asian influenced

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He Duoling (何多苓) (1948, China)

‘House with Attic’ series 1: groups

He Duoling is a prominent contemporary Chinese oil painter with a broad range of influences from impressionism and Pre-Raphaelitism to Andrew Wyeth, in a style moving from realism to a more free-form and poetic manner. In my opinion, one of the most ‘complete’ figurative painters from China.

He’s House with Attic series is a set of 44 paintings to accompany Anton Chekhov’s short story usually titled An Artist’s Story or The House with the Mezzanine in English. The choice of an impressionistic style to the works is presumably a deliberate evocation of Chekhov’s period, and He explores the space and psychology between the characters with a striking ease.

So let’s get this fairy tale club started! March’s fairy tale will be my ultimate fave, Beauty and the Beast. The movie retelling will be the new Disney film, but I cannot decide on the book retelling. I’ve narrowed it down to a few options. Please let me know your opinion on this post, to make it easier for me to count votes!

Beauty by Robin McKinley- one of my personal favorite novels, it’s a straightforward fairy tale retelling. Disney’s animated film took many bits of inspiration from this novel (uncredited, of course, but read it and you’ll see.) However, I’ve already read it and though I love it, I can say it can be slow-paced for many readers. It’s also very much a straightforward fairy tale retelling, no unusual twists or turns. However, it could be fun to compare it to the animated classic and then the ensuing live action. 

Of Beast and Beauty by Stacey Jay- a new, YA retelling of the fairy tale with Asian influences and a blind Beauty. I have not read it, so I cannot comment on possible triggers. It looks like there may be a war between races, which can always skew super racist. But I won’t know until I read it! I like this option because it is the least Disney option and most unlike the original tale.

As Old As Time by Liz Braswell - a Disney-approved Disney author’s retelling of the Disney version, which suggests that Belle’s mother is the enchantress who cursed the Beast. 

There are other YA retellings out there, but so many of them seem to have an abusive Beast- I understand that the nature of Beauty and the Beast as a story invites possible abuse (even in the Disney version), but eh. Feel free to offer other suggestions but know I have probably already looked at them and decided against it for various reasons (A Court of Thorns and Roses and Cruel Beauty, to name a couple).

Future fairy tale months will not be so Disney-heavy, and most likely with no Disney influences at all. However, I couldn’t resist the chance for all of us to discuss the new movie and enjoy all the BatB related stuff coming out in the next month!

What do you vote for - 1, 2, 3?

Discussing McHanzo with The Wife™ while at work
  • Wife: every true artiste has a western-cowboy food phase.
  • Me: mine was mccree. spicy.
  • Wife: As I recall there was a little asian influence as well.
  • Me: well, there usually is. rice goes with everything. rice and beans IS a staple, after all.
  • Wife: They were meant to be together.
  • Me: And it doesn't really matter which one is on top, it's all gonna mash together anyways. add a little hot sauce and you've got a steamy dish.
  • Wife: Well, Gracious.

anonymous asked:

do you ever paint people of color?

Strangely, this question strikes a nerve for some reason, maybe it’s just because its really late at night or maybe I’m just having a bad day. So I apologize in advance if this comes off as a little rude, I don’t mean to be.

When it comes to my work, I draw from my head, completely from imagination mostly. I draw these subjects, these people that I imagine in my head and bring them to life along with the ideas, meanings and feelings that are associated with them. In this moment the last thing I am thinking about is the colour of their skin. 

The thing I want people to see and recognize at the very moment they see my work, and until that very last moment before they turn away, is emotion. I want my work to capture something as fleeting and indescribable in words like pain, love or loss. I want my work to resonate, to talk and to connect with people, and I try to achieve that by using various different art elements and techniques and merging them all together to create this overall idea and feeling (fingers crossed, I hope I am somewhat successful in achieving that). My work isn’t necessarily about who the subject matter is, their identity or the character, it’s about that emotion of the work as a whole, that introspective dialogue between work and viewer. Heck, sometimes even drawing animals can capture an expression I want to show better than with drawing people!

If anything, I draw upon my own roots of South-East Asian influences for the girls that I draw, with features that are often mixed, fantasy/surrealist anyway because it’s derived from my roots of Manga/Anime art as a kid.
If anything, I do paint people of colour, my own people, everyday really.

I would absolutely love to draw all types of people! I’m still learning how to do so in study sketches, from different parts of the world, of different skin colours – different people, full stop!

What Ethnicity is Lady Shiva?

Every once in awhile a post pops up on tumblr discussing at length what ethnicity Lady Shiva is, mostly in deference to what ethnicity that makes Cassandra Cain. This is not a call-out post, but rather a compilation of facts and my interpretations. I’ve done this before, but the post is now lost to the vast expanse of the internet. It’s worth typing up again.

Lady Shiva has suffered through the years as being ambiguously Asian with enough controversial and circuitous backstories that we are provided with both an abundance and lack of an answer. In order to help you all out, I’m just going to provide a case-by-case analysis on Shiva’s appearances and outfits in order to discern her ethnicity. Associated panels posted below; special thank to @judgeanon for reading through this. 

TLDR; Lady Shiva was created specifically as a mixture between different Eastern cultures to act as a foil to the more traditionally American heroes. She has been portrayed with mainly Japanese and Chinese influences, but also importantly Southeast Asian, Korean and South Asian references. I firmly believe Lady Shiva is Chinese, but there is evidence to be argued for each and every one of the ethnicities/regions listed above. (My headcanon, what I believe to be the most probable backstory she has can be found by searching ** in this extremely long post.)

Note: being Chinese is not an ethnicity, but rather a nationality. I’m using the main ethnic group in China, the Han, and the word Chinese interchangeably. That being said, there has never been any indication that she is or is not Han vs any other ethnic group native to China.

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Completed CommissionFlat Colors

@ask-thecapricorncrew / @bluebrush09arts
Gin is such a nicely designed Kirin~ I just love his overall feel! The Asian influenced outfit was fun to work with, too!
Thanks for commissioning me to draw him! :D

——-
Like what you see and want something like it? Check out my Commission Info and drop me a line! I take Paypal!

clarias  asked:

Your costume post about Padmé and Leia was great but I especially loved your comment that Padmé's costume was your least favourite because it's mine too. I couldn't say why, I just know it offends my eyeballs but I wondered if you had a more insightful reason?

I’m not sure how insightful I can be, but I have a lot - a lot of issues with costume direction taken for Padme in Episode III and fundamentally think that it was the wrong direction, her costumes being completely out of character. The Mustafar costume is, for me, emblematic of these issues. This is whilst acknowledging the skill and craft that went into every costume (nearly every costume - there are a couple where I flat out do not know what they were thinking), and they are beautiful objects in and of themselves isolated from the character of Padme. The cut peacock gown is particularly stunning, but possibly the most baffling. 

Episode II Padme concept art.

In Episode I we see Padme at 14, swathed in ceremonial gowns, handmaiden disguise or ‘rustic’ peasant/spacer garb. These are all assumed roles, donned masks, but she is still identifiably a girl, particularly at the close of the film in her softened look. In Episode II we see Padme as Padme, a senator and an individual rather than a role (or variety of roles.) She is a young woman, she is bright and idealistic and in love. There is an emphasis on elegance, long lines, femininity. A lot of organic shapes and drapery. Volume and silhouettes that shift to suit her situation and practical needs - public vs. private, leisure vs. going to start a goddamn war to save her friend.. Jerseys and chiffons and crepes appear again and again. When she’s in the height of her romance, she wears yellow hues, at her most conflicted she wears dark colours - the blues and purples on Coruscant, the black gown at dinner on Naboo. Blue is her own colour, her most Padme, pale colours for when she is going against everything and taking things into her own hands (a call forward/back to Leia, echoes and future echoes and a noted piece of meta-costuming.)

There is very little cohesion to her wardrobe, which is a common factor for Padme throughout the trilogy as there are just so many influences in her looks. This is a result of the design coming in main from the removed team of concept artists and then being passed onto Biggar and her team for interpretation rather than coming direct from Biggar (and/or illustrators working directly with her, which is the current Star Wars costume department set-up.) This means that costumes get chosen based on aesthetic, and while of course things were not developed in isolation, conversations were had back and forth and concepts and costumes developed and revised. Often there is very little common visual language, the influences disparate and obvious with attempt to filter these influences, to soften and mingle them. It effectively amounts to visual white noise. In AotC, Padme wears a pseudo-Edwardian gown, and the very next scene is in a dress taken from a Russian ball gown. But there is story and narrative and a line can be found as she progresses, and always a root of Padme.

Explorative concepts of Padme in RotS, more delicate looks, more proactive looks, and the final look.

In RotS, however, this comes to a head, and what is left is a collection of beautiful but meaningless costumes. Beautiful white noise. There is some attempt at bringing narrative back into her costumes through the repeated use of blue - Padme herself has always been blue, water, the lakes of Naboo - as she is driven towards her end, but it is messy and inconsistently executed and honestly? The two blue nightgowns in RotS are not good. Otherwise, there is just fabric and heavy heavy drapery. Natalie Portman is very very petite, and they drowned her in fabric as it was apparently her character’s choice to hide her pregnancy in plain sight via mass. 

Now Padme is a senator, is pregnant, is consumed by a secret marriage and a crumbling Republic. She is fighting the losing fight. She is still a young woman, in her late-twenties at this point. She is still bright and fierce, if sad and tired. She is still Padme. She has used and manipulated her appearance like a tool, like a weapon, since she was a girl, there is no way that she would be so clumsy in disguising her pregnancy. I don’t think that she would hide her pregnancy - that feels false and out of character to me for a woman like Padme - but if she did feel the need, this would not be how it was done. There were so many concept explorations (like the ones above) that explored empire lines, panelling, drapery, those same elegant organic shapes of the younger Padme just raised and matured - covered shoulders, raised necklines/stand collars. All within the realm of young, feminine, pragmatic. Padme is nothing if not pragmatic (the woman happily donned a Naboo pilot disguise and flew a fighter escort from Naboo), and every sartorial decision has some sort of purpose (arguably the sudden Russian influence in AotC places her further from her usual Asian influenced wardrobe, all the better for being disguised as the galaxy’s best dressed refugees.)  But no, they went the other way. And knowing that these directions were explored and rejected (or simply handed off to distant background characters like Bail Organa’s aide in the most Padme maternity wear) makes it all the more painful that they went in the direction that they did. 

Padme’s costumes on display at Star Wars Identities at the London O2. There is an identifiable development in the first two costumes, a tony down of silhouettes and shift from ceremonial to practical adventuring, but they are still identifiably for a young vivacious woman. The  costume on the right is one of my few favourites from RotS, but there is a nearly total disconnect between this and the previous two. 

Throughout all of RotS there is this visual tug of war in Padme’s costumes as she is simultaneously infantalised and made matronly. Her necklines are painful awkward too often sitting somewhere in a crew neck. The colours are dour dour dour, there is suddenly a plethora of brocade and velvet. She can’t move, physically, and remember that this was moments after the end of the Clone Wars, in a time of political unrest. Sartorially, she was utterly vulnerable. Cosseted. Trapped in her gowns, in her apartments. Her beautiful hair is suddenly very flat. In a way, this works perfectly but the disservice that the narrative does to her as her political plotline was cut, but if she had been dressed as the senator we all know then some of that would have been softened as her appearance would have been visually communicating with the audience that Padme is being proactive even if we are not being shown this. The audience would have understood something was happening.

And then Mustafar. Finally! Ok, you may say that this is finally Padme getting back on track. She’s being active! As I discussed last week, she’s wearing a practical go-getting costume to go rescue her husband from the brink. Leggings, boots, tunic, is it so different from her Geonosis costume in AotC? Yes and no. Like the Geonosis costume, it is a direct link to her daughter - a piece of meta-costuming, past and future echoes. However, there is a level of pragmatism missing in the skirted tunic (and I believe that in the actual costume, the collar was attached using magnets!), and the costume seems to be made of a number of disparate elements that don’t tell a solid story. In AotC, Padme has already been seen in a practical action costume (the opening pilot costume.) There is a progression there. This costume comes out of nowhere. There is no arc in colour, no narrative in silhouette. It doesn’t tie in with any single thing that she has worn so far.  The short skirted tunic and the twee rounded collar serves to infantalise her, particularly with the belt detailing which one would expect to led her a militarised fierceness (which I touched on last week) but instead… it doesn’t. I have seen it described as having something of the girl scout about it, which I have to agree with. Particularly as once she is in the costume, has been the decision to do something, anything, make things right, she then has her agency immediately ripped from her (arguably never had any given Obi-Wan’s manipulations and his hiding on her ship to confront Anakin. The costume says little beyond about Padme herself.

There is a story there in this costume and all of the rest - if you look hard! There are always influences and character points to be found, stories told, but they are seriously underserved by the decisions made for Padme (and a few others) in Rots and buried deep. Of course, this is all personal opinion but when there are so many examples of what was explored and could have been, it’s hard to not be disappointed by what could have been, what was deserved by the story and character. What we end up getting in RotS with Padme is fragments and half-tales; nothing is communicated proper, and when costumes don’t communicate anything they ultimately fail.

Next Time: The explosive aesthetic of Sabine Wren

Last time: The path unfollowed

“There are new kids on the block”

Continuing my series of Young Avengers character fanarts (or what I’d want a Young Avengers Netflix mini-series to look like ha ha……). 

Here’s my take on Kate Bishop, aka Hawkeye, in which I made her East Asian (influenced by the looks of IU and Li Bingbing). Who should I draw next?

Iron Whitey, Doctor Yellowface And The Two Faced Critics Of Downtown Bollocksville - Quill's Scribbles

So… Didn’t see that one coming.

The upcoming Marvel Netflix TV show Iron Fist has received quite a pummelling from critics in early reviews. Most of the criticism centres around how slow and boring it apparently is, but others focus on the show’s controversial casting of Finn Jones in the title role and the ripple effects caused by it.

  1. The Verge says that the show fails in a number of ways in regards to diversity, representation and appropriation, saying it’s hard to decouple the character’s whiteness from his elevated position.
  2. Filmink.com says that the casting of an Asian American actor in the role would have helped to give the show its own identity. 
  3. Uproxx describes Finn Jones as being miscast, coming across as ‘a befuddled surfer who wandered into the middle of a kung fu movie’.
  4. Nerdist.com describes Iron Fist as illuminating where the industry still flounders regarding racial stereotypes and representation in media.
  5. Variety questions why Marvel didn’t cast an actor of Asian descent in the role and accuses the show of cultural appropriation.
  6. IGN.com remarks upon the controversy of the rich white guy finding enlightenment in the mysterious Far East trope.

At the moment I’m typing this, Iron Fist has a rating on Rotten Tomatoes (and this is true) of 0%.

Originally posted by ivanv

Yep. Iron Fist looks set to be the worst thing ever to come out of the Marvel Cinematic Universe. But on the plus side, it means the DCEU fandom can finally drop the Marvel Bias bullshit. See guys! The critics do say mean shit about Marvel! Are we finally ready to face reality and accept the fact that the critics talk shit about DC because they just don’t like your movies?

Now look. I’m not here to gloat. In fact kind of the opposite. A few people have been wondering why I haven’t been giving Iron Fist a hard time like I have been with Doctor Strange (which I’ve described numerous times as being objectively more racist than its source material). Well the reason is because Iron Fist hasn’t actually done anything wrong as far as I can see at this moment in time. 

With Doctor Strange, Marvel whitewashed a prominent Asian character and stripped the story of its Asian culture and influences before blatantly lying to our faces to justify their shitty behaviour, painting themselves as the unfortunate victims of political correctness in a pathetic attempt to cover their own arses. They essentially took an already racist comic book, made it even more racist and then effectively told us to eat shit and deal with it. What have Iron Fist done that we know of? They’ve cast a white actor as a white character. Now yes it would have been great if they cast an Asian actor in the role and I was very disappointed like everyone else, but at the end of the day, it’s their choice. They’re not in any way obliged to racebend a character. If they want to cast a white actor as a white character, they have every right to do that. The burden is now on them to make sure the show doesn’t fall into the same traps as the comics did (the mighty whitey trope and Asian stereotyping). These reviews aren’t exactly filling me with confidence, but as ever I will reserve judgement until I’ve seen it for myself.

I’m not here to comment on whether Iron Fist deserves the negative reception its received. It could be a racist piece of shit for all I know. What I am here to talk about is the hypocrisy of the people criticising it. See if Iron Fist does turn out to be racist, it would be more down to ignorance rather than malice. The show has at least made an effort to cast Asian actors as Asian characters and has retained some of its Asian influences. The showrunner has also stated on the record that he’s aware of the problems with the comics and will do his best to correct them in the show. They’re clearly making a conscious effort not to offend people. What these reviews merely demonstrate is that pride cometh before a fall. The writers and showrunner thought they could do an Iron Fist TV series with a white lead that wasn’t racist and they apparently failed in spectacular fashion. The response should be less moral outrage and more of an indignant ‘I told you so’.

Basically what I’m saying is if you’re morally outraged by Iron Fist, you should be doubly outraged by Doctor Strange, whose crimes are demonstrably worse. At least the makers of Iron Fist were upfront about their intentions. At least they tried to respect the Asian community with their promises of avoiding the white saviour trope (whether they succeeded or not is another matter altogether). At least they didn’t whitewash any Asian characters or homogenise the culture they’re representing. In the MCU setup, Iron Fist is merely the problem child. Doctor Strange is the true villain that deserves our bile and hatred. The people who made Doctor Strange knew what they were doing was wrong, and yet they did it anyway.

So, based on a hunch, I decided to look into what those websites I listed above said about Doctor Strange. Because if they’re fuming about Iron Fist so much and thought that was racially insensitive, they should be set to explode by what Doctor Strange did, right? Well…

  1. The Verge remains consistent, describing the casting of Tilda Swinton as the Ancient One as cultural whitewashing. The criticism for Iron Fist seems far harsher however.
  2. Filmink.com doesn’t even mention the whitewashing and describes the film as exciting, entertaining, goofy and fun.
  3. The Doctor Strange review on Uproxx doesn’t mention the whitewashing neither (nor even anything of substance), but there is another article talking about how dislikable Doctor Strange is as a character and that gives a passing mention to the whitewashing of the Ancient One and the mighty whitey trope.
  4. Nerdist.com mentions the whitewashing, but doesn’t in any way condemn it. Instead praising Tilda Swinton for her performance and giving the filmmakers a figurative slap on the wrist for being naughty boys.
  5. Variety heavily praises Tilda Swinton’s performance, dismissing the whitewashing controversy saying that they wish Swinton was the lead character.
  6. IGN.com also dismisses the controversy saying that Swinton has a unique and ethereal presence, playing a serene and oh so powerful character.

Funny how they’re willing to label Iron Fist as racially insensitive as one of the reasons why they don’t like it, but with something like Doctor Strange, a film they either loved or were mildly indifferent to, they’re suddenly willing to turn a blind eye to its undeniable racism as though that suddenly isn’t relevant to the discussion. Talk about inconsistent.

I guess what I’m building up to is this. If you’re one of those critics who’s bashing Iron Fist for being racist and appropriating another culture and yet described the casting of a white woman as the Ancient One as being ‘subversive’ and ‘a massive step forward for female representation in films’, you can officially go and fuck yourselves. Same goes to all those people saying they’re going to boycott Iron Fist and yet for some reason had no problem paying money to watch Doctor Yellowface. Yeah, you can go fuck yourselves too. Who would have thought visual effects were all that’s needed to buy your loyalty (because that’s all I ever see praised about Doctor Strange. The visual effects. Not the story or the characters. Just the visual effects. It’s basically the cinematic equivalent of dangling your keys in front of a toddler’s face). I’m surprised you can even show your face here. If you’re mouthing off about Iron Fist (which could very well be deserved from what I’ve heard) and yet remained silent when Doctor Strange came along with its racism so obvious it might as well have had a big neon sign over it saying ‘Fuck You Asians’, go sit in the corner and don’t come back until you’ve grown some backbone, you hypocritical arsewipe.

Yeah. I don’t know how to end this, so… Go away.

My thoughts on SWTOR / KOTFE that nobody asked for but here they are anyway.

Because I just talked this stuff through with the guy behind @event-planner-heskal (he made a hilarious IC post on it, clicky). Because people started reblogging my shitpost thinking I hate KOTFE/KOTET. And because every single discussion about the game I see always ends up with “oh my god I hate this Fallen Empire bs the game needs to return to Jedi vs Sith”

And you know what?

It’ll be a sad day for me when it inevitably does because the majority asks for it.

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Hiroshi Yoshida (吉田博) (1876–1950, Japan)

Yōga (Western-style) paintings

Hiroshi Yoshida was a 20th century Japanese painter and print-maker. He is regarded as one of the greatest artists of the shin-hanga style of ukiyo-e woodblock printing, and is noted especially for his excellent landscape prints. Yoshida travelled widely, and was particularly known for his images of non-Japanese subjects done in traditional Japanese woodblock style, including the Taj Mahal, the Swiss Alps, the Grand Canyon, and other National Parks in the United States.

Noble Gain and Loss // Kim Namjoon

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the prompt: So, I’ve been thinking about this ever since the Blood Sweat & Tears MV came out… but could I request a BTS Georgian/Regency AU? Where you’re a person of nobility and Namjoon is your tutor (maybe helping prepare you for your debut?), and you two fall for each other, but it’s kind of a forbidden love, since you’re of different social classes? So I guess that would be fluff/romance with some angst?

words: 4578

category: lil bit of fluff + a load of angst

author note: this was so much fun to write! I did a lot of research for this and I found out that the regency period was happening while Korea wasn’t called the Korean Empire yet so that is why Korea is addressed as Joseon here! Also just a disclaimer, I may not be 100% historically accurate so please forgive any slip-ups.

– destinee

Originally posted by jimins-bootae

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It’s FRIDAY FASHION FACT! If you have been reading this blog for a while, you’ll know that one of my favorite aspects of fashion history is the influence of society on dress. I can’t believe I haven’t written about today’s topic yet, since it is one of the best examples of this! We’re talking tea gowns!

Tea gowns rose to popularity in the late 1870s, reaching widespread popularity throughout the late 19th to early 20th centuries. To put it simply, a tea gown is an informal garment worn in the house- you guessed it- at tea time, though later they were worn at dinnertime as well. What is so interesting about tea gowns is that their creation was a direct result of the rapidly changing society of the time.

The Industrial Revolution led to a dramatic rise in urbanization. Naturally, this congested setting shifted social customs. Increased social circles meant increased social obligations. Visiting a friend or acquaintance for tea quickly became one of the most popular social calls, namely because it was the shortest. Custom dictated that one would not stay for more than half an hour for tea. The short time frame meant a less formal atmosphere.

On a different note, during this same time, there was a strong Asian influence on design. Due to the 1868 Meiji Restoration, trade lines between Japan and Europe opened up, bringing a steady stream of Japanese goods to the Western world. Using these pieces, homes were decorated in the exotic style. Kimonos also held a fascination among the Victorians, many adopting them as dressing gowns. Women would commonly host members of their wide social circles in their homes (particularly the parlors) to show off their creative interpretation of Asian and exotic inspired design. So how does this all connect to the tea gown?

To begin with, women desired a specific garment for these new abridged social calls- something relatively informal, yet still fashionable. Tea gowns have been described as a blend between a dressing gown and an evening gown. They were a far more relaxed style than the majority of fashions at the time. They were often loose fitting, and were often worn without the usual restrictive shapewear- namely bustles and (gasp!) corsets. Naturally, this meant that tea gowns were a very controversial garment, with many condemning them as lewd and immoral. Of course, many women who were so accustomed to wearing corsets still wore them with tea gowns, but disguised it with a loose bodice. Since they were so relaxed, though, a lady would never leave the house in a tea gown. As a result, only the hostess would wear one, while guests would wear afternoon or visiting gowns.

One of the biggest appeals of the loose tea gown was that they were so easy to put on, and a lady could dress herself without the help of a lady’s maid. While the structure of tea gowns were simple, though, their design was anything but. Women pulled inspiration from the exotic into their gowns, often aiming to match the design of their parlors. There was also a strong historical influence in many tea gowns. Watteau pleats, the cape/train-like pleats used in 18th century robes a la française, were a popular design element. Some tea gowns would be made to look like two garments, a faux-robe over a dress. As with all fashions of the day, ladies would show of their wealth through their tea gowns, using rich fabrics, lace trims, ruffles, and other embellishments.

As fashion developed, so did the tea gown. By the Edwardian Age, they became difficult to distinguish from other styles of dress. As society changed through the 1920s and 30s, the tea dress slowly faded from popularity, vanishing altogether by World War II. It just goes to show how the life and death of a fashion can all be directly related to shifts in society!

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

blue-gemdust  asked:

Your fusions are so creative (I especially love DVA, Maxixe and Spinel). Where do you get the ideas for their designs?

Um, I just kind of get their base down (body type, hairstyle, what extra limbs they’d have etc) then think about what ‘theme’ they should have clothing wise. Spinel has a traditional asian influenced fighter-girl looking theme, Maxixe has kind of a ‘royal advisor’ theme, and DVA was inspired by Ziggy Stardust I’m not even gonna lie man

Blog #7 Asian American and Animation - Sailor Moon

As I was born and raised up in Japan, my childhood memories might be different from you especially in TV programs or movies that I used to watch. Some of you may heard about Sailor Moon, I was super huge fun of that anime when I was little. My future goal in kinder garden was be Sailor Moon, and I even tried to cut my bangs to be heart shaped like her… (Its a girl in the middle, good memories) 


Sailor Moon : originally from comic book which started to publish in 1992. After it published, Sailor Moon was animated, there were a musical, and also became as a TV show acted by Japanese actress.  


Before Sailor Moon got hit, Japanese animation was different. It was more about Japanese/ Asian ordinary people’s life and their appearance was more like Asian.  But these girls are different. They have..

  • Small face
  • Big eyes 
  • Colored eyes
  • Colored hair 
  • Long legs
  • White skin

These girls have different appearance which Asian girls deserve to have, and every girls wish to be like them. (Not even kidding, I used to have a hair wigs of Sailor Moon.)  This anime put image of Western girl’s appearance on Asian girls, and many of them started to long to be Sailor Moon. 

Originally posted by guardiancosmos

(Look at her hair, its unreal for us, Asian) 


Sailor Moon influences not only on girl’s appearance but also on women’s power especially in Japan/ Asia. In my country, we still often hear the idea of “Woman should stay home and do housework. Man should go out and work.” Especially in the era of late 1980s to 1990s in Japan, there were still inequality between men and women, and women could not be as active as women should be today.  

Then how Sailor Moon influenced on Asian Women? 

The story of Sailor Moon is about young female warrior fight with dark evil/ enemy. Surprisingly, Sailor Moon is the first female power rangers in the history of Japanese comic/ animation. Indeed there were many male warrior like Superman, but there were no female hero at that time. 

(How she battles against her enemy is so powerful and energetic!)  

Moreover, right before Sailor Moon was published, Equal Employment Operation Law was approved in Japan in 1986. Since then, many Japanese women wish to be active in their society, and Sailor Moon was a young woman who gave hope to Japanese /Asian women. She encourages Japanese women to be active in society, and I believe her power raised Japanese women’s power. 


As I said, I was super huge fan of Sailor Moon when I was a little. But I have never thought or even analyzed about Sailor Moon. What she brought in Japanese society especially in the image of appearance has big influence on myself too. Because I was the one who wished to have blond hair and colored eyes. Also, I did not have any idea in the relationship between  women in power and Sailor Moon. But now, it all makes sense, because Sailor Moon is still popular in our society and it is becoming popular in other countries. 

I hope you enjoyed my analysis of Sailor Moon, and makes you interested in our anime culture!  - Natsumi Ueno (Sumi)

Originally posted by dyx