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Macross and The Descent of Man – aloe, dream

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Macross and The Descent of Man

“The sounds uttered by birds offer in several respects the nearest analogy to language, for all the members of the same species utter the same instinctive cries expressive of their emotions; and all kinds which sing, exert their power instinctively…”
- Charles Darwin, The Descent of Man

Macross Zero

the researchers suggest that humans first had the ability to sing

Macross Zero

between 50,000 and 80,000 years ago, humans may have merged these two types of expression

Macross Zero

a nightingale may be able to recite from 100 to 200 different melodies

Macross Zero

like birds, we also have a melodic capacity and an ability to recombine parts of our uttered language

Macross Zero

old structures can change just a little bit, and acquire radically new functions

Macross Zero

birds sing learned melodies with what Berwick calls a “holistic” structure; the entire song has one meaning

Excerpts from How human language could have evolved from birdsong, a joint study between researchers at MIT and University of Tokyo.

Categories: Meditation.

Tags: ,

Macross and The Descent of Man

“The sounds uttered by birds offer in several respects the nearest analogy to language, for all the members of the same species utter the same instinctive cries expressive of their emotions; and all kinds which sing, exert their power instinctively…”
- Charles Darwin, The Descent of Man

Macross Zero

the researchers suggest that humans first had the ability to sing

Macross Zero

between 50,000 and 80,000 years ago, humans may have merged these two types of expression

Macross Zero

a nightingale may be able to recite from 100 to 200 different melodies

Macross Zero

like birds, we also have a melodic capacity and an ability to recombine parts of our uttered language

Macross Zero

old structures can change just a little bit, and acquire radically new functions

Macross Zero

birds sing learned melodies with what Berwick calls a “holistic” structure; the entire song has one meaning

Excerpts from How human language could have evolved from birdsong, a joint study between researchers at MIT and University of Tokyo.

Categories: .

Macross: The Descent of Man

“The sounds uttered by birds offer in several respects the nearest analogy to language, for all the members of the same species utter the same instinctive cries expressive of their emotions; and all kinds which sing, exert their power instinctively…”
- Charles Darwin, The Descent of Man

Macross Zero

the researchers suggest that humans first had the ability to sing

Macross Zero

between 50,000 and 80,000 years ago, humans may have merged these two types of expression

Macross Zero

a nightingale may be able to recite from 100 to 200 different melodies

Macross Zero

like birds, we also have a melodic capacity and an ability to recombine parts of our uttered language

Macross Zero

old structures can change just a little bit, and acquire radically new functions

Macross Zero

birds sing learned melodies with what Berwick calls a “holistic” structure; the entire song has one meaning

Categories: .

Macross: The Descent of Man

“The sounds uttered by birds offer in several respects the nearest analogy to language, for all the members of the same species utter the same instinctive cries expressive of their emotions; and all kinds which sing, exert their power instinctively…”
- Charles Darwin, The Descent of Man

Macross Zero

the researchers suggest that humans first had the ability to sing

Macross Zero

between 50,000 and 80,000 years ago, humans may have merged these two types of expression

Macross Zero

a nightingale may be able to recite from 100 to 200 different melodies

Macross Zero

like birds, we also have a melodic capacity and an ability to recombine parts of our uttered language

Macross Zero

old structures can change just a little bit, and acquire radically new functions

Macross Zero

birds sing learned melodies with what Berwick calls a “holistic” structure; the entire song has one meaning

Categories: .

Macross: The Descent of Man

“The sounds uttered by birds offer in several respects the nearest analogy to language, for all the members of the same species utter the same instinctive cries expressive of their emotions; and all kinds which sing, exert their power instinctively…”
- Charles Darwin, The Descent of Man

Macross Zero

the researchers suggest that humans first had the ability to sing

Macross Zero

between 50,000 and 80,000 years ago, humans may have merged these two types of expression

Macross Zero

Five

Macross Zero

Six

Macross Zero

old structures can change just a little bit, and acquire radically new functions

Macross Zero

birds sing learned melodies with what Berwick calls a “holistic” structure; the entire song has one meaning

 

a nightingale may be able to recite from 100 to 200 different melodies

like birds, we also have a melodic capacity and an ability to recombine parts of our uttered language

the researchers suggest that humans first had the ability to sing

Categories: .

Song of Birds

“The sounds uttered by birds offer in several respects the nearest analogy to language, for all the members of the same spec
ies utter the same instinctive cries expressive of their emotions; and all kinds which sing, exert their power instinctively…”

– Charles Darwin, The Descent of Man

Macross Zero

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Five

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Nine

between 50,000 and 80,000 years ago, humans may have merged these two types of expression

old structures can change just a little bit, and acquire radically new functions

birds sing learned melodies with what Berwick calls a “holistic” structure; the entire song has one meaning

a nightingale may be able to recite from 100 to 200 different melodies

like birds, we also have a melodic capacity and an ability to recombine parts of our uttered language

the researchers suggest that humans first had the ability to sing

Categories: .

Song of Birds

“The sounds uttered by birds offer in several respects the nearest analogy to language, for all the members of the same spec
ies utter the same instinctive cries expressive of their emotions; and all kinds which sing, exert their power instinctively…”

– Charles Darwin, The Descent of Man

Macross Zero

Two

Macross Zero

Three

Macross Zero

Four

Macross Zero

Five

Macross Zero

Six

Macross Zero

Seven

Macross Zero

Eight

Macross Zero

Nine

[...] between 50,000 and 80,000 years ago, humans may have merged these two types of expression [...]

Old structures can change just a little bit, and acquire radically new functions.

[...] birds sing learned melodies with what Berwick calls a “holistic” structure; the entire song has one meaning

a nightingale may be able to recite from 100 to 200 different melodies

like birds, we also have a melodic capacity and an ability to recombine parts of our uttered language

Categories: .

Song of Birds

Macross Zero

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Three

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Five

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Seven

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Macross Zero

Nine

Categories: .

Song of Birds

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Six

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Seven

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Nine

Categories: .

Song of Birds

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Categories: .

Song of Birds

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Nine

Categories: .

Song of Birds

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Macross Zero
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Categories: .

Nodame Cantabile: Square One

Nodame 06 - via Garten

“It is what a man thinks of himself that really determines his fate.”
- Henry David Thoreau

The sixth episode begins like a dream. This is where Nodame’s transformation truly begins. She has a sense of fleeting time and a realization that she cannot be alongside Chiaki in her current state, a realization brought on by Stresemann. In the same respect, Nodame can no longer be the mascot; the prelude is over. And we see how this is significant as the S-oke wills to disband.

Chiaki’s inspiration remains questionable. Through his self-concept we understand how his fate is still in tact: a desire to exercise his potential yet unable to leave Japan and follow his master. I find it fascinating how Chiaki slipped astutely back into his world. He acknowledges this very idea at the bar, and we even have Saiko willfully appearinig at his apartment. Yet somewhere inside is perspective and a sense of pride in the power of the most curious musicians, the S-oke.

As the motivating force, Kiyora’s talents extend beyond music. Her wish to establish a pro-am orchestra brings clarity to the atmosphere and revitalizes Chiaki. Only Kiyora, the concertmaster, is able to shift Chiaki. Mine and Nodame both lack the artistic poise to influence him despite sharing recent experiences. But all three – Mine, Nodame, and Chiaki – undoubtedly feel the impact left by Stresemann.

Afterthought

Her name, Miki Kiyora (三木 清良), offers an interesting point in the episode. Pure, skilled… Her ability to inspire Chiaki is reasonable. While 三木 (本 counter aside) is debatable. Mine, Nodame, and Chiaki could be a trio, but Kikuchi, Kuroki, and Chiaki could also be mi-ki… I find this poetic in a way.

Categories: Drama.

Tags:

Nodame Cantabile: Square One

Nodame 06 - via Garten

“It is what a man thinks of himself that really determines his fate.”
- Henry David Thoreau

The sixth episode begins like a dream. This is where Nodame’s transformation truly begins. She has a sense of fleeting time and a realization that she cannot be alongside Chiaki in her current state, a realization brought on by Stresemann. In the same respect, Nodame can no longer be the mascot; the prelude is over. And we see how this is significant as the S-oke wills to disband.

Chiaki’s inspiration remains questionable. Through his self-concept we understand how his fate is still in tact: a desire to exercise his potential yet unable to leave Japan and follow his master. I find it fascinating how Chiaki slipped astutely back into his world. He acknowledges this very idea at the bar, and we even have Saiko willfully appearinig at his apartment. Yet somewhere inside is perspective and a sense of pride in the power of the most curious musicians, the S-oke.

As the motivating force, Kiyora’s talents extend beyond music. Her wish to establish a pro-am orchestra brings clarity to the atmosphere and revitalizes Chiaki. Only Kiyora, the concertmaster, is able to shift Chiaki. Mine and Nodame both lack the artistic poise to influence him despite sharing recent experiences. But all three – Mine, Nodame, and Chiaki – undoubtedly feel the impact left by Stresemann.

Afterthought

Her name, Miki Kiyora (三木 清良), offers an interesting point in the episode. Pure, skilled… Her ability to inspire Chiaki is reasonable. While 三木 (本 counter aside) is debatable. Mine, Nodame, and Chiaki could be a trio, but Kikuchi, Kuroki, and Chiaki could also be mi-ki… I find this poetic in a way.

Categories: .

Nodame Cantabile: Square One

Nodame 06 - via Garten

“It is what a man thinks of himself that really determines his fate.”
- Henry David Thoreau

The sixth episode begins like a dream. This is where Nodame’s transformation truly begins. She has a sense of fleeting time and a realization that she cannot be alongside Chiaki in her current state, a realization brought on by Stresemann. In the same respect, Nodame can no longer be the mascot; the prelude is over. And we see how this is significant as the S-oke wills to disband.

Chiaki’s inspiration remains questionable. Through his self-concept we understand how his fate is still in tact: a desire to exercise his potential yet unable to leave Japan and follow his master. I find it fascinating how Chiaki slipped astutely back into his world. He acknowledges this very idea at the bar, and we even have Saiko willfully appearinig at his apartment. Yet somewhere inside is perspective and a sense of pride in the power of the most curious musicians, the S-oke.

As the motivating force, Kiyora’s talents extend beyond music. Her wish to establish a pro-am orchestra brings clarity to the atmosphere and revitalizes Chiaki. Only Kiyora, the concertmaster, is able to shift Chiaki. Mine and Nodame both lack the artistic poise to influence him despite sharing recent experiences. But all three – Mine, Nodame, and Chiaki – undoubtedly feel the impact left by Stresemann.

Afterthought

Her name, Miki Kiyora (三木 清良), offers an interesting point in the episode. Pure, skilled… Her ability to inspire Chiaki is reasonable. While 三木 (本 counter aside) is debatable. Mine, Nodame, and Chiaki could be a trio, but Kikuchi, Kuroki, and Chiaki could also be mi-ki… I find this poetic in a way.

Categories: .

Nodame Cantabile: Square One

Nodame 06 - via Garten

“It is what a man thinks of himself that really determines his fate.”
- Henry David Thoreau

The sixth episode begins like a dream. This is where Nodame’s transformation truly begins. She has a sense of fleeting time and a realization that she cannot be alongside Chiaki in her current state, a realization brought on by Stresemann. In the same respect, Nodame can no longer be the mascot; the prelude is over. And we see how this is significant as the S-oke wills to disband.

Chiaki’s inspiration remains questionable. Through his self-concept we understand how his fate is still in tact: a desire to exercise his potential yet unable to leave Japan and follow his master. I find it fascinating how Chiaki slipped astutely back into his world. He acknowledges this very idea at the bar, and we even have Saiko willfully appearinig at his apartment. Yet somewhere inside is perspective and a sense of pride in the power of the most curious musicians, the S-oke.

As the motivating force, Kiyora’s talents extend beyond music. Her wish to establish a pro-am orchestra brings clarity to the atmosphere and revitalizes Chiaki. Only Kiyora, the concertmaster, is able to shift Chiaki. Mine and Nodame both lack the artistic poise to influence him despite sharing recent experiences. But all three – Mine, Nodame, and Chiaki – undoubtedly feel the impact left by Stresemann.

Afterthought

Her name, Miki Kiyora (三木 清良), offers an interesting point in the episode. Pure, skilled… Her ability to inspire Chiaki is reasonable. While 三木 (本 counter aside) is debatable. Mine, Nodame, and Chiaki could be a trio, but Kikuchi, Kuroki, and Chiaki could also be mi-ki… I find this poetic in a way.

Categories: .

Nodame Cantabile: Square One

Nodame 06 - via Garten

“It is what a man thinks of himself that really determines his fate.”
- Henry David Thoreau

The sixth episode begins like a dream. This is where Nodame’s transformation truly begins. She has a sense of fleeting time and a realization that she cannot be alongside Chiaki in her current state, a realization brought on by Stresemann. In the same respect, Nodame can no longer be the mascot; the prelude is over. And we see how this is significant as the S-oke wills to disband.

Chiaki’s inspiration remains questionable. Through his self-concept we understand how his fate is still in tact: a desire to exercise his potential yet unable to leave Japan and follow his master. I find it fascinating how Chiaki slipped astutely back into his world. He acknowledges this very idea at the bar, and we even have Saiko willfully appearinig at his apartment. Yet somewhere inside is perspective and a sense of pride in the power of the most curious musicians, the S-oke.

As the motivating force, Kiyora’s talents extend beyond music. Her wish to establish a pro-am orchestra brings clarity to the atmosphere and revitalizes Chiaki. Only Kiyora, the concertmaster, is able to shift Chiaki. Mine and Nodame both lack the artistic poise to influence him despite sharing recent experiences. But all three – Mine, Nodame, and Chiaki – undoubtedly feel the impact left by Stresemann.

Afterthought

Her name, Miki Kiyora (三木 清良), offers an interesting point in the episode. Pure, skilled… Her ability to inspire Chiaki is reasonable. While 三木 (本 counter aside) is debatable. Mine, Nodame, and Chiaki could be a trio, but Kikuchi, Kuroki, and Chiaki could also be mi-ki… I find this poetic in a way.

Categories: .

Nodame Cantabile: Square One

Nodame 06 - via Garten

“It is what a man thinks of himself that really determines his fate.”
- Henry David Thoreau

The sixth episode begins like a dream. This is where Nodame’s transformation truly begins. She has a sense of fleeting time and a realization that she cannot be alongside Chiaki in her current state, a realization brought on by Stresemann. In the same respect, Nodame can no longer be the mascot; the prelude is over. And we see how this is significant as the S-oke wills to disband.

Chiaki’s inspiration remains questionable. Through his self-concept we understand how his fate is still in tact: a desire to exercise his potential yet unable to leave Japan and follow his master. I find it fascinating how Chiaki slipped astutely back into his world. He acknowledges this very idea at the bar, and we even have Saiko willfully appearinig at his apartment. Yet somewhere inside is perspective and a sense of pride in the power of the most curious musicians, the S-oke.

As the motivating force, Kiyora’s talents extend beyond music. Her wish to establish a pro-am orchestra brings clarity to the atmosphere and revitalizes Chiaki. Only Kiyora, the concertmaster, is able to shift Chiaki. Mine and Nodame both lack the artistic poise to influence him despite sharing recent experiences. But all three – Mine, Nodame, and Chiaki – undoubtedly feel the impact left by Stresemann.

Afterthought

Her name, Miki Kiyora (三木 清良), offers an interesting point in the episode. Pure, skilled… Her ability to inspire Chiaki is reasonable. While 三木 (本 counter aside) is debatable. Mine, Nodame, and Chiaki could be a trio, but Kikuchi, Kuroki, and Chiaki could also be mi-ki… I find this poetic in a way.

Categories: .

Nodame Cantabile: Wings

Nodame is the only person in Chiaki’s life who can both 1-up and 1-down him at the same time.

Nodame Cantabile’s sixth episode is more or less transitional for both Chiaki and Nodame.

Transitional but very crucial.

Two points of interest:

The first important scene occurs when Chiaki brings Nodame to the piano room in order to hear her play Rachmaninoff, with his accompaniment. Without either of them knowing it, their playing sets Nodame’s fate in motion, as Eto by chance observed this mock duet. More directly Nodame’s playing has an effect on Chiaki, further pushing him to question what he intends to do in Japan. Chiaki feels that a forward step may be in mentoring Nodame, even a small amount. But this care leads him to reflect on himself more than anything, as he insistently questions Nodame intention as a pianist. He realizes this question contrasts those who have asked what he intends to do by remaining in Japan.

Chiaki’s path becomes clear after he is ambushed by an elite tiger, Miki Kiyora, who brings a proposition to the table. Where Mine had failed to persuade Chiaki to continue the S-oke, Kiyora succeeds with the prowess of her status and social demeanor. Even Mine, playing “man on the grassy knoll,” is surprised at how quickly Chiaki accepts. Though Chiaki’s response was grey, Kiyora reassures him with her vision of what kind of oke he could amass given his recent popularity with brilliant young talent across the country. There is some name-dropping, small excitement, and the deal is done.

Categories: .

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive female characters. But I think it is necessary to highlight a new face, even if the context is a live-action series. Amy Sherman-Palladino’s (Gilmore Girls) latest story, Bunheads (2012), starts as a catty affair and soon reveals a mean streak in the darling Sasha (above).

Witty character dynamics, on-screen ballet and dance, a quirky town, familiar music, Michelle’s dream-sequences, distinct cattiness, costumes, the vague realm between adolescence and adulthood… The writing is charged with attractive elements. Yet the mean girl has such significance, perfectly fine in her retaliation but not beyond hope. A hope for courage, a moment to blossom; my sympathy for youth and naivety.

Categories: Drama.

Tags:

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive female characters. But I think it is necessary to highlight a new face, even if the context is a live-action series. Amy Sherman-Palladino’s (Gilmore Girls) latest story, Bunheads (2012), starts as a catty affair and soon reveals a mean streak in the darling Sasha (above).

Witty character dynamics, on-screen ballet and dance, a quirky town, familiar music, Michelle’s dream-sequences, distinct cattiness, costumes, the vague realm between adolescence and adulthood… The writing is charged with attractive elements. Yet the mean girl has such significance, perfectly fine in her retaliation but not beyond hope. A hope for courage, a moment to blossom; my sympathy for youth and naivety.

Categories: .

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive female characters. But I think it is necessary to highlight a new face, even if the context is a live-action series. Amy Sherman-Palladino’s (Gilmore Girls) latest story, Bunheads (2012), starts as a catty affair and soon reveals a mean streak in the darling Sasha (above).

Witty characters dynamics, on-screen ballet and dance, a quirky town, familiar music, Michelle’s dream-sequences, distinct cattiness, costumes, the vague realm between adolescence and adulthood… The writing is charged with attractive elements. Yet the mean girl has such significance, perfectly fine in her retaliation but not beyond hope. A hope for courage, a moment to blossom; my sympathy for youth and naivety.

Categories: .

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive female characters. But I think it is necessary to highlight a new face, even if the context is a live-action series. Amy Sherman-Palladino’s (Gilmore Girls) latest story, Bunheads (2012), starts as a catty affair and soon reveals a mean streak in the darling Sasha (above).

Witty characters dynamics, on-screen ballet and dance, a quirky town, familiar music, Michelle’s dream-sequences, distinct cattiness, costumes, the vague realm between adolescence and adulthood… The writing is charged with attractive elements. Yet the mean girl has such significance, perfectly fine in her retaliation but not beyond hope. A hope for courage, a moment to blossom; my sympathy for youth and naivety.

Categories: .

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive female characters. But I think it is necessary to highlight a new face, even if the context is a live-action series. Amy Sherman-Palladino’s (Gilmore Girls) latest story, Bunheads (2012), starts as a catty affair and soon reveals a mean streak in the darling Sasha (above).

Witty characters dynamics, on-screen ballet and dance, a quirky town, familiar music, Michelle’s dream-sequences, distinct cattiness, costumes, the vague realm between adolescence and adulthood… The writing is charged with attractive elements. Yet the mean girl has such significance, perfectly fine in her retaliation but not beyond hope. A hope for courage, a moment to blossom; my sympathy for youth and naivety.

Categories: .

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive female characters. But I think it is necessary to highlight a new face, even if the context is a live-action series. Amy Sherman-Palladino’s (Gilmore Girls) latest story, Bunheads (2012), starts as a catty affair and soon reveals a mean streak in the darling Sasha (above).

Witty characters dynamics, on-screen ballet and dance, a quirky town, familiar music, Michelle’s dream-sequences, distinct cattiness, costumes, the vague realm between adolescence and adulthood… The writing is charged with attractive elements. Yet the mean girl has such significance, perfectly fine in her retaliation but not beyond hope. A hope for courage, a moment to blossom; my sympathy for youth and naivety.

Categories: .

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive female characters. But I think it is necessary to highlight a new face, even if the context is a live-action series. Amy Sherman-Palladino’s (Gilmore Girls) latest story, Bunheads, starts as a catty affair and soon reveals a mean streak in the darling Sasha (above).

Witty characters dynamics, on-screen ballet and dance, a quirky town, familiar music, Michelle’s dream-sequences, distinct cattiness, costumes, the vague realm between adolescence and adulthood… The writing is charged with attractive elements. Yet the mean girl has such significance, perfectly fine in her retaliation but not beyond hope. A hope for courage, a moment to blossom; my sympathy shall be known.

Categories: .

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive female characters. But I think it is necessary to highlight a new face, even if the context is a live-action series. Amy Sherman-Palladino’s (Gilmore Girls) latest story, Bunheads, starts as a catty affair and soon reveals a mean streak in the darling Sasha (above).

Witty characters dynamics, on-screen ballet and dance, a quirky town, familiar music, Michelle’s dream-sequences, distinct cattiness, costumes, the vague realm between adolescence and adulthood… The writing is charged with attractive elements. Yet the mean girl has such significance, perfectly fine in her retaliation but not beyond hope. A hope for courage, a moment to blossom; my sympathy shall be known.

Categories: .

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive female characters. But I think it is necessary to highlight a new face, even if the context is a live-action series. Amy Sherman-Palladino’s (Gilmore Girls) latest story, Bunheads, starts as a catty affair and soon reveals a mean streak in the darling Sasha (above).

Witty characters dynamics, on-screen ballet and dance, a quirky town, familiar music, Michelle’s dream-sequences, distinct cattiness, costumes, the vague realm between adolescence and adulthood… The writing is charged with attractive elements. Yet the mean girl has such significance, perfectly fine in her retaliation but not beyond hope. A hope for courage, a moment to blossom; my sympathy shall be known.

Categories: .

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive, feminine characters.

Categories: .

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive, feminine characters.

Categories: .

Sympathy for a Mean Girl

Sasha

This isn’t the time or place to further express what I love about cruel or destructive, feminine characters.

Categories: .

Auto Draft

Categories: .

light

As the year ends, I am deeply saddened by the loss of my grandfather, my best friend, only a few days ago. I have everything I need in memories. Our time together is a secret that will forever bring me joy. Yet I must learn to live without this integral part of my everyday life. From this point forward, I may not return.

May we all look forward to another dream.

Categories: Diary, Weekly.

light

As the year ends, I am deeply saddened by the loss of my grandfather, my best friend, only a few days ago. I have everything I need in memories. Yet I must learn to live without this integral part of my everyday life. From this point forward, I may not return.

May we all look forward to another dream.

Categories: .

light

As the year ends, I am deeply saddened by the loss of my grandfather, my best friend, only a few days ago. I have everything I need in memories. Yet I must learn to live without this integral part of my everyday life. From this point forward, I may not return.

May we all look forward to another dream.

Categories: .

light

As the year ends, I am deeply saddened by the loss of my grandfather, my best friend, only a few days ago. I have everything I need in memories. Yet I must learn to live without this integral part of my life. From this point forward, I may not return here.

May we all look forward to another dream.

Categories: .

light

As the year ends, I am deeply saddened by the loss of my grandfather, my best friend, only a few days ago. I have everything I need in memories. Yet I must learn to live without this integral part of my life. From this point forward, I may not return here.

May we all look forward to another dream.

Categories: .

light

As the year ends, I am deeply saddened by the loss of my grandfather, my best friend, only a few days ago. I have everything I need in memories. Yet I must learn to live without this integral part of my life. From this point forward, I may not return here.

May we all look forward to another dream.

Categories: .

light

As the year ends, I am deeply saddened by the loss of my grandfather, my best friend, only a few days ago. I have everything I need in memories. Yet I must learn to live without this integral part of my life. From this point forward, I may not return here.

May we all look forward to another dream.

Categories: .

light

As the year ends, I am deeply saddened by the loss of my grandfather, my best friend, only a few days ago. I have everything I need in memories. Yet I must learn to live without this integral part of my life. From this point forward, I may not return here.

May we all look forward to another dream in the coming year.

Categories: .

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fdsfds

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light

The year is almost over, such an incredible year.

Categories: .

Nostalgia Cloud

“We do not remember days; we remember moments.”Cesare Pavese

A delightful and dangerous tiger recently wrote about favorites and their persistence through life. With this notion, I immediately recalled School Rumble, a favorite I’ve not been able to shake for many years, and how my experience with favorites is drowned in nostalgic context. Rather than mechanically entertaining my current circumstance, favorites often allude to a time before and my presence in a distant memory.

Truthfully, Nodame Cantabile (drama) has greater merit in the realm of favorites. I have watched the drama on numerous occasions, thick and thin, and I am returned to the closing months of 2006 each time. These were beautiful university days – leisurely, festive, off-the-record – and soon-to-be fleeting, in a certain sense. Nodame Cantabile was not alone in my weekly followings, and that is peculiar. What attribute of this drama allowed a personal fondness above the rest?

I would suggest resonance, an amplication of enjoyment between reality and fiction. Nodame Cantabile resonates with me still, but the feeling was then so pristine. It was the right time. And I was able to feel the characters and story integrated with life’s magic, the whimsical magic which leaves a residue of happiness and moves like an ocean tide.

My abstraction, framed by resonace and timing, is undoubtedly vauge and quite possibly the pink lemonade of a lunatic’s wisdom. But listen: nostalgia, while clouding judgement, is not what creates favorites. Instead, I believe that duty rests on contextual elements of today, those with nostalgic potential, and their coalescence with the fiction we experience at present. This makes sense to a fool like me.

Though a romantic, I do not find myself actively living in the past; life should never allow such folly. No, I am desperately aware that moments of elation, built upon the time and texture of reality, are irreplaceable at best… and forgotten at worst.

Categories: Weekly.

Tags: ,

Nostalgia Cloud

“We do not remember days; we remember moments.”Cesare Pavese

A delightful and dangerous tiger recently wrote about favorites and their persistence through life. With this notion, I immediately recalled School Rumble, a favorite I’ve not been able to shake for many years, and how my experience with favorites is drowned in nostalgic context. Rather than mechanically entertaining my current circumstance, favorites often allude to a time before and my presence in a distant memory.

Truthfully, Nodame Cantabile (drama) has greater merit in the realm of favorites. I have watched the drama on numerous occasions, thick and thin, and I am returned to the closing months of 2006 each time. These were beautiful university days – leisurely, festive, off-the-record – and soon-to-be fleeting, in a certain sense. Nodame Cantabile was not alone in my weekly followings, and that is peculiar. What attribute of this drama allowed a personal fondness above the rest?

I would suggest resonance, an amplication of enjoyment between reality and fiction. Nodame Cantabile resonates with me still, but the feeling was then so pristine. It was the right time. And I was able to feel the characters and story integrated with life’s magic, the whimsical magic which leaves a residue of happiness and moves like an ocean tide.

My abstraction, framed by resonace and timing, is undoubtedly vauge and quite possibly the pink lemonade of a lunatic’s wisdom. But listen: nostalgia, while clouding judgement, is not what creates favorites. Instead, I believe that duty rests on contextual elements of today, those with nostalgic potential, and their coalescence with the fiction we experience at present. This makes sense to a fool like me.

Though a romantic, I do not find myself actively living in the past; life should never allow such folly. No, I am desperately aware that moments of elation, built upon the time and texture of reality, are irreplaceable at best… and forgotten at worst.

Categories: .

Nostalgia Cloud

“We do not remember days; we remember moments.” – Cesare Pavese

A delightful and dangerous tiger recently wrote about favorites and their persistence through life. With this notion, I immediately recalled School Rumble, a favorite I’ve not been able to shake for many years, and how my experience with favorites is drowned in nostalgic context. Rather than mechanically entertaining my current circumstance, favorites often allude to a time before and my presence in a distant memory.

Truthfully, Nodame Cantabile (drama) has greater merit in the realm of favorites. I have watched the drama on numerous occasions, thick and thin, and I am returned to the closing months of 2006 each time. These were beautiful university days – leisurely, festive, off-the-record – and soon-to-be fleeting, in a certain sense. Nodame Cantabile was not alone in my weekly followings, and that is peculiar. What attribute of this drama allowed a personal fondness above the rest?

I would suggest resonance, an amplication of enjoyment between reality and fiction. Nodame Cantabile resonates with me still, but the feeling was then so pristine. It was the right time. And I was able to feel the characters and story integrated with life’s magic, the whimsical magic which leaves a residue of happiness and moves like an ocean tide.

My abstraction, framed by resonace and timing, is undoubtedly vauge and quite possibly the pink lemonade of a lunatic’s wisdom. But listen: nostalgia, while clouding judgement, is not what creates favorites. Instead, I believe that duty rests on contextual elements of today, those with nostalgic potential, and their coalescence with the fiction we experience at present. This makes sense to a fool like me.

Though a romantic, I do not find myself actively living in the past; life should never allow such folly. No, I am desperately aware that moments of elation, built upon the time and texture of reality, are irreplaceable at best… and forgotten at worst.

Categories: .

Nostalgia Cloud

A delightful and dangerous tiger recently wrote about favorites and their persistence through life. With this notion, I immediately recalled School Rumble, a favorite I’ve not been able to shake for many years, and how my experience with favorites is drowned in nostalgic context. Rather than mechanically entertaining my current circumstance, favorites often allude to a time before and my presence in a distant memory.

Truthfully, Nodame Cantabile (drama) has greater merit in the realm of favorites. I have watched the drama on numerous occasions, thick and thin, and I am returned to the closing months of 2006 each time. These were beautiful university days – leisurely, festive, off-the-record – and soon-to-be fleeting, in a certain sense. Nodame Cantabile was not alone in my weekly followings, and that is peculiar. What attribute of this drama allowed a personal fondness above the rest?

I would suggest resonance, an amplication of enjoyment between reality and fiction. Nodame Cantabile resonates with me still, but the feeling was then so pristine. It was the right time. And I was able to feel the characters and story integrated with life’s magic, the whimsical magic which leaves a residue of happiness and moves like an ocean tide.

My abstraction, framed by resonace and timing, is undoubtedly vauge and quite possibly the pink lemonade of a lunatic’s wisdom. But listen: nostalgia, while clouding judgement, is not what creates favorites. Instead, I believe that duty rests on contextual elements of today, those with nostalgic potential, and their coalescence with the fiction we experience at present. This makes sense to a fool like me.

Though a romantic, I do not find myself actively living in the past; life should never allow such folly. No, I am desperately aware that moments of elation, built upon the time and texture of reality, are irreplaceable at best… and forgotten at worst.

Categories: .

Nostalgia Cloud

A delightful and dangerous tiger recently wrote about favorites and their persistence through life. With this notion, I immediately recalled School Rumble, a favorite I’ve not been able to shake for many years, and how my experience with favorites is drowned in nostalgic context. Rather than mechanically entertaining my current circumstance, favorites often allude to a time before and my presence in a distant memory.

Truthfully, Nodame Cantabile (drama) has greater merit in the realm of favorites. I have watched the drama on numerous occasions, thick and thin, and I am returned to the closing months of 2006 each time. These were beautiful university days – leisurely, festive, off-the-record – and soon-to-be fleeting, in a certain sense. Nodame Cantabile was not alone in my weekly followings, and that is peculiar. What attribute of this drama allowed a personal fondness above the rest?

I would suggest resonance, an amplication of enjoyment between reality and fiction. Nodame Cantabile resonates with me still, but the feeling was then so pristine. It was the right time. And I was able to feel the characters and story integrated with life’s magic, the whimsical magic which leaves a residue of happiness and moves like an ocean tide.

My abstraction, framed by resonace and timing, is undoubtedly vauge and quite possibly the pink lemonade of a lunatic’s wisdom. But listen: nostalgia, while clouding judgement, is not what creates favorites. Instead, I believe that duty rests on contextual elements of today, those with nostalgic potential, and their coalescence with the fiction we experience at present. This makes sense to a fool like me.

Though a romantic, I do not find myself actively living in the past; life should never allow such folly. No, I am desperately aware that moments of elation, built upon the time and texture of reality, are irreplaceable at best… and forgotten at worst.

…sometimes the heart remembers what the mind has long forgotten.

Categories: .

Nostalgia Cloud

A delightful and dangerous tiger recently wrote about favorites and their persistence through life. With this notion, I immediately recalled School Rumble, a favorite I’ve not been able to shake for many years, and how my experience with favorites is drowned in nostalgic context. Rather than mechanically entertaining my current circumstance, favorites often allude to a time before and my presence in a distant memory.

Truthfully, Nodame Cantabile (drama) has greater merit in the realm of favorites. I have watched the drama on numerous occasions, thick and thin, and I am returned to the closing months of 2006 each time. These were beautiful university days – leisurely, festive, off-the-record – and soon-to-be fleeting, in a certain sense. Nodame Cantabile was not alone in my weekly followings, and that is peculiar. What attribute of this drama allowed a personal fondness above the rest?

I would suggest resonance, an amplication of enjoyment between reality and fiction. Nodame Cantabile resonates with me still, but the feeling was then so pristine. It was the right time. And I was able to feel the characters and story integrated with life’s magic, the whimsical magic which leaves a residue of happiness as it comes and goes.

My abstraction, framed by resonace and timing, is undoubtedly vauge and quite possibly the pink lemonade of a lunatic’s wisdom. But listen: nostalgia, while clouding judgement, is not what creates favorites. Instead, I believe that duty rests on contextual elements of today, those with nostalgic potential, and their coalescence with the fiction we experience at present. This makes sense to a fool like me.

And though a romantic, I do not find myself actively living in the past; life should never allow such folly. No, I am desperately aware that moments of elation, built upon time and textured reality, are irreplaceable at best… and forgotten at worst.

Categories: .

Nostalgia Cloud

A delightful and dangerous tiger recently wrote about favorites and their persistence through life. With this notion, I immediately recalled School Rumble, a favorite I’ve not been able to shake for many years, and how my experience with favorites is drowned in nostalgic context. Rather than mechanically entertaining my current circumstance, favorites often allude to a time b
efore and my presence in a distant memory.

Truthfully, Nodame Cantabile (drama) has greater merit in the realm of favorites. I have watched the drama on numerous occasions, thick and thin, and I am returned to the closing months of 2006 each time. These were beautiful university days – leisurely, festive, off-the-record – and soon-to-be fleeting, in a certain sense. Nodame Cantabile was not alone in my weekly followings, and that is peculiar. What attribute of this drama allowed a personal fondness above the rest?

I would suggest resonance, an amplication of enjoyment between reality and fiction. Nodame Cantabile resonates with me still, but the feeling was then so pristine. It was the right time. And I was able to feel the characters and story integrated with life’s magic, the whimsical magic which leaves a residue of happiness as it comes and goes.

My abstraction, framed by resonace and timing, is undoubtedly vauge and quite possibly the pink lemonade of a lunatic’s wisdom. But listen: nostalgia, while clouding judgement, is not what creates favorites. Instead, I believe that duty rests on contextual elements of today, those with nostalgic potential, and their coalescence with the fiction we experience at present. This makes sense to a fool like me.

And though a romantic, I do not find myself actively living in the past; life should never allow such folly. No, I am desperately aware that moments of elation, built upon time and textured reality, are irreplaceable at best… and forgotten at worst.

Categories: .

Nostalgia Cloud

A delightful and dangerous tiger recently wrote about favorites and their persistence through life. With this notion, I immediately recalled School Rumble, a favorite I’ve not been able to shake for many years, and how my experience with favorites is drowned in nostalgic context. Rather than mechanically entertaining my current circumstance, favorites often allude to a time b
efore and my presence in a distant memory.

Truthfully, Nodame Cantabile (drama) has greater merit in the realm of favorites. I have watched the drama on numerous occasions, thick and thin, and I am returned to the closing months of 2006 each time. These were beautiful university days – leisurely, festive, off-the-record – and soon-to-be fleeting, in a certain sense. Nodame Cantabile was not alone in my weekly followings, and that is peculiar. What attribute of this drama allowed a personal fondness above the rest?

I would suggest resonance, an amplication of enjoyment between reality and fiction. Nodame Cantabile resonates with me still, but the feeling was then so pristine. It was the right time. And I was able to feel the characters and story integrated with life’s magic, the whimsical magic which leaves a residue of happiness as it comes and goes.

My abstraction, framed by resonace and timing, is undoubtedly vauge and quite possibly the pink lemonade of a lunatic’s wisdom. But listen: nostalgia, while clouding judgement, is not what creates favorites. Instead, I believe that duty rests on contextual elements of today, those with nostalgic potential, and their coalescence with the fiction we experience at present. This makes sense to a fool like me.

And though a romantic, I do not find myself actively living in the past; life should never allow such folly. No, I am desperately aware that moments of elation, built upon time and textured reality, are irreplaceable at best… and forgotten at worst.

Categories: .

Nostalgia Cloud

A delightful and dangerous tiger recently wrote about favorites and their persistence through life. With this notion, I immediately recalled School Rumble, a favorite I’ve not been able to shake for many years, and how my experience with favorites is drowned in nostalgic context. Rather than mechanically entertaining my current circumstance, favorites often allude to a time b
efore and my presence in a distant memory.

Truthfully, Nodame Cantabile (drama) has greater merit in the realm of favorites. I have watched the drama on numerous occasions, thick and thin, and I am returned to the closing months of 2006 each time. These were beautiful university days – leisurely, festive, off-the-record – and soon-to-be fleeting, in a certain sense. Nodame Cantabile was not alone in my weekly followings, and that is peculiar. What attribute of this drama allowed a personal fondness above the rest?

I would suggest resonance, an amplication of enjoyment between reality and fiction. Nodame Cantabile resontes with me still, but the feeling was then so pristine. It was the right time. And I was able to feel the characters and story integrated with life’s magic, the whimsical magic which leaves a residue of happiness as it comes and goes.

My abstraction, framed by resonace and timing, is undoubtedly vauge and quite possibly the pink lemonade of a lunatic’s wisdom. But listen: nostalgia, while clouding judgement, is not what creates favorites. Instead, I believe that duty rests on contextual elements of today, those with nostalgic potential, and their coalescence with the fiction we experience at present. This makes sense to a fool like me.

And though a romantic, I do not find myself actively living in the past; life should never allow such folly. No, I am desperately aware that moments of elation, built upon time and textured reality, are irreplaceable at best… and forgotten at worst.

Categories: .

Favorites Dipped in Nostalgia

Nostalgia

Categories: .

Favorites Dipped in Nostalgia

Nostalgia

Categories: .

Favorites Dipped in Nostalgia

Nostalgia

Categories: .

Derailing Fate in Proposal Daisakusen

Proposal Daisakusen

Proposal Daisakusen is a 2007 drama I sometimes find myself rewatching, usually for clean, enjoyable entertainment. The story is about Ken Iwase (Tomohisa Yamashita) and his regret in being unable to properly secure a relationship with childhood friend, Rei Yoshida (Masami Nagasawa). I have previously mentioned the premise is fairly unimaginative, but the drama’s strengths lie in the attention to details and a good execution of various genre.

An important mechanic of the story features Ken slipping through time in order to remedy his lack of romantic effort towards Rei in the past. But this element turns out to be more fantasy-based than science-fiction, placing it closer to the 2004 film, Be With You (いま、会いにゆきます, Ima Ai ni Yukimasu). Though dissimilar to Be With You, where the time slip is the fate of Takumi’s family, a mobius in Mio’s life, Proposal takes a naive approach exemplifying the futility of tampering with the past.

Ken’s episodic slips are the story’s primary means of exposition and follow a simple set of rules, which intends to minimize the audience’s speculative efforts. Each episode brings Ken back through a photograph, and in that way, the story proceeds from past to present but always originating in the present. While some viewers may have desired more details on the fairy’s magic, I believe time-travel is a trapping of fiction where many stories lose focal balance. That is to say, time-travel is highly captivating in culture, an easy grab at attention, but must be used wisely.

In that sense, Proposal nearly subverts the element of time-travel because the mechanics are dealt with in a fabulously frivolous manner involving a fairy (yousei) and focuses purely on the consequence (or not) of changing an impression in the past. I find this contrary to the typical usage of time-travel, steeped in egoism, where a character’s variance in the past has a profound effect on the present. And this story explores sliding as a triviality in light of fate.

The story teaches us that fate is difficult to derail even when assuming an advantage in time. Such fate is not fragile nor delicate, but unwavering, momentous. Yes, fate carries such momentum as it advances and plays trickery on the fool who looks back in regret, thinking “if only.” Returning from the final slip, Ken realizes that his advantage over fate was a mere illusion. To have lived each moment twice and failing all the same, he is left with a greater finality to his sorrow.

We come to understand that fate is often unchangeable in retrospect, yet there is more to the story. Ken ultimately decides his fate in the present, and I feel it’s an important highlight of the message. Despite a longing to manipulating the past, our greatest leverage over the future exists in the present.

Categories: Drama.

Tags:

Derailing Fate in Proposal Daisakusen

Proposal Daisakusen

Proposal Daisakusen is a 2007 drama I sometimes find myself rewatching, usually for clean, enjoyable entertainment. The story is about Ken Iwase (Tomohisa Yamashita) and his regret in being unable to properly secure a relationship with childhood friend, Rei Yoshida (Masami Nagasawa). I have previously mentioned the premise is fairly unimaginative, but the drama’s strengths lie in the attention to details and a good execution of various genre.

An important mechanic of the story features Ken slipping through time in order to remedy his lack of romantic effort towards Rei in the past. But this element turns out to be more fantasy-based than science-fiction, placing it closer to the 2004 film, Be With You (いま、会いにゆきます, Ima Ai ni Yukimasu). Though dissimilar to Be With You, where the time slip is the fate of Takumi’s family, a mobius in Mio’s life, Proposal takes a naive approach exemplifying the futility of tampering with the past.

Ken’s episodic slips are the story’s primary means of exposition and follow a simple set of rules, which intends to minimize the audience’s speculative efforts. Each episode brings Ken back through a photograph, and in that way, the story proceeds from past to present but always originating in the present. While some viewers may have desired more details on the fairy’s magic, I believe time-travel is a trapping of fiction where many stories lose focal balance. That is to say, time-travel is highly captivating in culture, an easy grab at attention, but must be used wisely.

In that sense, Proposal nearly subverts the element of time-travel because the mechanics are dealt with in a fabulously frivolous manner involving a fairy (yousei) and focuses purely on the consequence (or not) of changing an impression in the past. I find this contrary to the typical usage of time-travel, steeped in egoism, where a character’s variance in the past has a profound effect on the present. And this story explores sliding as a triviality in light of fate.

The story teaches us that fate is difficult to derail even when assuming an advantage in time. Such fate is not fragile nor delicate, but unwavering, momentous. Yes, fate carries such momentum as it advances and plays trickery on the fool who looks back in regret, thinking “if only.” Returning from the final slip, Ken realizes that his advantage over fate was a mere illusion. To have lived each moment twice and failing all the same, he is left with a greater finality to his sorrow.

We come to understand that fate is often unchangeable in retrospect, yet there is more to the story. Ken ultimately decides his fate in the present, and I feel it’s an important highlight of the message. Despite a longing to manipulating the past, our greatest leverage over the future exists in the present.

Categories: .

Reflection on Blogs

carnival

Among the numerous blogs I subscribe to, the ones I like to read offer greater intrigue than irritation, especially through an author’s identity, where taste and subtlety of expression are of divine worth. I play favorites to those whom I have a greater personal knowledge, respect, or simple fascination of. Naturally, my society dwindles in this age of blogging.

A sharing sphere led to discovery once upon a time, and now, stumbling across a new blog is a rarity of events. Yet I allow two points of decision to guide my initial captivation with a blog: author and aesthetic. A single entry is my typical requirement in reading an author for personality, prose, and depth of content. Aesthetic sensibilities are immediately noticed upon visiting a site, and I am far more critical of post layout than overall theme.

On this note, a good blog should be presentable and must have an author of promising mind. Balance between concision, elegance, and depth is drawn from fundamental prerequisites. No want for minds inversely refined, for behaviors of annoyance are simply surmised: needless.

Categories: Review.

Reflection on Blogs

carnival

Among the numerous blogs I subscribe to, the ones I like to read offer greater intrigue than irritation, especially through an author’s identity, where taste and subtlety of expression are of divine worth. I play favorites to those whom I have a greater personal knowledge, respect, or simple fascination of. Naturally, my society dwindles in this age of blogging.

A sharing sphere led to discovery once upon a time, and now, stumbling across a new blog is a rarity of events. Yet I allow two points of decision to guide my initial captivation with a blog: author and aesthetic. A single entry is my typical requirement in reading an author for personality, prose, and depth of content. Aesthetic sensibilities are immediately noticed upon visiting a site, and I am far more critical of post layout than overall theme.

On this note, a good blog should be presentable and must have an author of promising mind. Balance between concision, elegance, and depth is drawn from fundamental prerequisites. No want for minds inversely refined, for behaviors of annoyance are simply surmised: needless.

Categories: .

Reflection on Blogs

carnival

Among the numerous blogs I subscribe to, the ones I like to read offer greater intrigue than irritation, especially through an author’s identity, where taste and subtlety of expression are of divine worth. I play favorites to those whom I have a greater personal knowledge, respect, or simple fascination of. Naturally, my society dwindles in this age of blogging.

A sharing sphere led to discovery once upon a time, and now, stumbling across a new blog is a rarity of events. Yet I allow two points of decision to guide my initial captivation with a blog: author and aesthetic. A single entry is my typical requirement in reading an author for personality, prose, and depth of content. Aesthetic sensibilities are immediately noticed upon visiting a site, and I am far more critical of post layout than overall theme.

On this note, a good blog should be presentable and must have an author of promising mind. Balance between concision, elegance, and depth is drawn from fundamental prerequisites. No want for minds inversely refined, for behaviors of annoyance are simply be surmised: needless.

Categories: .

Reflections on Blogs

carnival

Among the numerous blogs I subscribe to, the ones I like to read offer greater intrigue than irritation, especially through the writer’s identity, where taste and subtlety of expression are of divine worth. I play favorites to those whom I have a greater personal knowledge, respect, or simple fascination of. Naturally, my society dwindles in this age of blogging.

A sharing sphere led to discovery once upon a time, and now, stumbling across a new blog is a rarity of events. Yet I allow three points of decision to guide my initial captivation with a blog: author and aesthetic. A single entry is my typical requirement in reading an author for personality, prose, and depth of content. Aesthetic sensibilities are immediately noticed upon visiting a site, and I am far more critical of post layout than overall theme.

Categories: .

Reflections on Blogs

carnival

Categories: .

Reflections on Blogs

carnival

Categories: .

Reflections on Blogs

carnival

I was pinged by FoxyLadyAyame in a carnival to which I find easily approximated in few

Categories: .

SnippetTee on Tari Tari’s Architecture

It was an interesting post, and my thoughts…

In the midst of reading up on Tari Tari, though I’ve yet to watch and may not watch. I would have enjoyed mention of how the architecture bridges contemporary and traditional architecture motifs in the Japanese style. The use of wood is clearly traditional, while glass and metal yield modern aesthetic. From the second image, a mild Victorian presence can be seen in the south/west building, which is an interesting contrast between the two campus buildings. I do wonder what the characters were discussing in these frames. Also of interest is the gymnasium, which, with the double gable structure and angled supports/columns, appears as a modern take, streamlined, version of the traditional Mediterranean temple.

Alas, these things were not discussed.

Categories: Comment.

SnippetTee on Tari Tari’s Architecture

It was an interesting post, and my thoughts…

In the midst of reading up on Tari Tari, though I’ve yet to watch and may not watch. I would have enjoyed mention of how the architecture bridges contemporary and traditional architecture motifs in the Japanese style. The use of wood is clearly traditional, while glass and metal yield modern aesthetic. From the second image, a mild Victorian presence can be seen in the south/west building, which is an interesting contrast between the two campus buildings. I do wonder what the characters were discussing in these frames. Also of interest is the gymnasium, which, with the double gable structure and angled supports/columns, appears as a modern take, streamlined, version of the traditional Mediterranean temple.

Alas, these things were not discussed.

Categories: .

SnippetTee on Tari Tari’s Architecture

It was an interesting post, and my thoughts…

In the midst of reading up on Tari Tari, though I’ve yet to watch and may not watch. I would have enjoyed mention of how the architecture bridges contemporary and traditional architecture motifs in the Japanese style. The use of wood is clearly traditional, while glass and metal yield modern aesthetic. From the second image, a mild Victorian presence can be seen in the south/west building, which is an interesting contrast between the two campus buildings. I do wonder what the characters were discussing in these frames. Also of interest is the gymnasium, which, with the double gable structure and angled supports/columns, appears as a modern take, streamlined, version of the traditional Mediterranean temple.

Alas, these things were not discussed.

Categories: .

SnippetTee on Tari Tari’s Architecture

It was an interesting post, and my thoughts…

In the midst of reading up on Tari Tari, though I’ve yet to watch and may not watch. I would have enjoyed mention of how the architecture bridges contemporary and traditional architecture motifs in the Japanese style. The use of wood is clearly traditional, while glass and metal yield modern aesthetic. From the second image, a mild Victorian presence can be seen in the south/west building, which is an interesting contrast between the two campus buildings. I do wonder what the characters were discussing in these frames. Also of interest is the gymnasium, which, with the double gable structure and angled supports/columns, appears as a modern take, streamlined, version of the traditional Mediterranean temple.

Alas, these things were not discussed.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in definition of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the realm of framing nudity is vast; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the existential facade of sex and gender as an opponent of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite [1].

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

As a character free from the usual social stigma of gender, Motoko approaches identity from a novel origin, independent of nurtured orientation. I feel pure existentialism carries a greater immediacy in GitS and would further the argument beyond feminine identity, but the story is intricately textured with other fascinating aspects raising the complexity of themes. One could argue that Motoko, as a character, brings richness in perspective throughout the story above other fictional elements. But focus on beauty and utility of the physical being, as understood [or discovered] by the character, creates a fascinating conversation on sex, gender, and when skillfully incorporated, nudity.

In the next post, I hope to move past Motoko to discuss well-developed characters coexisting with unobtrusive sexual themes.

Notes

[1] – Leave room for fetish, which will forever be a variable in audience preference.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in definition of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the realm of framing nudity is vast; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the existential facade of sex and gender as an opponent of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite [1].

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

As a character free from the usual social stigma of gender, Motoko approaches identity from a novel origin, independent of nurtured orientation. I feel pure existentialism carries a greater immediacy in GitS and would further the argument beyond feminine identity, but the story is intricately textured with other fascinating aspects raising the complexity of themes. One could argue that Motoko, as a character, brings richness in perspective throughout the story above other fictional elements. But focus on beauty and utility of the physical being, as understood [or discovered] by the character, creates a fascinating conversation on sex, gender, and when skillfully incorporated, nudity.

In the next post, I hope to move past Motoko to discuss well-developed characters coexisting with unobtrusive sexual themes.

Notes

[1] – Leave room for fetish, which will forever be a variable in audience preference.

Categories: Meditation.

Tags: , , ,

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in definition of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the realm of framing nudity is vast; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the existential facade of sex and gender as an opponent of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite [1].

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

As a character free from the usual social stigma of gender, Motoko approaches identity from a novel origin, independent of nurtured orientation. I feel pure existentialism carries a greater immediacy in GitS and would further the argument beyond feminine identity, but the story is intricately textured with other fascinating aspects raising the complexity of themes. One could argue that Motoko, as a character, brings richness in perspective throughout the story above other fictional elements. But focus on beauty and utility of the physical being, as understood [or discovered] by the character, creates a fascinating conversation on sex, gender, and when skillfully incorporated, nudity.

In the next post, I hope to move past Motoko to discuss well-developed characters coexisting with unobtrusive sexual themes.

Notes

[1] – Leave room for fetish, which will forever be a variable in audience preference.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in definition of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the realm of framing nudity is vast; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the existential facade of sex and gender as an opponent of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite [1].

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

As a character free from the usual social stigma of gender, Motoko approaches identity from a novel origin, independent of nurtured orientation. I feel pure existentialism carries a greater immediacy in GitS and would further the argument beyond feminine identity, but the story is intricately textured with other fascinating aspects raising the complexity of themes. One could argue that Motoko, as a character, brings richness in perspective throughout the story above other fictional elements. But focus on beauty and utility of the physical being, as understood [or discovered] by the character, creates a fascinating conversation on sex, gender, and when skillfully incorporated, nudity.

In the next post, I hope to move past Motoko to discuss well-developed characters coexisting with unobtrusive sexual themes.

Notes

[1] – Leave room for fetish, which will forever be a variable in audience preference.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in definition of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the realm of framing nudity is vast; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the existential facade of sex and gender as an opponent of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite [1].

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

As a character free from the usual social stigma of gender, Motoko approaches identity from a novel origin, independent of nurtured orientation. I feel pure existentialism carries a greater immediacy in GitS and would further the argument beyond feminine identity, but the story is intricately textured with other fascinating aspects raising the complexity of themes. One could argue that Motoko, as a character, brings richness in perspective throughout the story above other fictional elements. But focus on beauty and utility of the physical being, as understood [or discovered] by the character, creates a fascinating conversation on sex, gender, and when skillfully incorporated, nudity.

In the next post, I hope to move past Motoko to discuss well-developed characters coexisting with unobtrusive sexual themes.

Notes

[1] – Leave room for fetish, which will forever be a variable in audience preference.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in definition of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the realm of framing nudity is vast; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the existential facade of sex and gender as an opponent of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite [1].

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

As a character free from the usual social stigma of gender, Motoko approaches identity from a novel origin, independent of nurtured orientation. I feel pure existentialism carries a greater immediacy in GitS and would further the argument beyond feminine identity, but the story is intricately textured with other fascinating aspects raising the complexity of themes. One could argue that Motoko, as a character, brings richness in perspective throughout the story above other fictional elements. But focus on beauty and utility of the physical being, as understood [or discovered] by the character, creates a fascinating conversation on sex, gender, and when skillfully incorporated, nudity.

In the next post, I hope to move past Motoko to discuss well-developed characters coexisting with unobtrusive sexual themes.

Notes

[1] – Leave room for fetish, which will forever be a variable in audience preference.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the existential facade of sex and gender as an opponent of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

As a character free from the usual social stigma of gender, Motoko approaches identity from a novel origin, independent of nurtured gender orientation. I feel pure existentialism carries a greater immediacy in GitS and would further the argument beyond feminine identity, but the story is intricately textured with other fascinating aspects raising the complexity of themes. One could argue that Motoko, as a character, enables a richness in perspective throughout the story above other fictional elements. But focusing on beauty and utility of the physical being, as understood [or discovered] by the character, creates a fascinating conversation on sex, gender, and when skillfully incorporated, nudity.

In the next post, I hope to move past Motoko to discuss well-developed characters coexisting with unobtrusive sexual themes.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the existential facade of sex and gender as an opponent of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

As a character free from the usual social stigma of gender, Motoko approaches identity from a novel origin, independent of nurtured gender orientation. I feel pure existentialism carries a greater immediacy in GitS and would further the argument beyond feminine identity, but the story is intricately textured with other fascinating aspects raising the complexity of themes. One could argue that Motoko, as a character, enables a richness in perspective throughout the story above other fictional elements. But focusing on beauty and utility of the physical being, as understood [or discovered] by the character, creates a fascinating conversation on sex, gender, and when skillfully incorporated, nudity.

In the next post, I hope to move past Motoko and Ghost in the Shell to discuss varied characterizations

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the existential facade of sex and gender as an opponent of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

As a character free from the usual social stigma of gender, Motoko approaches identity from a novel origin, independent of nurtured gender orientation. I feel pure existentialism carries a greater immediacy in GitS and would further the argument beyond feminine identity, but the story is intricately textured with other fascinating aspects raising the complexity of themes.

One could argue that Motoko, as a character, enables a richness in perspective throughout the story above other fictional elements. But focusing on beauty and utility of the physical being, as understood [or discovered] by the character, creates a fascinating conversation on sex, gender, and when skillfully incorporated, nudity.

 

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the existential facade of sex and gender as an opponent of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

As a character free from the usual social stigma of gender, Motoko approaches identity from a novel origin, independent of nurtured gender orientation. I feel pure existentialism carries a greater immediacy in GitS and would further the argument beyond feminine identity, but the story is intricately textured with other fascinating aspects raising the complexity of themes.

One could argue that Motoko, as a character, enables a richness in perspective throughout the story, above other fictional elements. But for our purposes,

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the existential facade of sex and gender as an opponent of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

As a character free from the usual social stigma of gender,  . I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in GitS. But the story is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables a richness in perspective throughout the story, above world-building or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended in Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself.

With Motoko’s femininity highlighted as a character free from the usual social stigma of gender, . I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in GitS. But the story is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables a richness in perspective throughout the story, above world-building or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended by Machinations of Gender Dualisms:

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

With Motoko’s femininity highlighted as a character free from the usual social stigma of gender, she is poised to. I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in GitS. But the story is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables a richness in perspective throughout the story, above world-building or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended by Machinations of Gender Dualisms, and Motoko as a feminine existence without a ‘female’ mindset, a social trapping (gender):

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in GitS. But the story is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables a richness in perspective throughout the story, above world-building or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended by Machinations of Gender Dualisms, and Motoko as a feminine existence without a ‘female’ mindset, a social trapping (gender):

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended by Machinations of Gender Dualisms, and Motoko as a feminine existence without a ‘female’ mindset, a social trapping (gender):

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended by Machinations of Gender Dualisms, and Motoko as a feminine existence without a ‘female’ mindset, a social trapping (gender):

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended by Machinations of Gender Dualisms, and Motoko as a feminine existence without a ‘female’ mindset, a social trapping (gender):

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended by Machinations of Gender Dualisms, and Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender):

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended by Machinations of Gender Dualisms, and Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender):

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended by Machinations of Gender Dualisms, and Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

This is extended by Machinations of Gender Dualisms,

Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.1

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite1.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity and nonchalance towards her body’s aesthetic, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is [not] human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement in my opinion. Does the audience perceive Motoko as a woman, and is her nudity conducive to reinforcing the perception? Can we acknowledge Motoko is not human, or are we forced into duality? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman, and is her nudity meant reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman, and is her nudity meant reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman, and is her nudity meant reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell) is thought of as purposeful. Given, I was unable to finish reading the post on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman, and is her nudity meant reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s nudity (Ghost in the Shell)

Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman, and is her nudity meant reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of imagination in visual fiction unable to liberate femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion in Defending Ecchi, where Motoko’s (Ghost in the Shell) nudity is shown outside the .

Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman, and is her nudity meant reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of ‘vision’ in anime that liberates femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And I feel this is harmonious with discussion of ecchi in Defending Eand a specific character shown in the nude

Another

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman, and is her nudity meant reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And this is harmonious with a passively encounters thoughts on

Another

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman, and is her nudity meant reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited in the medium and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target demographics being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica. And this is harmonious with a encountered in

Another

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman, and is her nudity meant reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica.

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman, and is her nudity meant reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on the female form in noting that disclosure of the body is limited and less appealing than sensual suggestion. The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica.

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and blatant objectification.

Lines of Temptation reflects on
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica.

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice and 

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse. Reading these posts, I realized that character has great command over an audience’s assimilation of sex, gender, and nudity. And in the media of visual fiction, it is often a lack of good characterization leading to the doldrums of generic fanservice.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

In “defending ecchi”

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless erotica.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

 

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi or erotica. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, illuminate similar lines of discourse.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, drawn similar lines of discourse. Or preferably,

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, drawn similar lines of discourse. Or preferably,

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience often satisfied by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, drawn similar lines of discourse.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively, and perhaps unintentionally, drawn similar lines of discourse.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I find myself interested in a small trend of nudity and gender topics among recent posts which collectively

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

I was quite interested in noticing a small trend based on nudity and gender among recent posts that

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

Categories: .

Gender, Nudity, and the Power of Characterization

gene

Having noticed a small trend based on nudity and gender, I was quite interested

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

Categories: .

Gender, Nudity, and the Power of Characterization

Disclaimer: this is not about Utena

Having noticed a small trend based on nudity and gender, I was quite interested

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

Categories: .

Gender, Nudity, and the Power of Characterization

Disclaimer: this is not about Utena

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel carries a greater immediacy in Motoko’s characterization. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

Categories: .

Gender, Nudity, and the Power of Characterization

Disclaimer: this is not about Utena

Having noticed a small trend in recent posts

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel is primary. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi. Despite this, in the midst of one idea, another surfaces:

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

Concision aside, “a triviality of the thematic setting” is an understatement of Motoko’s nudity in my opinion. Does the audience perceive Motoko as a woman? Does her nudity reinforce this perception? Can we acknowledge Motoko is not human? What is the facade of sex and gender in light of technology? Her body, triviality or not, stimulates thought and dissonance as we realize the state of the character. But more importantly, the character offers a severe context for nudity, discouraging the typical sexual appetite.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

Categories: .

Gender, Nudity, and the Power of Characterization

Disclaimer: this is not about Utena

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel is primary. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi.

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

There We take serious perception of Motoko’s bare body because of the character, not because of plot contrivances.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

Categories: .

Gender, Nudity, and the Power of Characterization

Disclaimer: this is not about Utena

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel is primary. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi.

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

We take serious perception of Motoko’s bare body because of the character, not because of plot contrivances.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

Categories: .

Gender, Nudity, and the Power of Characterization

Disclaimer: this is not about Utena… yet.

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel is primary. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi.

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

We take serious perception of Motoko’s bare body because of the character, not because of plot contrivances.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

Categories: .

Thoughts on Nudity

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel is primary. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi.

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

We take serious perception of Motoko’s bare body because of the character, not because of plot contrivances.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

Categories: .

Thoughts on Nudity

 

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-free existentialism, which I feel is primary. But GitS is intricately textured with other fascinating aspects as well, adding complexity to the palette of theme. And one could argue that Motoko enables the story such variance in perspective, instead of the world or premise.

On Nudity and Profundity: Defending Ecchi and Ambivalence
http://snippettee.wordpress.com/2012/06/01/on-nudity-and-profundity-defending-ecchi-and-ambivalence/
Thoughts: I was unable to finish reading this article on the premise that ecchi and fanservice may denote equivalence but the imagination of framing nudity is a vast realm; nudity does not imply ecchi.

Is it tasteless ecchi in Ghost in the Shell when Motoko is shown nude? Was it put there just to excite the audience? I would argue no. In the world Motoko lives in, she is a genderless cyborg struggling to find her identity as a person where personal identities seem sparse and meaningless. Devoid of femininity yet having a seemingly perfect feminine body, traditional themes of femininity and post-modern gender neutrality clash. Her body isn’t to titillate, it’s just a triviality of the thematic setting.

We take serious perception of Motoko’s bare body because of the character, not because of plot contrivances.

Lines of Temptation
http://akirascuro.wordpress.com/2012/06/08/lines-of-temptation/
Thoughts: The constructs of modern anime prove difficult in showing nudity, perhaps in lieu of the target audience in being incapable of observing nudity with sincerity. The veil of ‘dress’ provides the necessary mystery to entice an audience but often by shallow mechanics.

There is a lack of ‘vision’ in anime, which liberates the femininity from objective chains, but I believe the fundamental nature of this problem is in the defining of character and a reliance on narrative to provide context for baseless nudity.

You can’t actually show sexual intercourse on anime. So, the only time we really get to see titties is in the changing rooms or in the bathtub. It’s generally pretty hard to work that into the narrative of the show, and often times, people don’t even try. Hence, the hot spring episode.

Categories: .

Thoughts on Nudity

Machinations of Gender Dualisms
http://listlessink.wordpress.com/2012/06/10/the-machinations-of-gender-dualisms/
Thoughts: Motoko as a feminine existence without a ‘female’ mindset, as a social trapping (gender).

The loss of the mindset of being ‘female’, is actually what allows Motoko to undertake a genuine exploration of herself. This lends her more credibility as a strong, intellectual and attractive woman, than any amount of femme-fatality.

I would further this argument beyond feminine identity into the realm of gender-