#Hosoe

[bonguri]

20240413 Tenhama Line 1 by Bong Grit Via Flickr: 浜名湖沿いの天竜浜名湖鉄道天浜線巡りをしてきました。まずは引佐細江。遠くに東名高速の赤い橋が見えます。 @Hosoe area, Hamana ward, Hamamatsu city, Shizuoka pref. （静岡県浜松市浜名区 細江地区）

[runawaycarouselhorse]

What made both her sacrifice for her team mates’ happiness in Pocket Monsters (2019)/Pokemon Journeys episode 95 and the fact that she thought this would be her end more poignant for me is that being completely alone is what Musashi hates the most. She lost her (single) mother as a child and was never adopted, going from foster home to foster home... ;_;

After many failures (like being unable to graduate from a school meant to train literal Pokemon Nurses, because she couldn’t do what Chansey do, despite studying hard and being adept at skills like bandaging…) and having her heart broken and being disappointed (she let a boy she loved go alone so she can pursue idol dreams with some friends, who all made it… without her, so she lost a possible love for an impossible dream)…

She couldn’t bond with her partners and left them to be injured, just to save herself, during her training days at Team Rocket. She’d become selfish and self-preserving… in the Japanese version, the others called her “shinigami Musashi” according to Yamato (Cassidy), likening her to a reaper of souls… but James refused to run away, sick of living a life where he ran away from all his problems. He’d sacrifice himself for her and Meowth’s safety, getting badly injured and nearly missing their final exam, hospitalized. The first time they uttered the beginning of their motto was when she believed she was all alone again, much like in this scene… the Rockets in the Japanese version repeat the last thing someone else says as if to answer a question (the “nanda kanda to kikare tara” = “if you ask us about this or that” is mostly filler that could be substituted with anything else.)

Musashi (Jessie): (dejectedly, as she walks away alone as the final exam begins, even being questioned by Nyasu/Meowth where she’s going): Is this all that there is…?

Kojiro (James): (answering while leaning posed against a tree, covered in bandages, but they were only wrapped over his clothes so he could whip them off dramatically) If you ask us 'if this is all that there is,' our answer will be the universe’s compassion!

She’s so moved, she turns away to wipe her tears. “A team mate who won’t run away…”

I think that’s the first time they ever see her cry.

Jessie desperately wants family, belonging, that’s why she falls in love so quickly, she wants a family more than anything—James had everything material growing up, but not love… Musashi had near to nothing material growing up, BUT she had her mother’s love… until she lost her very, very early. They contrast each other! They’re soul mates, eternal partners, whether you ship them or not. Meowth, too, was orphaned as a kitten, never even named, and an outcast his whole life. He's also always falling in love easily, seeking a home... the trio should never be separated, they are each other’s sought-for home.

I think the falling snow in this scene, where she runs off in tears, after wearing a brave smile and telling James it’s okay to stay with Cassidy, is a very deliberate choice, as Jessie loves snow. One of her few happy memories of her depressing childhood is being made treats made of snow to eat. She unknowingly lost her mother in the snowy Andes mountains, seeking Mew, put into foster care, while Miyamoto tried to make money to give her a better life... glittering snow and sparkling tears…

For Meowth too, she lets him go. She just wants everyone to have their chance at love.

So, her believing she’ll end up dying alone, as she’s always feared, Musashi here laments her luck, but also has a beautiful little dream of her friends saving her.

Once again, similarly to the break-up episode of DP, she was the one who calmly and gently encouraged James to pursue a possible love. She also broke Dustox’s pokeball, in tears, not wanting her to make the same mistake she did, giving up on an attainable love for an unattainable goal (and, indeed, Jessie did not win the Grand Festival, despite her skill at Pokemon Contests… she made the right decision for Dustox’s happiness.)

Jessie loves her friends. Sure, she’s caustic, rude, temperamental, bitter, and self-absorbed, but she prioritizes love and their happiness. She doesn’t want them to be alone and abandoned the way she felt as a kid. She loves them so much so, she’s satisfied to die alone and suffer her worst fear if it meant they get to be happy. That’s self-sacrifice.

She doesn’t resent them one bit, saying it’s a nice dream when she thinks she’s imagined them saving her life… she thought it was her mind comforting her before her death, accepting her fate, rather than realizing it’s effectively a premonition of what will be reality… and when she realizes?! She initially reproaches them, looking mad, because she thought they abandoned their happiness for her! But no, things didn’t work out… this is where they’re meant to be: by each other’s side.

James also knows how much marriage means to her, even though he’s so traumatized by it, the word “fiance” triggers literal flashbacks for him and he climbed up a tree to get away from a teenaged girl who called him that. Yet, in XY episode 63, where she fell for Dr. White...

Kojiro: (with head down, eyes shadowed) If Musashi (Jessie) wants to pursue her happiness as a woman, shouldn't we give her our blessing?

Nyasu also had his misfortunes in love... they sympathize and empathize.

"Let's show her we're men and leave without saying anything..."

As Kojiro runs away, he sheds tears, wishing her happiness and bidding her farewell, silently. The scenes in these two episodes are clear parallels.

But in the end (including the final episodes, as rushed as that plotline was although I still loved Wobbuffet acting exactly like a troubled child of parents going through a messy divorce), they’ll always realize their happiness is by each other’s side as a trio.

"Sometimes you get good pulls, sometimes you get bad ones. Sometimes they're good, even if you think they're bad. Sometimes they're bad, even if you think they're good."

[disease]

"SIMON (LIPS)" // 1971 EIKOH HOSOE 細江 英公 [silver gelatin print | 50 x 40 cm.]

[nobrashfestivity]

Eikoh HOSOE Embrace No. 43 1970

[vincekris]

Eikoh HOSOE - Embrace

[venusimleder]

Ph. Eikoh Hosoe

[psycadets]

hoso monsters of rock

[hellwatermelon]

Eikoh Hosoe Kimono #2, 1962

[listography]

SOME OF MY FAVORITE DRAGULA MONSTERS

[sesiondemadrugada]

Eikoh Hosoe.

[vonxodd]

HOSO TERRA TOMA // 'horror icons reanimated' floorshow, dragula titans 01X08

[infinitiumme]

Yukio Mishima for Eikoh Hosoe

[polishchuk]

Yukio Mishima as Saint Sebastian (60s)/ Guido Reni - Saint Sebastian, 1615

“I was flipping through one of the last pages of a volume. All of a sudden, from the corner of the next page, there flashed before my eyes an image that I had to assume had lurked there for my benefit alone.

It was a reproduction of Guido Reni’s Saint Sebastian, which figures in the collection of Palazzo Rosso in Genoa.

The trunk of the tree of torment, black and slightly oblique, stood out against the Titianesque background of a gloomy forest and a serene sky, gloomy and distant. A young man of singular loveliness stood bound naked to the trunk of the tree, his arms drawn up, and the straps that clasped his crossed wrists were fastened to the tree itself. No ties of any other kind were discernible, and the only covering of the young man’s nakedness consisted of a rough white cloth that loosely wrapped around his loins.

I imagined that it was a description of a Christian martyrdom. But since it was due to a painter of the eclectic school derived from the Renaissance, even from this painting depicting the death of a Christian saint exuded a strong aroma of paganism. The young man’s body - one could even compare it to that of Antinous, Hadrian’s favorite, whose beauty was so often immortalized in sculpture - bears no trace of the hardships or exhaustion derived from missionary life, which imprint the effigy of other saints: instead, this one uniquely manifests the springtime of youth, uniquely light and pleasure and gracefulness.

That white and incomparable nudity of hers sparkles against a background of twilight. His sinewy arms, the arms of a praetorian accustomed to flex his bow and brandish his sword, are raised in a harmonious curve, and his wrists cross immediately above his head. The face is turned slightly upward and the eyes are wide open, contemplating the glory of heaven with deep tranquility. It is not suffering that hovers over the expanded chest, the taut abdomen, the barely twisted lips, but a flicker of melancholy pleasure like music. Were it not for the arrows with their points stuck in his left armpit and right hip, he would rather look like a Roman athlete relieving fatigue in a garden, leaning against a dark tree.

Arrows have plunged into the heart of the young, pulpy, fragrant flesh, and are about to consume the body from within with flames of heartbreak and supreme ecstasy. But the blood is not gushing out; the swarm of arrows seen in other paintings of St. Sebastian’s martyrdom has not yet raged. Here instead, two lone arrows send their quiet and delicate shadows over the smoothness of the skin, similar to the shadows of a branch falling on a marble staircase.

But all these interpretations and discoveries came later.

That day, the moment I glimpsed the painting, my whole being quivered with pagan joy. My blood roiled in my veins, my loins swelled almost in an emptiness of rage. The monstrous part of me that was close to exploding waited for me to use it with unprecedented ardor, rebuking my ignorance, gasping in outrage. My hands, not at all unconsciously, began a movement I had never learned. I felt something secret, something radiant, launching itself rattily to the assault from within. It erupted suddenly, bringing with it a blinding intoxication....

Some time elapsed and then, in a desolate mood, I looked around at the desk I stood in front of. Outside the window a maple tree was casting a vivid glare everywhere -- on the ink bottle, on school books and notebooks, on the dictionary, on the image of St. Sebastian. Splashes of a dim whiteness appeared here and there - on the title in gold letters of a textbook, on the margin of the inkwell, on an edge of the dictionary. Some objects dripped lazily, others glowed with a dim gleam like the eyes of a dead fish. Fortunately, a reflexive movement of my hand to protect the figure had prevented the volume from soiling.

That was my first ejaculation. And it was also the clumsy and totally unplanned beginning of my “bad habit.”

–Yukio Mishima “Confessions of a Mask”

[disease]

"ORDEAL BY ROSES: VI" EIKOH HOSOE 細江 英公 // 1961 [gelatin silver print | 32.5 x 45 cm.]

[nobrashfestivity]

Eikoh Hosoe 細江 英公

Man and Woman No. 31. 1960

[circus-sonata]

by Eikoh Hosoe / 細江英公 Kamaitachi #16 / 鎌鼬 (1968)