#Rassvet

[mountainspirit]

[subtlesolitude-tailoredtaste]

RASSVET – « Where is the boys are ? »

Freeskatemag

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Jun 23

2023

Edited by Thomas Vigoureux

*Joseph Biais filmed by Thomas Vigoureux and Sirus Gahan, edited by Sirus Gahan

*Lilian Fev filmed and edited by Elliot Bonnabel

*Val Bauer filmed and edited by Thomas Vigoureux

*Cambryan Sedlick filmed and edited by Sirus Gahan

*Tolya Titaev filmed and edited by Thomas Vigoureux

Thumbnail photo by Rafski

[satthirasstrikes]

A sneak peek at some linework before color!

[vinterravn]

View this post on Instagram

A post shared by Rassvet (@rassvetband)

Emocore revival from Argentina

[robbialy]

#auboulot #gosharubchinskiy #rassvet https://www.instagram.com/p/CpxtnVKMNuMLqANiATvHVmalb14MgpyB74qTxg0/?igshid=NGJjMDIxMWI=

[sevenplyrotterdam]

RASSVET DECKS AVAILABLE IN THE SHOP

[dromaeo-sauridae]

ik nobody will pay attention cuz its not art but i havent had motivation to design stuff for promethea lately and i want to talk about my island anyway so im gonna do that idc

rassvet is the island south of promethea, the island where cinder was imprisoned and where the sun cult lived. its geologically under the ouranos’ shadow but because its the site of the prison its subject to constant unnatural sunlight. before cinder’s imprisonment it was part of the continent that promethea is on, and it and promethea were one area. nowadays its mostly desert and only the north and south coasts are settled, with a highway between them. rassvet and promethea are very friendly and both countries have sizable populations from the other. a few hundred years ago, they were both occupied by an invading empire that has since collapsed. rassvet revolted and gained independence from the empire and sent allies to promethea to help them do the same, and ever since theyve been close and helped each other during any time of need. rassvet is much more easily accessible than promethea and so has more traffic from outside countries, whereas promethea is fairly isolated from the rest of the world

[fancyshooting]

MGS3 SCRIPT NOTES: DEFINITIVE OCELOT EDITION

[All machine translated. Taken from MGS3 scenario book. Comments in square brackets were added by me.]

FIRST ENCOUNTER AT RASSVET

距離はかなりある。 スネークをザ・ボスと間違う程。

The distance is considerable. So much so that he mistakes Snake for The Boss.

早撃ち。 撃つごとに肘を曲げ、リコイルの衝撃を吸収する。 (オーバーアクションにみえるが、高等テクニック)

Rapid firing. Bends his elbow after each shot to absorb the shock of recoil. (This may look like overacting, but it is a high level technique)

オセロットは大佐から聞いているので、ザ・ボスだと思っている。 オセロットの言葉「伝説の ボス」の意味には気づいていない。

Ocelot thinks he is The Boss because he has heard it from the Colonel. He is unaware of the meaning of Ocelot's term "The Legendary Boss".

「なんだ? その構え方? その銃は?(麻酔銃か?)」

"What the hell? What's with the way you're holding yourself? What's with the gun? (Is that a tranquilizer gun?)"

目の前にマガジンとジャムっていた運命の弾丸が落ちてくる。この弾丸を本編では首からぶら 下げる事になる。いつも弾を弄るのが癖。

The bullet of fate, jammed in the magazine, falls in front of him. This bullet is to be hung from his neck in the main story. He always has a habit of fiddling with the bullet/playing with bullets.

負け知らずだったオセロット、信じられない。自尊心崩壊。

Ocelot, who had never lost, can't believe it. Self-esteem collapses.

スネーク、銃口をオセロットに向け、冷徹に話す。教官のように。

Snake, muzzle pointed at Ocelot, speaks coolly. Like an instructor.

スネーク

「(見真似で流行りの技術を使おうとする若者を見て一言いいたくなった) 初弾を手動で排していたな。 考え方はおかしくない。 だが、聞きかじっただけ の行為を実戦で試すもんじゃない。だから弾詰まりなど起こすんだ」

Snake: "(I wanted to say something when I saw a young man trying to use trendy technology by imitation.) You manually ejected the first bullet. The idea is not strange. But you shouldn't try out in battle what you've only heard about it. That's why you get jammed bullets."

オセロットはこの時の強烈すぎる屈辱でスネークに惹かれる。 またこの時のセリフをMGS1 のATで言う。

スネーク

「だが早撃ちは見事だった･･･いいセンスだ」

オセロット

「いいセンス･･････」

―オセロット、動揺し、そこで気絶する。

Ocelot is drawn to Snake because of the intense humiliation/disgrace at this time. He also says the line at this time in the AT [?] of MGS1.

[惹かれる - to be charmed by; to be attracted to; to be taken with; to be drawn to]

Snake: "But the quick shot was brilliant... good sense."

Ocelot: "Good sense..."

Ocelot, upset, faints there.

[動揺 - disturbance; unrest; agitation; excitement; commotion; turmoil; discomposure; feeling shaken]

IN THE HELICOPTER

[Couldn't find anything very interesting here but included some lines anyway.]

ヘリ内(ハインド)のカーゴ内には大佐とオセロット、 山猫部隊。 オセロットは元気なく、ジ ヤミングしたマカロフと弾丸を見つめている。

In the cargo of the helicopter (Hind) are the Colonel, Ocelot, and the Wildcat Unit. Ocelot is in low spirits, staring at the jammed Makarov and bullet.

大佐の狂気の行動にショックが大きい。

Colonel fires. Ocelot is shocked by the madness of the Colonel.

SECOND ENCOUNTER AT RASSVET

オセロット

「(嬉しそうに)その構え、その構えだ(見たかった)」

スネークに会えてかなりうれしい。

恍惚のオセロット。EVAは身体をよじって逃げようとする。

Ocelot: "(Looking happy) That's the stance, that's the stance (I wanted to see)." He is quite happy to see Snake. Ocelot is ecstatic; EVA twists and turns to escape.

スネーク

「確かにいい銃だ。だが、その彫刻は何の戦術的優位性もない。実用と鑑賞用は 「違う」

オセロット

「･･････ (かなり傷ついた)」

Snake: "It's a nice gun, to be sure. But the engravings have no tactical advantage. There is a difference between utility and appreciation."

Ocelot: "... (quite hurt)."

リボルバーには残弾がなくなっている。マカロフが8+1なので6発で空撃ち! マカロフに

慣れていたのでうっかりしていた。

The revolver has no more ammo left. The Makarov is 8+1, so 6 rounds and empty! He was so used to the Makarov that he was careless.

スネーク、説教を続ける。

Snake continues preaching.

二度の失態に苦い顔。さらにスネークが好きになる。

Two blunders and a bitter face. He likes Snake even more.

手でEVAを制するスネーク。

スネーク

「待てっ!(オセロットが好きになりだしている)」

EVA

「どうして?」

スネーク

「奴はまだ若い」

Snake controls EVA with his hand. Snake: "Wait! (He is starting to like Ocelot.)" EVA: "Why?" Snake: "He's still young."

BOLSHAYA PAST CREVICE

実はザ・ボスはCQC時に発信機を付けた。 コブラ部隊はこの発信機のおかげで先回りしている (発信機情報を頼りにオセロットや蛇軍団は待ち受けている)。

The Boss attached a transmitter during CQC. Cobra forces are ahead of him thanks to this transmitter (Ocelot and the Cobra Unit are waiting for him, relying on the transmitter information).

オセロット

「やはり来たな。 ザ・ボスの情報 (発信機)は確かだ」

Ocelot: "I knew you'd come. The Boss' information (transmitter) is solid."

―顎でスネークの背後を示す。 と、スネークの背後(エリアの入り口) 山猫部隊が塞いでいる。 山猫部隊が見張っている。つまりはスネークとオセロットのタイマン勝負の環境を作っている。 山 猫部隊はスネークにAKを向けている。GRUの一般兵士、 コブラ部隊に邪魔されない、通れないように見張っている。

編注:製品版では合図が猫の鳴きまねに変更されている。また、山猫部隊がスネークを、GRUの一般兵士が森の入り口を見張るような配置をする。

He indicates behind Snake with his chin. And behind Snake (entrance to area), the Wildcat Unit blocks. The Wildcat Unit is keeping watch. In other words, they are creating an environment for a one-on-one match between Snake and Ocelot. Wildcat Unit has AKs pointed at Snake. General soldiers of the GRU, watching to make sure they are not interfered with or passed by the Cobra Unit. Editor's note: In the production version, the signalling has been changed to a cat meow. In addition, the Wildcat Unit should be positioned to guard Snake and the GRU general soldiers to guard the entrance to the forest.

オセロット「12発だ･･････いいか、今回は12発だ」

スネーク、戸惑う(銃を抜かない)。 オセロット、見事なガンプレイで銃をホルスターに戻す。かなり銃が手に馴染んできている。 オセロットらしさが光る。

Ocelot: "Twelve shots... Okay, twelve shots this time." Snake, confused (does not draw his gun). Ocelot, with excellent gunplay, puts the gun back in its holster. The gun is becoming quite comfortable in his hand. Ocelot's character/essence shines through.

一蜂の大群が来襲! 蜂は暗雲となり、空を包む。辺りをすっぽりと包む。夜のように暗くなる。 山猫部隊パニックに陥る。ここではまだペインは出さない。蜂が山猫部隊に襲う。 スネーク、姿勢を低くして蜂の来襲に備えている。 オセロット、たまらない!

A swarm of bees attacks! The bees become a dark cloud and envelop the sky. It completely envelops the area. It becomes dark as night. The Wildcat Unit panics. The Pain is not released here yet. The bees attack the Wildcat Unit. Snake, keeping his posture low, preparing for the bees to attack. Ocelot, irresistible!

オセロット

「(ふん、ふん、えい、えい等、蜂をよける息)」

オセロット、ガンプレイで蜂をよける。

Ocelot: "(Damn, damn, ei, ei, etc. breath to repel bees)

[I think えい is onomatopoeic. One website says this: (1) *son of a bitch!*; (2) *shriek* *aiiee!* Yelled when getting down to serious physical business.]

Ocelot, dodging bees with gunplay.

PONIZOVJE WAREHOUSE

ザ・ボス

「勝手な真似はするな(クレバスでの事)」

ザ・ボス、リボルバーをオセロットに見せる。

ザ・ボス

「奴(スネーク)は我々コブラ部隊が処理する」

ザ・ボス、手の中のリボルバーをバラバラにして返す。対面するザ・ボス。(母親と息子)

オセロット、怒って去っていく(基地に入っていく)。

The Boss: "Don't do anything rash (in the crevasse)." The Boss shows the revolver to Ocelot. The Boss: "We'll take care of him (Snake) with our Cobra Unit." The Boss returns the revolver in his hand in pieces. The Boss faces him. (Mother and son.) Ocelot, leaving angrily (entering the base).

GROZNYJ GRAD

大佐

「必ず内部にスパイがいる」

オセロット

「同志を疑うなど(自分がフルシチョフ派のスパイなので)」

Colonel: "There is always a spy on the inside." Ocelot: "I don't doubt my comrades (since I am a Khrushchevite spy)."

大佐

「CIAの犬め!」

大佐

「残るはザ・フューリーのみか......。伝説のコブラ部隊がいとも容易く……」

オセロット

「(うっとりと。つい本音を言ってしまう) さすがだ･･････」

右手でリトルジョーを回している。 大佐、 オセロットをキッとにらむ。

大佐

「惚れたのか?」

ボス、白い馬に近づく。

Colonel: "CIA dog!" Colonel: "Only The Fury remains... The legendary Cobra Unit is easy..." Ocelot: "(Enraptured/absentmindedly/in a daze. I can't help but say how I really feel.) As expected..." He spins Little Joe [The Fear's crossbow] with his right hand. Colonel, glaring at Ocelot. Colonel: "Are you in love?" Boss, approaching on white horse.

オセロット、つまらなそうに基地内へ。

と、EVAの背後を通り過ぎようとして立ち止まる。

オセロット 「ん?」

鼻をひくひくさせる。EVA、緊張して一歩下がる。

オセロット

「(鼻をひくひくさせる音)」

オセロット

「香水か?(どこかで嗅いだ臭い)」

EVAに近づき、全身をジロジロと見る。右手でリトルジョーをくるくる回している。

オセロット

「ふむ(思い出せない) ••••••」

EVAの足下、バイク用の編み上げブーツを履いている。着替える時間がなかった。

もしくはゴーグルを首にかけていてもいい。

リトルジョーの矢先をEVAの首筋にピタリと向ける。

オセロット

「いいブーツだ。ちゃんと磨いておけよ」

バイク用のブーツ、左足の甲がバイクのシフトペダルでEの字にかすれている? 乗り方が荒 いので激しいキズ、または特有のシフトチェンジ癖で独特の形になっている。オセロット、去ってゆく。ほっとするEVA。

Ocelot, looking bored, went into the base. And, trying to pass behind EVA, stops. Ocelot: "Hm?" Nose twitching. EVA, nervous, takes a step back. Ocelot: "(sniffing sound)" Ocelot: "Perfume? (I've smelled it somewhere before.)" Approaches EVA and stares at her. He is twirling Little Joe with his right hand. Ocelot: "Hm (can't remember)..." EVA is wearing laced up motorcycle boots. She didn't have time to change. Or she could wear goggles around her neck. Little Joe's arrow tip is pointed squarely at EVA's neck. Ocelot. "Nice boots. Make sure you polish them properly." Motorcycle boots, the back of the left foot is scratched in the shape of an "E" by the shift pedal of the motorcycle? The back of the left foot is scratched up into a distinctive shape due to rough riding, or a peculiar shifting habit. Ocelot leaves. EVA is relieved.

WEAPONS LAB WEST WING

ザ・ボス、顔を背けて、部屋を出る。

室内からスネークを殴打する音が響く。

戸口にオセロットが立っている。 恨めしい表情。

ザ・ボス、 オセロットと目が合う。

目をそらすオセロット。 ザ・ボス、去っていく。

編注:製品版ではザ・ボスはオセロットと目を合わせない。視線をさけるように去っていく。

大佐の暴行は続く。

スネーク、気絶する。FO。

The Boss, turning away, leaves the room. The sound of Snake being struck echoes from the room. Ocelot is standing in the doorway. Reproachful expression. [恨めしい - reproachful; hateful; bitter] The Boss makes eye contact with Ocelot. Ocelot looks away. The Boss leaves. Editor's note: In the production version, The Boss does not make eye contact with Ocelot. She leaves as if avoiding his gaze. Colonel's assault continues. Snake, faints, FO [?].

TORTURE

大佐、スネークに身体に電流を流す! 震えるスネーク。

スネーク

「(電撃をくらった悲鳴)」

やるせないオセロット。といいながらも大佐の電撃拷問に惹かれる。

Colonel, applying an electric current to Snake's body! Snake trembling. Snake: "(screams as he is hit by an electric shock)" Ocelot, unwilling to do anything about it. But he is drawn to the electric torture of the colonel. [惹かれる to be charmed by; to be attracted to; to be taken with; to be drawn to]

オセロット

「大佐の拷問に耐えたな」

オセロット

「耐え抜いた奴を見て初めてわかった。 (拷問も)悪くない」

オセロット

「究極の表現法だ」

Ocelot: "You survived the Colonel's torture." Ocelot: "I didn't understand until I saw the guy who endured it. (Torture) is not so bad." Ocelot: "It's the ultimate expression."

WATERFALL

スネーク 「! (意を決し、飛び込む気合)」

オセロット 「スネーク!(やめろっ!)」

スネークを失いたくないオセロット、悲痛の叫び

Snake: "! (Determined and ready to jump in)" Ocelot: "Snake! (Stop!)" Ocelot, not wanting to lose Snake, cries out in sorrow. [悲痛 - grief; sorrow; extreme sadness; heartbreak]

HANGAR AND VOLGIN FIGHT

スネークに向けてオセロットが自慢げに言う。

オセロット

「臭いだ。臭いでわかった」

スネークが口を開こうとすると、オセロットはそれを制して。

鼻をひくひくならすオセロット。

オセロット

「ガソリンの臭いだ。バイク用のな。女にガソリンの臭いが染みついていた」

Ocelot boasts to Snake. Ocelot: "It's the smell. I could tell by the smell." When Snake tries to open his mouth, Ocelot stops him. Ocelot, with his nose twitching. Ocelot: "It smells like gasoline. It's for motorcycles. The woman had the smell of gasoline all over her."

オセロット、感極まる。

オセロット

「この時を待っていた･･････待ちわびていた」

オセロット、2丁拳銃を回す。

スネーク、背後に向き直り、構える。

オセロット、リボルバーで「ダメダメ」の仕草をする。

Ocelot, overwhelmed. [感極まる - to be overcome with emotion] Ocelot: "I've waited for this moment... I've been waiting for this." [待ちわびる - to be tired of waiting; to wait impatiently]

去り際にスネークを見ると、大佐に見えないように、小さくガッツポーズ(やっちまえ)。

As he leaves, he looks at Snake and does a small guts pose so that the Colonel can't see him (Just do it!).

["Guts pose" is the gesture Ocelot does throughout the game.]

MOTORCYCLE CHASE

そこにあったバイク(サイドカーついていない)に飛び乗る。

近道するために大ジャンプ!! EVA同等のハイテク!

He jumps on a motorcycle (without sidecar) that was there. Big jump to take a shortcut!! High tech on par with EVA!

大佐は「あるスイッチ」を入れる。

シャゴホッド、変形してロケットブースターモード（フェイズ2）になる。

ロケットブースター全開！ ターボ音が轟く。

大佐、オセロットがブースター近くにいるのを知っている。

追いつこうとしていたオセロットに燃焼ブースターがもろにかぶる。

オセロット「（悲鳴)」

火傷するオセロット。罵る！ニヤリと微笑む大佐（対決の仕返し。

オセロット「ビッチ!(アメリカ人的に)」

思わず、米語で口走ってしまう。 やや道をそれるオセロット。 またしても遅れる。

The Colonel flips "a switch". Shagohod, transforms to rocket booster mode (phase 2). Rocket boosters at full throttle! The turbo sound roars. Colonel knows Ocelot is near the booster. The combustion booster is right on Ocelot's head as he tries to catch up. Ocelot: "(screams)." Ocelot getting burned. Curses! The Colonel smirks (payback for the confrontation). Ocelot: "Bitch! (American) Instinctively, he blurts out in American English. Ocelot slightly off the road. Delayed again.

WIG

静かにオセロット告白。

オセロット

「おまえと最後の勝負がしたい」

オセロット、首にぶら下がったジャム弾を指さす。

了解するスネーク。

スネーク

「いいだろう」

Ocelot confesses calmly/quietly. Ocelot: "I want to have a final match/play a final game with you." Ocelot, pointing to the jammed bullet hanging around his neck. Snake, understanding. Snake: "Alright."

騎士道を感じて、名前を聞くオセロット。 Ocelot, feeling chivalrous, asks his name.

[If you choose the loaded gun but don't fire:]

オセロット

「なぜ撃たなかった?」

オセロット、ピュアな笑み(友情)を浮かべる。

オセロット

「･･････まあいい」

Ocelot: "Why didn't you shoot?" Ocelot, pure smile (friendship). [友情 friendship; fellowship; camaraderie] Ocelot: "...Well, okay."

[If you choose the loaded gun and fire at Ocelot:]

撃つスネーク。銃口から硝煙が上がる。

オセロットはなんともない。

オセロット、両手を上げて笑う。

オセロット

「空砲だ。 楽しかった」

オセロット、ピュアな笑み(友情) を浮かべる。

Snake shoots. Gunshot smoke rises from the muzzle. Ocelot is fine. Ocelot raises his hands and laughs. Ocelot: "Blanks. That was fun." Ocelot, pure smile (friendship). [友情 friendship; fellowship; camaraderie]

RADIO CONVERSATIONS

[Radio conversations in the original Japanese script don't seem to vary much from the official English translation but some lines have direction notes that add some extra info.]

【On the Admonitory Speech to Ocelot】

【オセロットへの訓示について】

Pメディック

「さっきのお説教は何?」

P-Medic: "What was that sermon you were giving earlier?" [Included this because of the word "sermon", which hints at the dynamic between Ocelot and Snake. Snake is also described in the second Rassvet encounter as "preaching".]

Pメディック

「彼は敵でしょう? どうしてそんなアドバ イスをするの?」

スネーク

「...... (本当になぜだか分からず考え込む)」

Pメディック

「スネーク?」

スネーク

「………どうしてだろうな。なぜだか放っておけなかった･･････」

Pメディック

「(意味のわからないことを言い出したので ちょっと心配になった) スネーク、あ なた大丈夫?」

スネーク

「…………ああ······(まだ考え込んでいる)」

P-Medic: "He's the enemy, isn't he? Why are you giving him advice like that?" Snake "...(pondering, not really knowing why)" P-Medic: "Snake?" Snake "...I don't know why. I couldn't leave it alone for some reason..." P Medic: "(I was a little worried when he started saying things that didn't make sense) Snake, are you alright?" Snake: "...Hm... (still pondering)"

【Letting Ocelot Escape】

【オセロットを逃がしたこと】

EVA

「ところでスネーク、なぜオセロットを逃

がしたの?」

スネーク

「言っただろう」

EVA

「まだ若いから?」

スネーク

「ああ」

EVA

「答えになってないわ」

スネーク

「そうか?」

EVA

「ええ」

スネーク

「……そうかもしれんな (本人もなぜ助けて

しまったのか、まだよくわかっていない)」

EVA: "By the way, Snake, why did you let Ocelot go?" Snake: "I told you." EVA: "Because he's still young?" Snake: "Yeah." EVA: "That's not an answer." Snake. "Really?" EVA: "Yes." Snake: "...Maybe so. (I'm still not sure why I helped out, either.)"

Pメディック

「スネーク、「荒野の用心棒 (For a Fistful of Dollars)」って知ってる?」

スネーク

「いや、知らないな」

Pメディック

「イタリア製の西部劇よ」

スネーク

「(怪訝) イタリアの? さしずめマカロニ・

ウエスタンだな」

Pメディック

「かっこいいのよ。主人公のガンさばきな

んて特に」

スネーク

「ガンさばき······(オセロットを想起)」

Pメディック

「私は少佐に教えられてイギリスで観たんだけど、本国ではまだ公開されていないの」

Pメディック

「でもあんなに格好いいんだもの。きっと 観られるようになるわ。 スネークも必ず観てね」

スネーク

「ああ」

P-Medic : "Snake, have you ever heard of 'For a Fistful of Dollars'?" Snake: "No, I don't know it." P-Medic: "It's an Italian western." Snake: "(Puzzled [怪訝 - puzzled; perplexed; quizzical; dubious; suspicious]) Italian? It's a macaroni western [spaghetti westerns are called macaroni westerns in Japan]." P-Medic: "It's cool. Especially main character's gunslinging." Snake: "Gunslinging...(reminds me of Ocelot)" P Medic. "I saw it in the UK after the Major told me about it, but it hasn't been released at home yet." P-Medic: "But he's such a cool guy. I'm sure you'll get to see it. Make sure you watch too, Snake." Snake: "Hm."

【Food Missing From Equipment】

【装備から食糧が消えている】

EVA

「あなたと同じものを食べてみたかったらし いわ(スネークにあこがれるがゆえの行動)」

スネーク

「どういうことだ?」

EVA

「わからない?」

スネーク「ああ」

EVA

「朴念仁」

スネーク

「......??? (全くわかっていない)」

EVA: " He wanted to try the same things you did (actions due to longing for Snake)." [憧れる - to long for; to yearn after; to admire; to be attracted by] Snake: "What do you mean?" EVA: "Don't you understand?" Snake "Hm." EVA: "[朴念仁 - 1. quiet unsociable person​ 2. obstinate person; blockhead]" Snake: "...??? (I don't understand at all)"

[pera--roja]

Yellow Is Gone

This is just an AU I have from a rol of Twitter. In summary, it is about how Yellow dies due to certain circumstances and Rassvet, his child, assumes the position of primary, being the new "Yellow".

Yellow at the whim of a god, she is denied death and uses her body as a doll.

[propalahramota]

Oh yes, the famous billionaire Igor Berkut, who is not a billionaire by any margin in any currency but has an international arrest order on him, so that's nice; also has 9 fake passports, wrote a bad fiction book that flopped, a great geopolitical understander who prophesied several times that Turkey would invade Ukraine any time now, a certified putin fan boy, a lesser meme who became such thanks to his brilliant TV interview about an obscure diplomatic incident, where his version of events involved eight German police officers drunk on Albanian schnapps, Terminator, and alcohol free beer.

[katarinas-redemption]

[mountainspirit]

[vestaignis]

Рассвет в горах завораживающие зрелище в любое время года. Dawn in the mountains is a fascinating sight at any time of the year.

Источник:t.me/+HLoqW4OcT5VjZjM6,//wallpapers.99px.ru/wallpapers/tags/gori/solnce/?cp=107, /bangkokbook.ru/zametki/rassvet-i-gory-94-foto.html//sportishka.com/dostoprimechatelnosti/58197-rassvet-v-gorah-zimoj.html, //www.1zoom.ru/s, /wallpapers.99px.ru/wallpapers/download/160525/, /www.goodfon.ru/landscapes/wallpaper-gory-solnce-rassvet.html/.

[satthirasstrikes]

Was slammed with work, so it took some time to finish this piece, but I dig it.

Sumerki & Rassvet going for a morning run! This is the precursor to the piece featuring the golden wolf later. You’ll notice that it’s different with the lighting, I’ve been experimenting with creating the different times of day.

(Music: On My Way, Brother Bear)

[hylaversicolor]

the big eva and ocelot meta, or: how to use religious iconography and symbolism in a godforsaken, cunt serving, and incredibly transgender way

this meta started out as a way for me to learn more about ocelot by looking at eva. and then it turned into the opposite, i guess. because ocelot never, ever speaks directly about his motivation, except for one time at the beginning of mgs2 when he says he’s glad sergei noticed that he’s abandoned mother russia, and even then he hides through ambiguous wording and camera angles. (x) everything else we learn about ocelot is from other characters or is obfuscated by conflicting personas or both. we know why he does what he does (he was obsessed with big boss, eva says) yet he doesn’t state this in his own words. but you can use eva to analyze ocelot, and vice versa. during mgs3 they are both mysterious philosopher agents with ties to the book of genesis sent to help snake on his mission, often with nearly identical dialogue. (x, x) so in mgs3 when eva says “snake, huh. well, i’m eva… are you here to tempt me?” we can assume ocelot feels something similar. when eva says “don’t die on me” at rassvet, we’re meant to remember that moment when ocelot says the same thing to snake in the sewers, many scenes later. and when eva says “when i’m riding, the wind hits me so hard that it hurts. that pain keeps my mind off the pain of having to be someone else. it's not easy always fooling myself like this. it's only when i’m on the bike that i’m free to be the real me.” it’s in the back of our minds when ocelot also rides a bike later on. of course they are not exactly alike; the bike means something different to eva than it does to ocelot, and besides, ocelot is younger, less experienced, more hotheaded. eva, for all her cleavage, is reserved.

taking a detour for a moment to address the ocelot drag king thing that went around twitter recently. shinkawa and kojima noted that mgsv ocelot’s design was meant to inspire such questions from the player “like ‘is that a man or a woman, a woman dressing as a man’ kind of thing,” or “something like takarazuka” (x), japanese western-style theater “with all-female performers” (x). here’s a passage from jennifer robertson’s “the politics of androgyny in Japan: sexuality and subversion in the theater and beyond,” describing tarakazuka:

The femininity embodied and enacted by the musumeyaku serves as a foil for the masculinity of the otokoyaku. Much of the training of the Revue actors involves learning a vocabulary of gendered gestures, movements, intonations, speech patterns, and the like. An otokoyaku, for example, must stride forthrightly across the stage, her arms held stiffly away from her body, her fingers curled around her thumbs. In contrast, a musumeyaku pivots her forearms from the elbows, which are kept pinned against her side, constraining her freedom of movement and consequently making her appear more "feminine." In keeping with the patriarchal values informing the Takarazuka Revue, musumeyaku have represented the fictional Woman with little if any connection to the actual experiences of females. The otokoyaku, however, have been actively encouraged to study the behavior and actions of men offstage (as well as in films) in order to more effectively idealize men on stage, be they samurai or cowboys. Personal or contrary motivations and desires aside, both musumeyaku and otokoyaku are the products of a masculinist imagination in their official stage roles. (American Ethnologist, August 1992, vol. 19, issue 3, pg 423)

if, like all things with ocelot, we take this concept and run with it to eva, then ocelot is the takarazuka otokoyaku and eva is the musumeyaku. it’s all a performance. it’s all camp.

ocelot performs masculinity. he is (arguably) a gay character who lives and breathes his own interpretation, informed by the spaghetti westerns he watched and absorbed as a teenager, of the most idealized embodiment of western masculinity in existence: the american cowboy. his movements, his bravado, his persona are all exaggerated in mgs3. but his performance is also a mask behind which he hides his true self. ocelot physically conceals his whole body; his red gloves are his trademark. eva, by contrast, shows off her body. but while ocelot hides himself by hiding his skin, eva hides herself - crucially - by showing skin. and while ocelot's whole Cowboy Thing is him performing a fantasy version of masculinity, the opposite is true for eva. she is performing femininity just as much as ocelot is performing masculinity, only instead of playing a western cowboy dandy, she’s doing an over-exaggerated femme fatale. they are both acting. they are both camp. ocelot’s masculinity is rooted in westerns; eva’s femininity is, presumably, rooted in whatever charm school training the philosophers must have given her.

this juxtaposition informs the way their roles play out throughout the course of snake eater. ocelot can go off and do whatever; he has more freedom by taking on the persona of a man. eva is more limited in her performance, confined to a pseudo-caregiver role. she must support snake, care for him, give him food items. during the interrogation scene she is the one who is forced to step in and intervene, because out of all the players in the room, the personality she’s crafted for her role is most suited to sensitivity to snake’s torture. (x) she uses her vulnerability to exploit her enemies, turns people’s preconceived notions about her against them. ocelot and volgin both underestimate her; when she successfully evades volgin on the bike, and bests ocelot in hand to hand combat, these are not traditionally feminine activities, yet they are the things she truly excels at. also ocelot has had everything put together for him, even if he doesn’t see this. (x) he has been given incredible privilege at a terrible price. eva doesn’t even have that privilege. she is working to support snake completely on her own.

yet even though eva is unfailingly on snake’s side throughout the game, helping him, giving him items, often physically close to him, seducing him, etc., she betrays him in the end. ocelot is the opposite. he is farther away; he often watches rather than intervenes when snake is in trouble. it’s not obvious that he’s been on snake’s side the whole time. and yet by the end of the game, where eva (who had gotten the closest to him) betrays snake, ocelot (who had been farther away) does not. this speaks to mgs3’s theme of “there is no such thing as a timeless enemy” - also because after the events of the game, snake and eva (though parting ways as enemies) end up as allies again, and eva and ocelot, who had been enemies in the game, become allies as well, and remain allied for life.

ultimately, due to eva’s role being confined to a traditionally feminine one in mgs3, ocelot emerges as a more compelling character. behind that femme fatale persona, though, there is a lot going on. a lot of it, i think, relates to the way eva was raised as a charm agent. as a result of her philosopher training, she can only think of human relationships in absolutes. she equates sex and love in her mind and cannot conceptualize ambiguity:

eva: do you love her? snake: no, nothing like that. eva: do you hate her? snake: does it have to be one or the other - love or hate? eva: between a man and a woman? you bet. […] eva: you were interested in the boss. snake: she was different. eva: really? how do you feel about me? snake: i should be asking you the same question. eva: me? i can fall in love - if it's part of the mission. even with you.

this is meant to be a callback to mgs1, but it’s also eva in her element, in action, working. she unzips her top as she says these lines, revealing her breasts. there’s some meta commentary here about eva fooling or charming the player, using her own sexuality as a weapon, but still being objectified nonetheless because kojima wrote her to do this. in the context of the game, yes this is eva acting of her own accord, molding her appearance and mannerisms to appeal to her target, but she is doing so as a result of philosopher training. this isn’t eva’s true self, not really. the only place she feels free to be her true self is when she’s on her bike, with the wind hitting her so hard “that it hurts.” we see eva performing increasingly risky bike stunts as mgs3 goes on. i think the stress of playing her role only continue to increase as time went on throughout operation snake eater. but not because of being forced to fool john: i think she took some pleasure in that. rather:

eva: the boss was the only one i couldn't fool. she was the only one who knew i was a fake. she told me everything. why did she open her heart to me like that? at the time, i couldn't understand it. but now I think I do. snake, she wanted you to know the truth. she chose me to tell you. that's why she saved my life. i’ve lied to you so many times, but not this time. my orders from the government were to obtain the legacy and to eliminate everyone who knew the truth about what happened. in other words, I'm supposed to kill you. but i can't do it. not because we loved each other. and not because you saved my life. but because i made a promise to the boss… and i intend to keep it. i just wanted you to know. and… you have to live.

because the boss was the one person to understand her, to look at her and see that at her core, she, like ocelot, is the embodiment of a 404 error. but this lack of self, or lack of recognition of the self, ironically, is what makes her human. the boss looks at her and instantly sees that the only way she can feel anything at all is to ride her bike so hard that the wind hurts her. she sees the pain of having been transformed into a blank slate by the philosophers, ready and willing for anyone’s preconceived notions of femininity to be projected onto her, because the boss went through the same ordeal - but unlike eva, whose earliest memories are presumably of philosopher charm schools, the boss did not start as a blank slate. she had a life, a personality, a family first, and had all that taken away in order for higher powers to reduce her to something malleable and ready to be manipulated for the sake of nations and empires. the boss is eva’s connection, her lifeline from the sterile, casually cruel world inhabited by the children of the philosophers, to the emotions and the messiness and the nuance embodied by the rest of humanity. and this connection goes doubly deep because the boss probably encountered eva in one of the philosopher charm schools while searching for her own son, who she knew had to be at a philosopher facility too.

and by choosing eva as the one to pass on her message to snake, the boss gives eva’s life new meaning, a renewed sense of humanity. in eva’s mind now the boss and snake are connected. she is part of that love the boss had felt for snake, and she inherits it by proxy. i don’t think she loved john as a human being, at least not during mgs3. even after mgs3, i don’t think she comes to understand this connection that the boss and snake had, but she still clings to it. and i think that, just like ocelot who was far away and fixated on snake, once eva is the farthest away that she’s ever been from snake at the end of mgs3, now she becomes fixated on him too. just like ocelot, snake represents humanity to her. their connection is less about love and more about trying to make sense of her own emotions, her personhood. the boss endures and haunts eva into perpetuity because i think she is a reminder of what eva could have had.

big mama: your father never wanted you. i’m sorry. human life isn’t meant to be manipulated like that. i knew that. but—i wanted you.

eva allows her own pursuit of humanity to convince her to do inhumane acts. we know ocelot joined the patriots to stay close to john (the same reason he eventually joined foxhound). eva joined the patriots, i think, because staying close to john brought her closer to the boss. that, i believe, is the reason she wanted the kids so badly. eva in mgs4 is motivated by guilt. we can see that she takes in war orphans as the leader of the paradise lost army (ironically facilitating the creation of more child soldiers, and perpetuating the vision of the philosophers even as she’s trying to dismantle their legacy). in mgs3, eva and ocelot are a pair of young philosopher spies aiding naked snake. in mgs4, eva and ocelot are a pair of aging ex-patriot spies from another time forcibly dragging the past along with them into the present. they both mistake solid snake for naked snake in semi-lucid moments; they share similar last words; they both are ultimately killed by foxdie. they kill and steal and lie and torture and maim, but in their minds it’s all out of necessity. take this analysis of paradise lost by john leonard:

The hostility of Chaos raises troubling questions about God. If God is good, all-powerful, and the ultimate source of matter […] how can we account for the existence of an evil Chaos? An evil Chaos would suggest either that God is not good or that he is not all-powerful. Many critics try to get around this problem by arguing that Milton’s Chaos (despite appearances) is not evil but good. (Introduction, Paradise Lost, Penguin, 2003)

zero, by mgs4, is the alpha and the omega. he has surpassed the limitations of his moral body and become an all-seeing, all-knowing system of AIs: in the metaphor of adam, eve, and the snake, zero is god. we can see that eva feels somewhat complicit in this transformation: “zero created the patriots to manage and control the american state […] but i am partly to blame. i bear some of the guilt for creating the organization.” ocelot’s feelings are less apparent.

back to the beginning of this essay: ocelot only explains himself once throughout the entire game series, and while he does, the camera conceals his face. importantly, his red gloves are gone in mgs4. his black gloves show us that this isn’t ocelot anymore. but since his fingers are uncovered, we can infer that ocelot is in there somewhere and he is speaking his truth. so when liquid says “cigars… father's favorite.” that’s really ocelot (with the cigar blocking his face…there’s so much in that) saying “cigars…john’s favorite.” when liquid says, “snake, we were created by the patriots. we're not men: we're shadows in the shape of men. […] the patriots saw fit to create us, and in doing so became our only raison d'etre […] so long as we both live, the world will not know an age of light […] the only choice left to us is death." that is ocelot saying “when i saw what the patriots had done, my only reason to exist became to take them down.” when liquid screams “do you see this, zero?” that is 100% ocelot saying, “watch us, zero, we’re going to undo everything you did to john.” and when liquid gives this odd, regretful glance after the confrontation at the river, (x) i think that is ocelot reacting (albeit late) to eva saying, “adam…” a scene prior.

john: ocelot and eva wanted two things…to bring me back to life, and to end the patriots. […] for me, and for them […] nothing was more important.

in the words of steak bentley, mgs4 shouldn’t have been about big boss. (x) i agree. forcing everything to connect back to big boss and to zero shrinks the universe, imbues the story with this weird predestination, makes everybody’s contributions to the plot feel less significant, weakens both mgs4 and mgs3 in hindsight by showing the writers’ lack of faith in their new material.

but you can also look at it in a meta sense of ocelot and eva saying “this story’s not done yet, i’m still going to get revenge on big boss’s behalf. this is going to be about big boss whether you all like it or not.” metal gear solid 4 is really the story of two people who loved big boss so much and carried so much guilt over the part they played in zero’s betrayal that they created this entire overly convoluted plot to make john relevant again. the irony of it is that if they had just let him fade into obscurity (the first time, after snake eater) the LET project might not have even happened at all. by mgs4 i think they both recognized this. and yet they continued to drag it out - understanding, i think, on some level, that they were doing it all essentially for nothing. and through eva and ocelot’s actions, john ends up getting….not exactly a redemption, but at least closure. i don’t know if it’s warranted or even deserved, but he gets it nonetheless. and still eva and ocelot spend most of their time away from big boss and die without seeing him again. the thought that john would be able to survive, that he would endure and live and reconcile with solid, get one final moment of “i understand.” at the boss’s grave - this kept eva and ocelot going for decades.

by the start of mgs4, for eva and ocelot, everyone else is gone. john is out of their reach, the boss has been dead for fifty years, they killed the rest of the patriots themselves after zero betrayed john. the kids that eva had wanted, too, are no good, since liquid is already gone and solid needs to die in order to bring the cycle to a close. the only way they can access their own humanity (that ocelot had found in snake and eva had found in the boss) is through clinging to each other.

big mama: naturally, ocelot and i planned to free [john] from zero's prison. we enlisted naomi hunter, an authority in the field of nanomachine research, into our organization. and we used frank jaeger to kill dr. clark. ocelot tortured the DARPA chief, donald anderson - also known as sigint - to death…and made it look like an accident. […] with para-medic and sigint dead, zero was the only one left. but we, too, paid a price. i lost ocelot. ocelot wasn't fighting for the pentagon, or the russians. and certainly not for zero. he was fighting for big boss. he idolized him.

[crotovane]

Rassvet