So i decided to watch some Aeon Flux, the animated MTV series from the 90s, and while searching I watched some of the Liquid TV that was the home of the show…
Holy crap, it was bonkers, in a wonderful way. You had segments there were more traditional animation, you had 3D animation, you had the use of collage as the backdrop for live actors. It was bizarre and artistic. I would recommend watching it. The production quality is low, but I think that’s part of the charm. It’s just a bunch of artists cobbling together something they thought was worth making.
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Credit to @cosmoglass for making the post that first pointed this out, but I want to show in more detail why Lupin the 3rd: Castle of Cagliostro and ICO for the PS2 are aesthetically connected, with the latter likely being inspired by the former. This post won't contain direct spoilers for either source material. But a lot of images will be used, so if you prioritize coming into both of these masterworks blind, and with fresh eyes, wait until you've seen them for yourself.
[ID: Image 1: A full shot of the Count's Castle from Lupin the 3rd: Castle of Cagliostro. /end ID]
[ID: Images 2 & 3: The Queen's Castle from ICO, both close and wide shots. /end ID]
Here we can see the castles side by side. You won't notice many architectural similarities beyond perhaps the arch bridges. But both rest upon a body of water, closed off from the mainland. Both castles were made to be isolated and difficult to reach. Speaking of difficulties, you'll notice in ICO that the bridge to the mainland appears to be missing. A more accurate statement is that it is retracted. Later in the game, a stone bridge will extend itself out of a slot to reach the mainland, much like another part of the Count's Castle, which connects to an isolated tower.
[ID: Image 4: The Count's Castle, focus on the isolated tower and a section of castle extending out to connect with it. /end ID]
There's also an elevator on the outside of both castles' walls, and while they vary drastically in style, this specific wall-ascending outdoor elevator is pretty unique in concept.
[ID: Image 5: The Count's Castle, a ridge in the outside of the tower allows a boxed elevator to ride up and down. The elevator itself is octagonal in shape and fancifully decorated. /end ID]
[ID: Image 6: The Queen's Castle, a ridge in the outside of the tower allows a platform elevator to ride up and down. The player must manually turn a large crank to ascend and descend. There is no roof, and only a fence protects the riders from falling off. /end ID]
Both castles also feature a windmill that overlooks a small area of greenery.
[ID: Images 7 & 8: The Count's Castle, a small four winged windmill of old construction overlooks a small walkway with lush bushes dotting the view. It faces out towards the water. Images taken from both front and back of the windmill. /end ID]
{Note: The following images are not of ICO, but rather an accurate recreation of the Windmill area created in Unity by funkyboy. They had the best angles to demonstrate my point.}
[ID: Images 9 & 10: The Queen's Castle, an eight winged windmill overlooks a small pond surrounded by vibrant green grass. It faces out towards the water. Images taken from the left and right sides of the windmill. /end ID]
One can find a few more similarities inside the castle walls. Particularly in the aqueduct leading towards the Count's castle. The underground waterworks are filled with huge gears and intense streams of water. A similar locale is seen in the final stretch of ICO, where the gears and mills are used as a platforming challenge.
[ID: Image 11: Lupin, in diving gear, fights against the current of a waterfall that spills out over a underground passageway of brick construction. Large interconnected gears encompass the background. /end ID]
[ID: Image 12: A promotional poster featuring Ico, small in the frame, looking up towards streams of water raging down over a cliff face, the streams land into mills and gears that turn.]
Both pieces of media also feature a stone bench. Though ICO's benches are more prominent and used as Save Points throughout The Queen's Castle.
[ID: Image 13: A sun sets on an old marble pavilion with a stone bench, slightly coated in crumpled autumn leaves. The seat is split into three sections of the stone. Very detailed art style. /end ID]
[ID Image 14: Ico and Yorda rest on a stone bench, split into two sections of stone. It glows with runes when Yorda is near it. /end ID]
But it's not just the castle that has aesthetic similarities, the characters themselves have some commonalities. Clarisse, from Cagliostro, has a resemblance to Yorda. And while Lupin, as her rescuer, doesn't resemble the 12 year old Ico, he does end up with a head injury that requires bandages around his head, later in the film. Ico is always seen with bandages across his head throughout his game.
[ID: Image 15: Lupin holding Clarisse's hand as he guides her back through the aqueduct area, filled with turning gears. Clarisse wears an all-white dress and has a colorful shade of brown hair. Lupin wears a green jacket over a black shirt and yellow necktie. He has white bandages wrapped tightly around his black hair. /end ID]
[ID: Image 16: Ico helping Yorda up by the hand after she has fallen. Yorda wears a white dress with brown and grey patterns around the neck and shoulders. Her hair is mostly gray with very faded traces of brown. Ico wears an orange tunic and a poncho with an elusive ancient pattern on it. Around his black hair are white bandages, from which horns sprout. /end ID]
There are also two moments in the Lupin film where Lupin helps Clarisse across a small gap, but I only have a clear screenshot of this instance.
[ID: Image 17: Lupin helps Clarisse cross a short, watery gap between two platforms that they stand on. He extends his hand to grab hers on the other side, intending to pull her towards him as she jumps. /end ID]
Helping Yorda across gaps is such a staple of ICO's gameplay, it's hard to think of the game without thinking of this image.
[ID: Image 18: Ico reaches out his hand to Yorda on the other side of a fairly long distance gap between their two platforms. She is at the edge of hers, preparing to jump towards him, the intent being that she will grab onto his outstretched hand. /end ID]
And if the main characters aren't visually similar enough, how about the common enemies? In The Castle of Cagliostro, there are a group of assassins shrouded in black cloth, and equipped with metallic claws that make them appear monstrous. Their eyes glow an unnatural yellow and they often walk with hunched postures.
[ID: Images 19 & 20: First, a depiction of the aforementioned assassins, piled together in a doorway, glaring towards their targets in the dead of night with yellow glints for eyes. The second image is a close up of one of their hands, which resembles a gauntlet from a set of armor, but with sharp, long pointed ends on each digit and sharpened knuckles. /end ID]
Compare with the common enemies from ICO, which are actual manifestations of shadow. They appear bestial and often hunched over as they approach, claws and wings are common in their design elements, and they bare glowing blue eyes.
[ID: Images 21 & 22: Close-ups of two Shadow Creatures. The first has grabbed Yorda, and lifted her onto one shoulder with slender appendages that end in long points. It's face glows with a bright blue light that emanates from its eyes. The second Shadow Creature stares at Yorda with the same blue eyes, it's back covered in ethereal feathers, it's long arms cascading down to the ground, also ending in points.]
The pictures don't capture the movement of these characters but I assure you they both walk with an unnerving energy that feel very similar to each other.
The Castle of Cagliostro came out in 1979 when Fumito Ueda was 9 years old. In all likelihood, he and the people that made up Team Ico at that time, had watched the movie several times as they grew up. Considering also, the fact that ICO lacked most of these resemblances in earlier stages of development, I think it's possible that Ueda and/or the team rewatched the film mid-development and decided to wear the inspiration on their sleeve. Regardless of how this Lupin the 3rd movie sneaked some of its aesthetics into a classic PS2 title like ICO, I think they are undoubtedly connected by a link of artistic inspiration. Hayao Miyazaki's directorial debut inspired Fumito Ueda as he created his first game.
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I love elder scrolls but I'm sad about how orientalist it can be
I didn't specialize in it, but The College and department I went to specialized in South East Asian studies. So for a long time I've been acutely aware of the obvious artistic and creative influences on various TES societies, art styles, motifs, etc.
Orientalism has a bizarre mix of pandering assumptive stereotypes, romanticism, and at its worst, pure racism. Orientalism originated via dangerous and racist western attitudes of past centuries which were used to simplify and insultingly coddle and ostracize non-western cultures while also allowing westerners to access said cultures via a smug sense of superiority and curiosity.
There are a lot of East Asian, South Asian, North African, Middle Eastern influences in the various societies and cultures of TES.
I cannot speak for how people of those backgrounds may feel about how the various artistic styles and inspirations have influenced the art and lore of TES.
All I can say is there is a lot of IRL cultural influence in TES. Creating a vast fantasy world and *not* taking IRL cultural inspiration is hard. IMO it's practically unavoidable unless you want to get REAL WEIRD with the lore and art in the way Michael Kirkbride does (he can create genuinely alien cultures).
I am of the personal opinion that cultural artistic inspiration is fine as long as it is done with *deep* respect, care, and dignity towards the civilization it is taking inspiration from.
I personally feel TES does more than enough to go beyond simple cultural artistic inspirations and creates something that is both very familiar and also entirely new.
For example, let's look at how Argonian art and culture is depicted in TES.
Besides the Kukri knives which are of South Asian origin, were largely looking at a fictitious culture that has extreme aesthetic similarities to indigenous cultures of Central and South America.
I myself am descended from such people IRL.
I have direct family connections to specific tribes in Northern and central Mexico. Am I bothered seeing a fictional series taking direct artistic inspiration from the ancient cultures of my ancestors? And that our culture is applied to a bunch of weird lizard people no less?
Yes, it does bother me a little. However, when I think about it I also realize there is nothing ignoble about the Argonian people or how they are represented in game or art. I mean look at them. What is there to be ashamed of when you look at them, talk to them, *see* the Argonians and how they live?
The Argonians are quite frankly, super fucking cool badasses. They have a complicated, dark, heroic, and fascinating history. Just like my ancestors. Why would I shy away from seeing the culture of my ancestors inspiring a proud fictional civilization?
There's nothing to be ashamed of when I see my culture represented or taken inspiration from as long as it is not being used in a demeaning or insulting manner.
I don't feel Bethesda is acting with racist or ill intentions when they take artistic inspirations from real cultures. I want to give them credit. A lot of very intelligent and learned people work for Bethesda. Many of their creatives come from all over the world and from many different cultural backgrounds.
For example! Many of the artists who worked on the western inspired civilizations of Cyrodiil and Skyrim were of East Asian, South Asian, and African descent. They took it upon themselves to learn the artistic cultural stylings they wanted to take inspiration from and to represent them in an authentic but still creative and unique way. This is what any good fantasy series should be able to do.
They know the world is huge and every culture is endlessly diverse. There should be no shame in depicting or taking inspiration from a culture or their artistic style as long as such inspiration and depiction is done diligently, honestly, and with respect.
I feel that the art and artists of TES have faced up to this challenge and expectation and have (largely) met it. There are some examples that do make me roll my eyes, but even these are largely just cases of lazy artistic expression or generic inspiration.
All in all, artists and creatives absolutely can and should do more to ensure their inspirations from non-western cultures are done with tact and respect. I personally feel the creative behind TES have been meeting expectations in this regard and have done a fair job of taking inspiration without being insulting.
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