#go itoh

[isekaicore]

whoo information we love information

#procreate #procreate art #digital art #art #artists on tumblr #anime #illustration #webtoon #original character #original characters #oc #go save the world #go itoh #.png

[anime-to-the-t]

プリンセスチュチュ15周年コンサート「金冠町音楽祭」(21周年突入)

@kinkangakuen

#TUTU夜語り

#Princess Tutu #Ahiru #Ahiru Arima #Fakir #Uzura #Drosselmeyer #Kaoru Wada #symphony #Princess Tutu 20th Anniversary #This symphony was composed by Kaoru Wada in celebration on Princess Tutu's 20th anniversary and is now going to be performed for its 3rd yr #official art #sourced #mine #Ikuko Itoh

[lesbianfakir]

Fakir's theme (Beethoven's Coriolan Overture) always struck me as funny because it stands apart from the other character's themes. Mytho has the delicate Dance of the Sugar Plum Fairy, Rue the somber Gymnopedie No 1, Duck the cheerful Nutcracker Oveture etc... while Fakir's theme is well... LOUD.

It characterizes his most aggressive moments, mainly playing in scenes where he antagonizes Mytho and Duck.

This always sat a little weird with me as it is a very surface-level character theme for such a complex character. In contrast, Rue's theme tells us something about her motivations under the Kraehe persona. Fakir's on the other hand tells us that he's mean and aggressive... something any viewer who's gotten to a scene where the song plays already knows.

On one of my rewatches, though, I noticed that he has another song that functions as a sort of secondary theme: an excerpt from Scheherazade.

This song plays most notably throughout most of episode 12, while he is bonding with Duck. It shows up a few times later in season 2, mainly in scenes concerning Fakir's struggle to write. As such, I view it as a complementary theme to the Coriolan Overture.

Listening to the song, it feels much more in line with Fakir we've come to know him. The song can be a little delicate and a little sad with gentle wind solos that lead into loud, grand orchestral sections. The repetitiveness, tempo, and use of dramatic brass and strings give these louder sections a gallant, almost desperate tone. It's super fitting that this is the song that plays throughout the episode where we get the best sense of Fakir's natural personality when he isn't putting on the cold persona.

I don't really have a deeper analysis here I just think it's really fun that as his character develops he gets an additional theme. If you think about it the music in Tutu functions as a sort of jukebox musical--the world and characters are built around the songs. Once we start to get to know who Fakir really is, the music that represents him changes to reflect him better.

#i dont know much about music pls dont crucify me if im not very good at analyzing things #also v funny itoh was like lollll I just gave him an Arabic name for the aesthetic #and then has one of his main leitmotifs comes from Scheherezade #ya know. Scheherazade. from 1001 ARABIAN nights fame #whatever i wont let her whitewash her own character not on my watch #anyways oh coriolan oveture doesnt go away it just stops being played when he's being a dick #love love love the music its so fun #other characters have secondary themes too. but this post ain't about them #princess tutu #fakir #lea posts

[hastyprovocateur]

Akemi "hands-on-sight" Tokunobu:

Attacking men she loves till they're forced to tie her in shibari or surrender their empire

circa 1657

#at some point mizu has to relent #be like yeah go on #stab me #get it out of your system #blue eye samurai #mizu blue eye samurai #akemi blue eye samurai #blue eye samurai mizu #bes akemi #taigen blue eye samurai #bes takayoshi #takayoshi itoh #takayoshi blue eye samurai #netflix blue eye samurai #blue eye samurai netflix

[boanerges20]

Shinichi Itoh

#motorcycle #shinichi itoh #motolegends #wgp #sport bike #racing #motorsports #ride hard or go home #built for speed #experience speed #honda #nsr500 #classic motorcycle #please reblog #moto love #lifestyle

[dynamitekansai]

The TJPW girlies stay going viral. (📸 Original photo taken by negisaburo12)

#wrestling #joshi puroresu #tjpw #mizuki #maki itoh #i usually cut the numbers off these but LOOK at her GO!

[chaosallstar]

This blog is slowly but surely becoming a Maki Itoh stan account

#not going to pretend i’m either sad nor apologetic about this #she owns me #maki itoh #wrestling

[johnmeowston]

thinkingabt . snake and otacon. btw

#TU ULTIMA CANCION IS SOO THEMCOREEE #chatterbox mode neow srory BUT #< btw this is all in the context of the mgs4 book PELASEEE go read it projekt itoh does a lovely job of portraying otacons #grief its sooo so good #anyways. tu ultima cancion is like as the title says someone publicly acknowledging their grief for the final time . similar as to how #otacon states that this book/letter is his final testament to snake . additionally the repeating mantra of ''ill cry no longer'' !! #the narrator insisting that for the better of the people around them and themselves theyll only face this heartbreak once more before #sealing it away forever !!! how towards the end otacon holds in his tears in front of sunny yet still cant !! also how shes so understandin #of him crying means everything 2 me . btw #also the final lyrics in english roughly being ''after so many nights of love nothing remains only your song'' WHCIH !! #otacon being left with ntohing but snakes legacy and having to reserve it as well. im just so #PLEASESOME1 READ THE BOOK IM SO INSANE OVER ITTT #txt

[callibones]

ah fuck i just found out another one of my classic mannerisms is a vriska thing. Again

#homestuck #callie.txt.exe #it keeps happening #''girl that loves going <33333333'' voice: hm! im so glad i came up with this extending-the-3-of-the-heart thing myself #wait. did i? maybe i should google itOh. Fuck

[oedotai]

May 28, 2022

International Princess Title Match

Maki Itoh (c) vs. Mia Yim 

#Maki Itoh #Mia Yim #Prestige Wrestling #wrestling #go watch this it was so good! #women's wrestling #mine #** #052822

[onewingedangel3]

im getting my student grant this week, am i going to use it for things i need? no.

am i going to use it to try and start making a young bucks cosplay? yes.

#wrestling #young bucks cosplay is my no. 1 priority #I really wanna make an azm and starlight kid cosplay as well but thats a biiiit more complicated #definitely going to make a maki itoh cos tho #and chris brookes #i just need to go to matches where they are so i have any use at all for them

[unlikelywrestlingfan]

A lot of wrestlers will say "I did x before" on the mic with nothing to back it up but Itoh is out here being cute on stage and beating the shit out of people in the ring. She's the Hannah Montana of wrestling. I stan.

YOU ARE SO CORRECT!!!!!

#the hannah montana of wrestling 😂 #hedonistic merneith #asks #maki itoh #i don't even go here: joshi #unlikelywrestlingfan

[kaladinkholins]

While theorising about the events to come in future seasons, I just keep going back to the question about who Mizu's parents really are.

So to try to figure it out, let's go over what we already know about Mizu's parentage and the white men. This info is from the flashback of Mizu as a baby in Episode 3, from the bounty hunters who came to kill Mizu in Episode 5, and from Fowler's reveals in Episode 8, assuming that everything he said is the truth.

Mizu must be someone important, as Fowler calls her Little Miss. It is capitalised in the Netflix official subtitles. This implies that Little Miss is something like a title, rather than just a nickname.

There is a bounty on Mizu's head with a sum few can resist. Whoever is trying to kill Mizu is rich and powerful.

Two men are sent to kill Mizu as a baby. They are Japanese. We know this because their swords are both katanas, and they're shocked when they see Mizu's blue eyes, discovering she's a "half-breed." Man #2 also calls her a "devil child" at the end of the flashback.

Man #2 is hesitant to kill her, as she's "only an infant," and ends up killing Man #1 to stop him from killing Mizu. Man #2 then gives Mizu to Mama, who is actually her maid.

Mama is paid to keep Mizu hidden. Mama does as told for years. We can infer that there was a steady stream of income going towards her, as she did as told until "the money ran out."

Skeffington and Routeley were the "worst" of the four white men, making their money from "selling Japan's unwanted daughters." Unwanted daughters like Mizu.

One of the white men "tried to burn Mizu alive as a baby."

One of the white men killed Mizu's mother ("Don't you want to know which one killed your mother?").

When bounty hunters came to the ranch to ambush Mizu, she asked them which white man they worked for. They only replied that the only white person they see is her. This could just be a way to avoid her question, or it could also imply that they do not work for a white man at all.

So from this, again assuming this is all true, let's go over some things:

The white men are NOT the ones who paid Mama to protect Mizu, as one of them had been responsible for trying to burn Mizu alive as a baby.

Mizu's mother was killed by one of the white men. She likely died protecting Mizu.

If it was the white father who tried to kill Mizu and her mother, then it's likely the mother's side who paid Mama to hide Mizu.

Mizu's mother must have been rich enough to afford servants.

Mizu's mother must have been someone powerful enough to have been in the shogun's inner circle, allowing contact between her and the white men.

Furthermore:

Mizu's mother should be someone tied to existing characters, to make the reveal of her identity more narratively significant.

So with all that said, let me dip my toes into wild theory-land for a bit and propose a new idea.

WHAT IF: Mizu's mother was a concubine or even the previous wife of the Shogun? And, considering how people have pointed out how similar Lady Itoh and Mizu look (credits to @roninzuzu in particular for her post on this), what if, maybe just maybe, Mizu's mother was also Lady Itoh's sister?

If this is true, then Mizu's connection to the shogunate would explain why and how Fowler knew so much about Mizu's past, especially regarding her maid taking care of her, etc. This is because Fowler is allied with the Shogun himself, as well as one of the shogun's closest advisors, Master Chiba. So if it were true that the previous wife/consort of the shogun gave birth to a blue-eyed baby, it would've been a big scandal that was certain to reach Master Chiba's ears, and he would have in turn informed Fowler about it.

If this is the case, both the shogun and the white man would be trying to kill Mizu and her mother. The shogun would be trying to cover up the scandal, while the white man would be furious that she wanted to keep the baby at all, as the scandal likely ruined his business dealings in Japan and forced him to retreat back to London or wherever else he came from.

But then, if that is the case, then who would have been the one paying Mizu's maid to take care of her? I think it's Lady Itoh. If she and Mizu's mother had indeed been sisters, perhaps Lady Itoh went behind the shogun's back to protect her sister and her baby niece. Because maybe Lady Itoh knew that Mizu's mother had wanted to protect her no matter what happened. In such a case, what kept Mizu alive would thus have been love. Her mother's love. In this scenario, Mizu would have been brought into the world through the sheer strength of her mother's unconditional love. This would be a very poignant message that overturns everything Mizu believes about herself.

Moreover, Mizu having connections to the shogunate would inevitably lead to her wanting to discover the truth about her mother's identity. This would thus bring Mizu back to Edo palace, and would neatly tie Mizu and Akemi's storylines together again, letting them cross paths once more and work together to face the main plot-conflict.

TL;DR it's my crazy theory that Mizu's dead mom was the sister of Lady Itoh and the previous consort of Shogun Itoh. She had an affair with one of the white men, and against her better judgement and against what everyone else wants from her, she decided to keep Mizu. By making this decision, she risked and sacrificed everything for Mizu, out of love.

#blue eye samurai #mizu blue eye samurai #blue eye samurai theory #I JUST WANT MIZU TO BE LOVED!!! #also i feel in my bones that the show is gonna be about motherhood #which would add up considering all the themes about otherness and heritage and identity and aaaaaaa #shut up haydar #fandom.rtf #cross posted on reddit

[canmom]

Animation Night 173: Takashi Nakamura

Hi everyone! It's that time of the week again~

The day that puppets bite their gloves off.

Tonight on Animation Night we'll be taking a look at the works of Takashi Nakamura (中村 たかし).

Nakamura is a director who flies under the radar a bit over here, but for those who know him, he's a unique director - one who we've actually encountered a couple of times before, actually! He directed one of my favourite shorts in Robot Carnival [Animation Night 158] Chicken Man and Red Neck, in which the machinery of a city comes alive to have a violently strange Bosch-like party led by a strange red-robed robot, witnessed only by one salaryman on a moped...

...and if you remember when we looked into the three adaptations of Project Itoh's novels [Animation Night 127], he co-directed Harmony with Michael Arias, a powerfully understated film about a high tech biopower future and people who reject its utopia through a suicide pact. We also saw him in the Japan Animator Expo, with the charming Bubu & Bubulina...

But let's give a fuller story...

As an animator, Nakamura entered the industry very young, signing on as a colourist and inbetweener at Tatsunoko in 1974 - at which point he was only 16, an aspiring mangaka newly arrived in Tokyo. Working in Tatsunoko's distinctive 'industry within an industry', he was introduced to Hirokazu Ishino's 'Anidō' association, in which he was introduced to not just many important animators but also had the chance to see animation from around the world, from Norm McLaren to Japanese independent animators like Kenzō Masaoka. The two films that got him most excited were Takahata's Horus, Prince of the Sun [AN41] and Disney's Fantasia [AN15], both of which contained incredible flexes of effects animation.

(Incidentally, it makes me happy that a lot of the films Watzky mentions showing at Anidō showed up on here! Following in the footsteps of giants and all that.)

Once Nakamura got the animation bug he put aside his manga aspirations and became a key animator, going freelance a couple years later. In 1979 he saw Galaxy Express 999, and got to witness the insane 'liquid fire' effects of Kanada, and he instantly became a devotee - soon enough getting a chance to work with Kanada directly.

And by the early 80s Nakamura was definitely making a name, already working in animation direction and solo-animating entire episodes of Gold Lightan for Tatsunoko. The next couple of years he'd end up working on Nausicaa, Macross DYRL and the with Rintaro [AN53, 134] on Genma Taisen. By now he was specialising hard in effects (not unlike Anno!), and his work had become terrifyingly elaborate, look at this building collapsing into every single element or the clothes coming to the life under the power of a psychic. His work also inspired another incredibly significant animator to enter the industry - Kōji Morimoto, future cofounder of Studio 4°C - and they ended up working together on Genma Taisen.

Meanwhile on Nausicaa, Morimoto handled some of its most memorable scenes like the opening sequence where Nausicaa is pursued by the giant Ohmu. Once again you see his fascination with effects and debris, like the shot where the Ohmu explodes out of the forest, sending stalks flying in every directions. In Macross DYRL he animated the scenes of the gravity flipping sideways and a street's worth of stuff tumbling down all at once, elaborating on a scene by Itano from the TV show.

In short, if there's lots of bits of stuff flying around in a mid-80s movie, there's a good chance that Nakamura was involved somehow.

Such a focus made him a perfect fit for the 'realist school' developing in the late 80s - whyat you might loosely call the Otomo circle. You see his work on both Manie-Manie/Neo Tokyo and Robot Carnival, and naturally enough he ended up part of the team for Akira. Given what he'd already accomplished, could he somehow step it up another notch? You bet.

Going by sakugabooru comments, Nakamura's role in Akira was mainly related to two things: explosions, and animation direction. Considering how iconic the explosions in Akira are, and how challenging it was to animate Otomo's very solid and 3D designs... the success of the film depended a lot on Nakamura's insane drawing skills. Further, he was a kind of 'teacher' to the rest of the staff, such as Morimoto. But this was apparently the 'limit' for Nakamura, and after Akira he turned from creating animation for others.

And this point marks a major stylistic turn in Nakamura's work. Starting with the World Masterpiece Theatre adaptation of Peter Pan, on which he worked as character designer, he adopted a highly stripped-down, simplified style. With all the Akira goodwill, he was able to pull in many of the new stars of the 'realist' school, from Okiura to Ohira. But his work became a lot less flashy, focusing more on a Disney-like approach where it's about creating a consistent sense of life rather than individual flashy sequences.

The Hakkenden [AN 122] was one of his first chances to experiment with the new style as a director, with Episode 4 really kicking off the series' trend of completely redesigning the characters according to the sensibilities of each director. He also worked on the kinda obscure but gorgeous realist-school film Junkers Come Here [AN 118] as his own film debut, Catnapped!, progressed.

So Catnapped! This is a weird movie. Many people see a Disney influence in its style, and it definitely broke the 90s trend with a younger target audience - but Disney could never make a movie filled with as much imaginative strange shit as this one. Watzky points out how much Otomo influence there is in the direction - dense environments and elaborate multiplane shots, in contrast to simple character designs which afford a lot of movement. These designs allow great animators like Okiura [AN139] (who animated most of the finale) to really go to town. There's a great para in Watzky's article on the different directions taken by the 'realist' animators.

Catnapped is a pretty short film at less that 80 minutes, a revel of visual imagination; Nakamura's next film A Tree of Palme is just as distinctive but in a different direction. It's another take on the Pinocchio story [c.f. AN138], but a very 'dark, metaphysical' one, with its biggest inspirations apparently being French - Moebius and René Laloux [AN71, 93], with Mutsuo Koseki coming up with art direction capable of comparing to Laloux. The three year megaproject pulled in animator legends from across the board - Inoue, Ohashi, Ando, Masuo, Matsutake, Umetsu! (Count how many directed part of Robot Carnival).

The character designs of Palme look simple in stills, but once you see them in motion, they're anything but - incredibly volumetric and full of life and movement.

In the 2000s and 2010s, Nakamura ended up working with Colorido and 4C a lot (naturally enough given the connection with Morimoto!), increasingly making effective use of CG in his projects. This led up to The Portrait Studio (写真館 Shashinkan) (c.f. AniObsessive) in 2015 - an almost solo short film, with Nakamura writing, storyboarding, designing characters and doing all the key animation, which is a kind of slice through Japanese history through the lens of a photographer who just wants to figure out a way to get his client to smile.

Much like Palme, The Portrait Studio combines simple character designs (in a stylised picture-book look) with very precise, realist animation on 2s and 1s to lend them a sense of density and 'existence'. Moreover, unlike most anime, it uses the raw pencils as finished lines instead of redrawing them clean on a computer. The style might call to mind Otomo's Cannon Fodder, and in fact the two films share a colour designer. 3D is integrated with an unusual degree of skill and subtlety. It makes for a fascinating combination, a very memorable and impactful film for all its apparent simplicity.

So, that's our focus for tonight! We'll be watching Catnapped!, A Tree of Palme and The Portrait Studio, and getting to find out what the deal is with Nakamura - one of the Very Important Guys in the history of anime, influential on so many of my faves... but all too often overlooked by people who aren't like, huge animation nerds.

If that sounds fun, come join me at twitch.tv/canmom - going live in just a minute! I've been wanting to do Nakamura for ages, and today I finally found energy for a writeup. See you there~

#animation night #takashi nakamura #catnapped #a tree of palme #anime

[mahlersgirl]

thinking about mizu being raised as a princess of the itoh family from birth @roninzuzu

mizu was kept in an isolated palace because she was still proof of shame for the family. they spread rumors that she was sickly so she wouldn't go out in public and very few knew it was really because she was the daughter of a white man

she would visit edo just a couple of times a year or the itoh sibs would be sent to her palace to keep her company during winter

most of the time they would send just takayoshi and this made them especially close

her tutors slacked off with her education at times which included allowing her to train with the sword

when they were very young taka admitted he was mocked by the other noble kids because of his stuttering

they were both outcasts of the family due to being different

very tiny mizu grabbling her wooden sword with intent and saying "I'll protect you"

taka helped her with her studies in exchange, she thinks it's painfully boring but it allows him to train his speech so she accepts it

#blue eye samurai #mizu #mizu blue eye samurai #takayoshi blue eye samurai #takayoshi itoh

[roninzuzu]

TELL ME EVERYTHING YOU HAVE ON YOUR MIND ABOUT MIZU BEING RELATED TO AKEMI'S HUSBAND AND A SHOGUN'S DAUGHTER

*i love seeing your posts in my feed i am so invested u dont know muaahahahha*

Oooh okay! I could talk about this all day!

Also thank u for enjoying my posts lol :D ❤️

So upon rewatching BES for the 5,000th time (I'm crazy djfndnr) I remember looking at Taka and going "lmao he looks like Mizu" and I thought of it as a joke up until I really started to look at them and notice they genuinely did look similar. So basically it was a joke until it wasn't lol. I mean look at these mfs:

Then someone responded to my post about them looking alike w a reblog about how they had a theory that Mizu could be the illegitimate daughter of the Shogun, and Taka and Mizu looking alike could be more proof. And it's an idea I could get behind, as far as Mizu and Taka being relatives.

As far as Mizu being the Shoguns daughter I can't really see it. I mean she looks like Taka, but not the Shogun. Taka's older brother does though, and so does Taka a lil bit, so I didn't think she was related to Taka through the Shogun just based on that ig

(The Shogun and his lil fellas lol)

Mizu doesn't look like this dude imo

_______________________________________________

She does however look like someone else related to Taka, and upon yet another rewatch I started to see that too. Literally had to go to my bestie and make sure I wasn't crazy, but she does look like Lady Itoh

(I feel like it's especially noticeable when Mizu is wearing makeup, but even without it a resemblance can be seen me thinks)

So as far as her relation to Taka I feel like it'd be through Lady Itoh, and someone else made a post saying that it's possible that Mizu could be Lady Itoh's niece, and the sister of her deceased mother, which I think is plausible. So imo, Mizu is either Takayoshi's cousin or his older sister, and the older sister option comes from my own personal theory ig.

Maybe there was indeed a cover up but it was for Lady Itohs possible affair w a white man that her husband let into Japan. Maybe she wanted the child gone but someone couldn't bring themselves to kill Mizu (we see a guy not br able to kill her and tell someone to run with Mizu), and Yada Yada all that lmao. I'm not super sure about this theory of mine tho, and honestly feel Mizu being Lady Itohs niece makes more sense, u can find it here: (credit to @kaladinkholins)

But yknow, they could throw us for a loop. Abijah did say theres a lot that Mizu didnt know lol. Either way, I feel she's definitely related to Taka through his mother, whether it be as a sister or as a cousin.

#blue eye samurai #mizu #mizu blue eye samurai #takayoshi blue eye samurai #lady itoh blue eye samurai #takayoshi itoh