western song and dance shows were becoming more popular and Kobayashi considered the kabuki theater to be old and elitist."
Throughout the article, there is also this;
"Takarazuka has had a profound influence on the history of anime and manga, especially shĹjo manga.[27][28] Osamu Tezuka, a highly influential manga creator, grew up in the town of Takarazuka. His mother knew many of the Takarazuka actresses, and as a child he knew them and watched many of their performances"
I can assume that the performances have a lot of influence on media, and it's not uncommon for MGS to take inspiration. There could be an entire article on the things MGS takes inspiration from, even outside the most obvious like Escape from New York, character model bases, etc.
Cycling back to the original point, (there is also a video that exact post comes from, but I don't have the link on hand, on YouTube *no translations). I think that it's entirely possible Shinkawa took 'loose' inspiration, or a little more. I can see why and how he might've based Ocelot's look on the idea. (Loose shirt, tight pants, scarf open neck). But there is also the element of which Takarazuka is a performance, more than anything.
It's acting. Playing. Something Ocelot does all the time. Half of his time on screen, he's putting on some kind of performance. While this is something he does the least in MGSV, that never fully changes 100%. (And after all, he's also hypnotized for most of the plot). So there's a counter argument to be had that this is one of his greatest performances pre-MGS4. But that's a different post.
Ocelot presents/is masculine. But, he has longer eyelashes, his clothes are a little more 'free' than the standard military garb when he's allowed to choose his own outfit. (Again this is specifically MGSV Ocelot, though there's something to be said about his chosen attire being such a sharp 3 piece later on).
At the end of the day, maybe a way you can look at it is to say that, Shinkawa looked to Takarazuka when designing MGSV Ocelot to give him a sort of 'flow' to his looks. He was attracted to the idea of taking elements from Takarazuka, because Ocelot is a performer, and he sees some possibility for feminine additions in his looks *or* might've thought it more 'fitting' than Kabuki.
But again, I don't know if we see fully masculine and feminine the same way, (and maybe Shinkawa personally associates long eyelashes with sexy women; or women made up to look like men but with longer lashes) I can't know for sure myself. I think you would need a native or very good Japanese speaker to interpret it fully.
If I was to offer you a personal opinion-I can see it. I can see where there's a draw that one might have with the look, and where Shinkawa might've gotten said inspiration. But I am not entirely certain how to put that into words either? My perspective isn't going to be 1-to-1 of yours either.
Maybe someone else can interpret all this better than me, I definitely feel as if I've not done this justice at all. Because at the end of the day, I don't see a hard divide in masculine and feminine in Ocelot, but I think that you, Anon, see him as 100% masculine. But again, I can't speak for you and I am not sure.
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It sounds like Joe and Ken focused on telling stories, stories that being stories focused on the world and characters they knew. While Pete's were more focused on delivering a message with story flavored wrapping.
This is very much the case, but the difference seems to go even deeper than that, to a fundamental difference in worldviews that affect how they approach story.
Episodes written by Joe Fallon and Ken Scarborough respect children as people. Children have been shaped by their experiences and have unique personalities. Children are curious and have brains--they are driven to explore new things and can draw conclusions from what they see and do. Children are already people who deserve respect, and like all of us, they're growing into different people as they learn new things and have more experiences. The child characters can thus be the drivers of their own stories and come to learn lessons for themselves. The child audience can relate to those characters, be drawn into the story, and learn what it's trying to teach without having every detail explicitly spelled out.
Episodes written by Peter Hirsch seem to approach children as people-in-training. They might have one or two personality traits, but instead of coming from and interacting with other elements of their background, they're just pasted on, like a sticker you can put on your Generic Child Prototype. These blank-slate children need to have knowledge poured into them so they can become Properly Educated Adults. So in his episodes, these child characters will go through their story with a question, and the adults--the real people--will tell them the information in great detail so these characters--and the watching audience--can go off into the world knowing what the writer has decided they need to know.
In Joe and Ken's episodes, flaws are funny, and can create funny conflicts that will teach the children better ways to approach problems. In Pete's episodes, flaws are horrible things that need to be pointed out, labeled, and sanded away, so these children can grow up into the perfect model of what a Good Adult should be. The first approach is engaging, and celebrates diversity of personality in a community, while the other becomes bland in the interests of shaping all the members of a community into the desired mold.
Comparing the two approaches provides a shockingly thorough lesson in how one should and should not approach writing and education. Story and character and message are all intertwined. Trying to force the message onto the story and characters makes for something bland and generic and unrealistic. Letting the characters shape the story and letting the story bring out the message makes for something much more unique, organic, engaging, and real. And yes, maybe I've come to this conclusion by spending far too much time thinking way too deeply about a bunch of shows for elementary-aged chlidren, but that doesn't mean it's not fascinating to see how, even within the same show, an writer's personality and approach to the audience can make such a vast difference in the quality of a story.
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hello, everyone! we've received word back from all of our applicants, and have concluded final evaluations. at the behest of đđđ đ°đđđđđđđđđđđđ, we will be posting acceptances today.
 acceptances are scheduled for today, february 15, 2024, starting at 10 pm pst. every acceptance will be posted every five minutes or so, and the lineup will feature our reserved players first, accepted players next, and end with admin characters.
 thank you again everyone for their time, effort, care, and patience during this process. we were so touched by folks who reached out and wished our friend well. you guys have such amazing hearts.
 while our submit box will be closed until the end of the first event, we hope that anyone who still wishes to join us for the second submission round keep an eye out for our plot drops, and solve the mysteries alongside our to-be-announced roster for the broken scales of themis.
 see you all at site-Ď!
 > đđđđ đ
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I've been hunkering down in Gundam Seed JP Twitter and it has been extremely enlightening, especially since I haven't rewatched the main series in a while. Things I forgot, things I actually remember but see in a new light...
Some people love/hate the new movie on there, but I've seeing a lot of people find it good - because it makes the point that 'Kira didn't actually heal from the events of Gundam Seed, and now that he's back on the battlefield without Lacus his sanity is hanging by a thin thread'.
A bunch of people pulling receipts on the discriminatory behaviours/opinions even Kira's friends had possessed unconsciously (in Sai's case, kind of... A bit more blatantly than most back when Kira didn't even pull shit, which had me hissing through my teeth...), the things that isolated Kira into thinking he has to handle things on his own (Tolle's death when he tried fighting by his side, for example), a comparison of behaviours between Murrue who gave him a bow of respect vs his friends who tell him 'we'll distract ZAFT as EA soldiers while you're on the refugee shuttle!' oblivious to the actual dangers because they were only ever on the bridge (haha,,,,, the fact this saved them even if it backed Kira into a corner,,,,,,,, ffffffuck)
Back to the movie, I've seen some mixed reactions about the second half, but!!! I'm generally seeing a lot of people looking at first half Kira and going 'my sad baby. my poor meow meow. get whumped.'
Again, this is all JP twitter, not EN, and definitely not the actual movie - but seeing people's reactions have been an entertaining ride.
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hi! saw your tags on a reblog about the real/barça video and wanted to explain the history for you, iâll try to keep it as short as i can, but know that the history is extensive.
of course the main reason behind the conflict between the clubs is who they represent. historically barça has represented catalonia and real madrid has represented spain, spanish royalty, and the francoist regime.
franco was dictator in spain and sought to destroy all semblance of catalan culture, language, and political movements. the catalan language was banned under his regime and barça was made to remove the catalan flag from its crest after the spanish civil war (in which francoâs fascist side won). leftist political organizations were eliminated and franco responded with violence to any uprising that demanded democracy and independence for catalonia, bombing their cities multiple times.
probably the most damning thing for francoâs action against barça was when the president of fc barcelona was assassinated by his troops. suĂąol (barça pres.) was vocal about his support of left-wing politics and anti-fascism, and was unjustly killed one year after becoming president of barça.
it is beyond football. as neutral as the clubs try to be it has always been more than just football. so i hope you can understand how horrible that video is. to claim that franco was in favor of barça and that barça is the âregime clubâ is appalling after all that barcelona and catalonia had been through during the francoist dictatorship, and what they still continue to experience to this day.
hi anon! thank you for answering my call, and i really appreciate you taking your time to explain this to me quite comprehensively. i was initially so confused - as to why such a video was even posted in the first place, and why people were getting mad about it. thanks to your elaboration, i now understand the context, and why that video is a pretty fucked up thing to put out there. although i have been watching the spanish league from a young age, i was genuinely not aware of such deep political issues transcending the sport of football itself. i tried to do some reading on the matter, but it's quite obvious that some materials out there are biased and the stories kinda differ from one another.
so thank you, once again, for the insight! as you said, the history is extensive, so i'll definitely try to read up on this!
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