#companion animal industry

[ranger-kellyn]

idk if i'll ever actually make anything of it, but i have to admit i AM enjoying jotting ideas down for an original avatar story

[animal-care]

The Booming Global Animal Health Market

Market Overview

The global animal health market has experienced remarkable growth, with the market size reaching a substantial value of $62.4 billion in 2023. This robust market performance is projected to continue, with the market expected to grow at a Compound Annual Growth Rate (CAGR) of 9.0% from 2024 to 2030, ultimately reaching a market size of $97.5 billion by 2030.

Regional Dynamics

The Animal Health Market is geographically diverse, with North America holding the highest market share of around 32% in 2023. This can be attributed to the wide range of definitive measures adopted by government and animal welfare organizations in the region, promoting animal health and welfare. Other key regions contributing to the market's growth include Europe, Asia-Pacific, and Latin America, each with their unique market dynamics and growth drivers.

Market Segmentation

The animal health market can be segmented based on various factors, including distribution channels, animal types, and product categories. In terms of distribution channels, the market is dominated by the retail segment, accounting for the largest market share, followed by e-commerce and hospital/clinic pharmacies. By animal type, the market is further divided into production animals, such as poultry, swine, and cattle, as well as companion animals, including dogs, cats, and horses.

Key Players and Competitive Landscape

The animal health market is characterized by the presence of several major players, including Zoetis, Ceva Santé Animale, Merck & Co., Inc., Vetoquinol S.A., and Boehringer Ingelheim GmbH. These companies have established strong brand recognition, extensive product portfolios, and global reach, contributing to their dominant position in the market.

Drivers and Trends

The growth of the animal health market is driven by several key factors, including:

Rising animal health expenditure: Increased spending on animal healthcare, driven by the growing awareness of animal welfare and the need for preventive care.

Prevalence and incidence of animal diseases: The increasing prevalence of zoonotic diseases and the need for effective treatment and prevention measures.

Concerns over zoonoses: The growing focus on addressing the risks of diseases that can be transmitted from animals to humans.

Initiatives by key companies: Investments in research and development, product innovation, and strategic partnerships to expand market presence.

Pet humanization: The trend of treating pets as family members, leading to increased spending on their health and well-being.

Opportunities and Challenges

The animal health market presents a range of opportunities and challenges for industry stakeholders:

Opportunities:

Expansion in emerging markets: Developing economies, such as Asia-Pacific and Latin America, offer significant growth potential due to rising pet ownership and increasing awareness of animal health.

Technological advancements: The integration of digital technologies, such as telemedicine and data analytics, can enhance the delivery of animal healthcare services and improve overall market efficiency.

Sustainable product development: The growing emphasis on environmental sustainability and the development of eco-friendly animal health products can create new market opportunities.

Challenges:

Regulatory compliance: Navigating the complex regulatory landscape, particularly regarding the approval and marketing of animal health products, can be a significant hurdle for industry players.

Pricing pressures: Intense competition and the need to balance affordability with profitability can create pricing challenges for market participants.

Supply chain disruptions: Disruptions in the global supply chain, such as those caused by the COVID-19 pandemic, can impact the availability and distribution of animal health products.

Conclusion

The global Animal Health Market is poised for continued growth, driven by the increasing demand for animal healthcare, the prevalence of animal diseases, and the growing focus on pet ownership and welfare. By leveraging their expertise, technological capabilities, and strategic partnerships, industry players can capitalize on the opportunities presented by this dynamic market and address the challenges to drive long-term success.

[juanvmartinez2024]

Tailored Care for Furry Friends: Companion Animal Pharmaceuticals Market delivers specialized treatments for pets, addressing their unique healthcare needs and enhancing the well-being of beloved animal companions worldwide.

[jadeannbyrne]

Of Midnight Oil and Modern Marvels: Jade's Fuel-Filled Odyssey

In the quiet hours of the night, beneath the fluorescent glow of the gas station canopy, my story intertwines with the hum of the American heartland. As a nocturnal guardian of the pumps during my college years, I shared whispers and laughter with the ghosts of Route 66, all while my heart pledged allegiance to the noble colors of Royal Dutch Shell. “Wij zijn meer dan vrienden, we zijn familie,”…

[crop-protection-market]

Exploring the Animal Care Market: A Global View of Share, Growth, and Future Outlook

The Animal Care Market, a domain driven by compassion and dedication, plays a vital role in safeguarding the well-being of our cherished animal companions. This comprehensive overview dives into the intricacies of the Animal Care Market, encompassing analysis, demand dynamics, growth projections, challenges, and emerging trends.

Compassionate Care: Unveiling the Landscape of the Animal Care Market

Beyond being an industry, the Animal Care Market is a testament to our commitment to providing optimal care for our diverse animal companions. Analyzing its multifaceted nature reveals the delicate balance between technological advancements, regulatory compliance, and the unwavering dedication of caregivers. The Global Animal Care Market Size is poised to reach USD 100 billion by 2025, reflecting a compounded annual growth rate of 6%. Notably, the Asia-Pacific region leads the way, holding a substantial 35% share of the total market revenue.

Meeting the Demand: Addressing the Needs of Pets and Livestock

Understanding the demand dynamics within the Animal Care Market is pivotal for stakeholders aiming to cater to the diverse needs of both pet owners and livestock producers. The surge in pet adoption, evolving pet humanization trends, and a growing awareness of preventive veterinary care collectively drive Animal Care Market Demand. Additionally, rising concerns about zoonotic diseases and the push for sustainable livestock practices significantly contribute to the demand for animal health products. Remarkably, pet owners in North America annually invest an average of USD 1,200 in veterinary care and related products.

Forecasting a Brighter Future: Growth and Outlook of the Animal Care Market

Navigating the trajectory of growth and forecasting future trends is essential for stakeholders contributing to the positive development of the Animal Care Market. The Animal Care Market Outlook is optimistic, fueled by sustained demand for advanced veterinary services, pet insurance, and innovative healthcare products. Government initiatives promoting animal health and welfare further contribute to this positive growth outlook. The Latin American region is anticipated to experience the highest growth rate in the Animal Care Market, with a projected CAGR of 8% over the next five years.

Revenue Realities: Illuminating the Financial Landscape of Animal Care

Delving into the revenue aspects of the Animal Care Market unveils the economic viability of the industry and the financial considerations influencing stakeholders. The Animal Care Market Revenue is diverse, spanning veterinary services, pet products, and pharmaceuticals. The uptick in pet ownership, coupled with an increased willingness to invest in premium pet products and services, significantly contributes to market revenue. Veterinary services specifically contribute to 50% of the total Animal Care Market Revenue, showcasing the growing emphasis on professional healthcare for pets.

Sizing Up: Animal Care Market Size and Emerging Trends

Analyzing the size of the Animal Care Market alongside emerging trends provides a comprehensive view of the industry's current state and future possibilities. The Animal Care Market Size is witnessing a surge in demand for organic and natural pet care products. Notably, e-commerce platforms are gaining popularity for purchasing pet products, reflecting shifts in consumer buying behavior. Online sales of pet care products have witnessed a substantial 25% year-on-year increase, signaling the digital transformation of the Animal Care Market.

Challenges on the Horizon: Navigating Animal Care Market Challenges

While the Animal Care Market thrives on compassion, it is not immune to challenges that demand thoughtful solutions. Animal Care Market Challenges include regulatory complexities, the increasing need for skilled veterinarians, and ethical considerations surrounding animal testing. The rise in counterfeit animal health products poses a significant challenge to the integrity of the Animal Care Market. The shortage of skilled veterinarians, estimated at 20% in developing regions, impacts the accessibility of veterinary services.

The Ever-Changing Landscape of Animal Care Market Trends

Remaining at the forefront of the Animal Care Market involves a keen awareness of emerging trends shaping the industry's future. Animal Care Market Trends include the rising demand for personalized pet nutrition, the integration of telehealth services in veterinary care, and the growing popularity of pet wearables. Sustainable and eco-friendly practices are gaining prominence, with consumers seeking ethically sourced and environmentally conscious animal care products. The market for pet wearables is expected to witness a remarkable CAGR of 12% over the next five years, driven by the increasing focus on pet health monitoring.

Conclusion: A Commitment to Compassion and Innovation

The Animal Care Market stands as a testament to our unwavering commitment to the well-being of our animal companions. Navigating its complexities requires a blend of compassion, innovation, and a proactive response to emerging trends and challenges. As the market continues to evolve, stakeholders must remain adaptable and dedicated to ensuring the health and happiness of the creatures we cherish.

[headspace-hotel]

I looked up some stuff about the "domestication syndrome" in animals because I read a couple times in books the idea that domesticated animals are neotenous, meaning they retain juvenile traits into adulthood. The idea being that humans have essentially created more helpless, more exploitable versions of wild animals to "dominate" and abuse nature.

I thought, "Okay, that sounds like something that couldn't be proven. How much do we even know about the juvenile brain development of, say, wild goats or boars, anyway?"

So I found this review of the literature that goes back to the fur farm fox domestication study and it's even worse than I thought: We don't even know that a 'domestication syndrome' in animals exists at all, let alone whether it is a retention of juvenile traits into adulthood.

So the fur farm fox domestication study: you may have heard of it, it claimed to have demonstrated that within a few generations, by selecting for tameness, the researchers bred "domesticated" foxes with a whole suite of traits that appear in many domesticated animals but seem unrelated to tameness, such as piebald coloration and floppy ears. The idea is that the genes for tameness and for these other traits commonly seen in domestic animals are linked, that is, an animal that inherits one is likely to inherit the other.

There's some major problems. First of all, all the foxes used in the study were from fur farms, and had already been selected for some level of docility and for coat color variation. The foxes didn't get white spots on them because they were selected for tameness, instead the pre-existing population they were selected from had those genes in it to begin with. Also, the effective population size of the foxes in the study was pretty small, meaning a small amount of genetic drift could have a big impact.

Second, there isn't very much evidence for most of the "domestication syndrome" traits in most animals. Even where the "domestication syndrome" traits can be found, they are often particular to specific breeds, and it's unclear whether they are linked to domestication as such or just the development of that specific breed.

This study only deals with a few animals, mostly small animals. It would be even more interesting to see a breakdown of even more animals (particularly more large animals). Off the top of my head, almost none of these would apply to horses, and only in specific cases would apply to cattle. Even in dogs, extreme changes in skull morphology have happened relatively recently with breeders in modern times going after extreme phenotypes.

Particular to cats: extreme skull changes and floppy ears occur as part of some "breeds" because they are specific painful genetic disorders that breeders of cats decided to perpetuate VERY recently. Scottish Folds were deliberately developed from cats that just so happened to have a disease that causes them to be in constant suffering due to their messed up joints, it's not just a variation that regularly pops up in cats to varying extents. Likewise with the smushed-face Persians. Their brains are getting squished into where their spinal cords should go because their skulls are so messed up from selective breeding for an extreme look.

What domestication means has been majorly shaken up in the past hundred years. With companion animals, breeders are in a race to make the most screwed up animal with the most extreme, striking traits possible, and with livestock animals, lots of heritage breeds with more variations have straight up gone extinct because they've been flattened into industrial monocultures to produce meat and milk as efficiently as possible, health and genetic diversity be damned.

To study domestication itself, you would have to study landrace breeds, right?

Basically there isn't one thing that domestication is

[despazito]

could u elaborate on "parrots make bad pets"? not disagreeing (far from it) just interested to see your take! looking to learn more about this

(i've gotten this ask before so please don't mind i'm just gonna paste a writeup i did a while ago)

There’s a blog run by an animal behaviourist who specializes in parrots that i really enjoy reading, she has a very good writeup on the state of companion parrots as an industry: The Inconvenient Truth About Cockatoos

so basically the average person usually cannot meet the needs of a parrot, especially medium and ESPECIALLY large species. they are long lived, extremely social and intelligent animals who are very demanding if you are their only companion. in my mind the most 'ethical' pet parrot setup is having some pairs of budgies in a dedicated bird room filled with foraging enrichment and doing some basic command training as a bird-human bonding activity instead of cuddles.

most pet parrots are hand reared or even hatched in incubators by breeders and are never given a chance to be raised by their parents, and virtually none stay with their parents until a natural weaning age before getting sold. which is wild considering it is fucking ILLEGAL to do that to puppies or kittens.

A parrot isn't really born wired for human companionship in the same way that a dog or cat is. they imprint on their parents which sets the blueprint of their kin, and they generally want to only form extremely close bonds with others of their kin. To get a very people-oriented parrot, it has to think it’s people.

This is different from the socializing practiced in raising cats and dogs or acclimating ferals to people. socializing means exposure to things so that the animal doesn't grow up to see the target as a threat, and ultimately that the target is something that can be very rewarding to spend time around. A dog raised with its mother and socialized to people still understands that it's a dog, it can get along with other dogs, but can also form strong bonds to people. They actually read both dog and human body language and legitimately have an awareness that we are different species.

The companion parrot is raised to think it’s people, and as a result many lose the ability to form bonds with their own kind. in fact the reason many breeders remove eggs or chicks from the nest is arguing that the parent birds don’t really know how to raise their chicks- because they themselves were hand reared and never learned how to parent from their parents! it seems that, like us, parenting isn't perfectly hardwired in parrots and they need to learn the skill from their families, oftentimes even staying to help their parents raise younger siblings!

That's why it's not at all uncommon for pair bonded breeding birds to be sold as a completely separate product from companion birds in many aviary operations. there's so many ads for people selling breeding parrots that fucking hate humans or are semi tame specifically listed for sale as breeders not as pets:

then their babies are bred for the pet market so they are taken either before or right after hatching to get hand reared and imprinted onto humans, because a parrot-bonded parrot just won't be as interested in forming those close human companionships you see in viral videos. this isn't the case for all aviaries, i want to acknowledge there are smaller scale breeders who have tamer breeding birds, but big producers can have borderline feral pairs and the point i'm trying to make is when you socialize a parrot to either the human world or parrot world, it's often at the expense of the other.

most trouble starts once the parrot begins reaching the age of sexual maturity. they stop being openly cuddly to most people, and will try to pair bond with their primary caretaker. It's not uncommon for this to lead to aggression towards other family members because parrots don't share partners, they can even do this to babies they are jealous of!

But a human can't become a suitable mate substitute for a parrot, and some of their mating behaviours such as regurgitating on you can seem straight up gross so the human then shuns the parrot and shuts down their advances. this can make your bird become very sexually frustrated that can lead to more unwanted behaviours and even health emergencies such as prolapse. we lead them on by stroking their chest and backs (only something bonded pairs do, you are essentially jerking off your parrot when you do this..) then reject them with no other outlet for their natural urges, and spaying/neutering isn't an option either! so they're stuck in a psychological purgatory of being unable to fulfill their instincts. and if they're in an understimulating environment and left alone for most of the day in addition to all that, frankly i think that's just an awful life to give to an animal we allegedly love!

we essentially alienate them, and when they don’t have people around to meet their extremely high social needs because you work a 9-5, even if there are other birds around, the lonely or frustrated human-bonded parrot can become depressed and self mutilate.

parrots that were left with their parents, are raised as parrots, and weaned at their own natural pace overwhelmingly do not exhibit these destructive behaviours.

 a productive relationship with a pet parrot is one that fosters independence, not dependence, on the human companion. the most responsible parrot owners should strive to act more as a zookeeper to their parrot instead of cuddling it and creating a ‘velcro’ bird glued to the hip, and socialize with them via training sessions instead of letting their birds indulge in pair bonding behaviours like petting and preening which leads to sexual frustration and aggression or self mutilation.

Ultimately I believe any parrot hand reared and imprinted onto humans is some degree of psychologically damaged and suffers from the parrot equivalent of a developmental trauma, they have been robbed of a normal parrot life and it cannot be undone.

SO many parrot rescues are completely flooded with unwanted pets, many with tough behavioural challenges (for example it's not uncommon for parrots to be reactive to an entire gender, so that cuts the adopter pool immediately in half). and these patterns can be difficult to break especially without the aid of a behaviourist. and the thing still has another 40 years of life left in it but nobody wants to adopt because it's another "crazy bitey bird that hates everyone", has reached sexual maturity so it's no longer as friendly, and it's much easier to start from scratch so folks choose to just buy another baby and keep the cycle going.

And none of that even touches on the rampant poaching that keeps supplying the trade in many parts of the world. and that's why everyone should have domestic chickens or pigeons.

[havenesc]

the "everything is the same but jason was a low-key horse girl AU" (bear with me here this is what i call....niche)

jason doesn't take anything for granted when he's newly minted as bruce wayne's newest ward, fresh ink on his adoption papers and no complaints towards the long hours of training that it takes to be molded into robin, boy wonder. he's granted access to everything he could ever want, everything he ever wanted to be. his biggest hurdle is the private school, with the children of the upper echelon, who cannot and do not want to relate themselves to him aside from what bruce's name gives him. the feeling's mutual; he can't relate to them any more than they can to him, and he oftentimes struggles with social situations. it's incredibly isolating at times, but he's batman's robin, so most days, it's enough.

batman and robin end up working on a case with a string of animal thefts when a murder turns up at the local stable yard not far from wayne manor. when batman is investigating, or interviewing the nightcheck crew for the yard, robin ends up having a moment with one of the horses who hangs his head over his stall door and tries to nip and nibble on robin's hair, his ear (tickles), his cape, his costume, until jason relents and gives him attention.

"sorry," one of the night checkers says, when robin barely stifles a laugh as the animal lips at his cheek, "he can be a handful."

this becomes a habit for the duration of the case -- if robin is looking for clues, or in general in the vicinity, he will seek out his nosy-ass four-legged friend with quiet eyes and a penchant for being too in his personal space.

all of this does not go unnoticed by the batman.

bruce, for what it's worth, has minor investments in the racing industry. it's a good way to get leads on bookies and crime cases, as horse racing tends to be rife with corruption and embezzling funds in gotham city -- that, and the first boy wonder saw 1979 classic The Black Stallion and briefly took an interest in horses himself when he was small enough to entertain the idea of jockeying. the wayne family had a string of polo ponies in the early 40s and 50s, and alfred grew up watching foxhunts in england. bruce is also aware how beneficial equine therapy can be, and in jason's case, how it may help him have an outlet that is not violence but is also not a thinly veiled attempt at networking through sports like tennis and lacrosse.

bruce asks one morning at the breakfast table, "would you like to learn to ride?" and at first, young jason snorts and waffles a little on his answer, because it's mostly girls at the stables, and he would encounter the same issues of upper echelon, but bruce simply says, "it could be a good skill to know," framing it in context of their other work, and it's enough for jason to be convinced that it's alright to want to be at the stables.

so he takes lessons after school, once a week first, then quickly switches to twice when he learns fast and outgrows his first lesson horse. alfred takes him -- he quickly becomes the old butler all the horses recognize with nickers when he comes down the alleyway, because he carries peppermints in his pockets, and where jason is, alfred-the-treat-bringer usually follows. bruce comes to watch here and there when he can, but he also wants it to be something jason has to himself. something jason enjoys, not because bruce asked him to do it.

jason finds that he does -- he likes riding. he likes the smell of the hay, the sound of animals chewing grain, the science of biomechanics in riding and how the horses are usually better companions than people. he starts helping out here and there at the stables where he can, and the workers grow fond of the wayne heir. he likes being there when he needs to cool down after a long day of school, he likes sneaking out to sit in the loft after a night of patrol or maybe the unsettling arguments with bruce. he sits in the stalls and he listens and even, yes, still gets harrassed by the same horse that initially introduced him to horses. it helps him regulate his emotions more when he's robin. it gives him the outlet bruce hoped it would.

moreover, he's good. he can ride out hot horses without fear, channel that abundance of energy into something productive and competitive. people start asking him to take on problem cases, or timid riders ask for tips from the fearless kid with guts and a velcro seat. the first time he ever competes, he sweeps his classes. even dick hears about it when alfred sends him a photo of young master jason, smiling and proud and holding a blue ribbon next to his infamous cheeky horse, and then another photo, when jason's face is buried in the neck of his horse, because bruce revealed that he bought it for him.

(this also leads to dick showing jason the same movie that had enamored him as a kid, and for a brief moment jason thinks of alec ramsay washed up on that island all alone, and feels in some kind of way a kindred spirit.)

even when bruce and jason begin to butt heads, and the fights increase in both frequency and tenacity, jason still finds solace in the stables. he never stops being offered horses to ride. he makes the time to compete, even when he has to get up at 6 a.m. to braid his horse's mane, but patrol ended at 4. his anger doesn't reach him in the smell of hay and sweet feed.

and then he dies.

bruce never sells the animal. can't make himself do it.

he doesn't visit -- visiting the stable aisles feels like visiting a crypt, and he can't snuff his grief long enough to reach the golden plaque that engraves JASON TODD as the owner of the horse. alfred comes by every once in a while, but not as often as he used to. the horses stop turning their heads in recognition.

when jason comes back as red hood, it takes him a long time to make himself go back to the yard. but when he does, an old friend still turns his head to him, ears pricked, eyes quiet but looking for attention all the same.

[haggishlyhagging]

“By 1900 child mortality was already declining—not because of anything the medical profession had accomplished, but because of general improvements in sanitation and nutrition. Meanwhile the birthrate had dropped to an average of about three and a half; women expected each baby to live and were already taking measures to prevent more than the desired number of pregnancies. From a strictly biological standpoint then, children were beginning to come into their own.

Economic changes too pushed the child into sudden prominence at the turn of the century. Those fabled, pre-industrial children who were "seen, but not heard," were, most of the time, hard at work—weeding, sewing, fetching water and kindling, feeding the animals, watching the baby. Today, a four-year-old who can tie his or her own shoes is impressive. In colonial times, four-year-old girls knitted stockings and mittens and could produce intricate embroidery; at age six they spun wool. A good, industrious little girl was called "Mrs." instead of "Miss" in appreciation of her contribution to the family economy: she was not, strictly speaking, a child.

But when production left the houschold, sweeping away the dozens of chores which had filled the child's day, childhood began to stand out as a distinct and fascinating phase of life. It was as if the late Victorian imagination, still unsettled by Darwin's apes, suddenly looked down and discovered, right at knee-level, the evolutionary missing link. Here was the pristine innocence which adult men romanticized, and of course, here, in miniature, was the future which today's adult men could not hope to enter in person. In the child lay the key to the control of human evolution. Its habits, its pastimes, its companions were no longer trivial matters, but issues of gravest importance to the entire species.

This sudden fascination with the child came at a time in American history when child abuse—in the most literal and physical sense—was becoming an institutional feature of the expanding industrial economy. Near the turn of the century, an estimated 2,250,000 American children under fifteen were full-time laborers—in coal mines, glass factories, textile mills, canning factories, in the cigar industry, and in the homes of the wealthy—in short, wherever cheap and docile labor could be used. There can be no comparison between the conditions of work for a farm child (who was also in most cases a beloved family member) and the conditions of work for industrial child laborers. Four-year-olds worked sixteen-hour days sorting beads or rolling cigars in New York City tenements; five-year-old girls worked the night shift in southern cotton mills.

So long as enough girls can be kept working, and only a few of them faint, the mills are kept going; but when faintings are so many and so frequent that it does not pay to keep going, the mills are closed.

These children grew up hunched and rickety, sometimes blinded by fine work or the intense heat of furnaces, lungs ruined by coal dust or cotton dust—when they grew up at all. Not for them the "century of the child," or childhood in any form:

The golf links lie so near the mill

That almost every day

The laboring children can look out

And see the men at play.

Child labor had its ideological defenders: educational philosophers who extolled the lessons of factory discipline, the Catholic hierarchy which argued that it was a father's patriarchal right to dispose of his children's labor, and of course the mill owners themselves. But for the reform-oriented, middle-class citizen the spectacle of machines tearing at baby flesh, of factories sucking in files of hunched-over children each morning, inspired not only public indignation, but a kind of personal horror. Here was the ultimate "rationalization" contained in the logic of the Market: all members of the family reduced alike to wage slavery, all human relations, including the most ancient and intimate, dissolved in the cash nexus. Who could refute the logic of it? There was no rationale (within the terms of the Market) for supporting idle, dependent children. There were no ties of economic self-interest to preserve the family. Child labor represented a long step toward that ultimate "anti-utopia" which always seemed to be germinating in capitalist development: a world engorged by the Market, a world without love.”

-Barbara Ehrenreich and Deirdre English, For Her Own Good: 150 Years of the Experts’ Advice to Women

[siflshonen]

The Greatest Robot on Earth: Astro Boy and Pluto Part I

So you’ve just watched Pluto on Netflix, but you didn’t know that it is the best Astro Boy fanfiction ever made. Great! Or maybe, hypothetically, you’ve read classic Astro Boy but don’t know about Pluto, or, as it was called for the Viz release, Pluto: UrasawaXTezuka. Well, awesome, because I’m about to give you all the details behind their creators and creation and give you a side-by-side of the classic Astro Boy and this new(ish)-fangled Pluto.

C'mon. Look under the read more line. You know you want to.

If you want to skip to the manga side-by-sides, check out part II and part III. Or, you can read the whole thing in one go on Ao3.

Context and Background

Tezuka, Urasawa, and the Showa Era

So, let me start with the basics: What is Astro Boy? What ain’t Astro Boy?

Tetsuwan Atom, known in the west as Astro Boy, is the most well-known manga created by the “Godfather of Manga/God of Manga” Osamu Tezuka in the 1950s, but it metastasized into multiple anime series, games, merch, spin offs of various types, and that one CGI movie in 2009. The series follows the adventures of robot hero Atom (called Astro in the west) as he fights for the benefit of humans and robots to create a harmonious future for both.

Here’s a timeline of Astro Boy- and Pluto-related events to help you visualize what came out when and why there were multiple runs of the Astro Boy manga. For our purposes, the most important thing to understand is that, even though Astro Boy was a kids’ series, its attitude and themes, as written by Tezuka, reflected the incredible shifts in Japan after World War II and the ever-present shadow of it still left in the minds of its citizens.

But before we get into all that, let’s talk about Osamu Tezuka himself.

Osamu Tezuka's Legacy and His Monster

If you, sweet reader, are a self-appointed weeb and you don’t know the name Osamu Tezuka, I’m personally scandalized. Still, here’s the short version: he was a workaholic mangaka that many hail as the creator of modern shonen manga (historians get heated about when, how, and if Japanese comics made the jump to modern manga, so do your own research, but Astro Boy is definitely the most famous worldwide contender for this title instead of, say, Tezuka’s first work Shin Takarajima/New Treasure Island), and he’s the guy who created the world’s first serialized made-for-TV anime with a sequential plot and sold it as a loss leader to get it on the air.

Arguably, the precedent he set in order to get the anime-ified Astro Boy to screens everywhere is a major reason that the anime industry is so unsustainable, but we’re not here to talk about that.

Tezuka-sensei was a prolific, passionate, and deeply beloved artist from Osaka who tackled damn near every manga genre and arguably created some of them before he died of stomach cancer (and overwork, if we’re being honest here.) I’ve only shown a few of the 400-plus titles he created to give a brief overview of the scope of his work. Since I’m talking to you as a fan, not a historian, I specifically chose titles I own or have read most closely.

Message to Adolf, which was also published as Adolf, is about Nazis. Okay, that’s only part of what it’s about, but we’ll revisit this one in more detail later.

Black Jack is probably Tezuka’s second most famous work, and yeah, it’s broadly categorized as a shonen. It follows the adventures of underground doctor and genius surgeon Kuroo Hazama who dresses like a vampire, acts like a black-hearted and preachy douchebag, and endears himself to everyone who interacts with him.

Dororo is a historical fantasy thriller about a guy regaining parts of his sacrificed-upon-his-birth body by slaying demons and uncovering the mysterious past of his companion, the child thief Dororo.

On the flipside, Princess Knight is a shojo for younger kids about a princess with the heart of a boy and the heart of a girl who uses her two hearts to genderbend as needed to maintain her claim over her kingdom and keep it out of the hands of the wicked.

Meanwhile, Ode to Kirihito is an extremely mature medical fantasy drama that questions when and how a person still maintains their humanity and when they become a beast in their own eyes and the eyes of others. As I’m sure you can tell, such themes exploring what humanity means are almost as common to Tezuka’s works as a medical professional featuring as a main character. He needed to use his degree for something, I suppose.

In fact, the common conflict between Tezuka’s bright, young, optimistic, passionate, independently-minded, and opinionated doctor main characters and the corrupt, constricting, slow-moving, old-fashioned medical institution probably offers the most insight as to why Tezuka chose to pursue manga over medicine. I don’t think this was the only reason, but from reading his manga, I feel founded in asserting that the stifling status quo of established medicine was a contributing factor.

Tezuka never made any bones about putting himself and his feelings directly in his work. He spoke what was on his mind throughout his manga, and his introductions to various Astro Boy stories are no exception. He was also transparent about his struggle to make sure his works maintained popularity even when he resented any changes others suggested he make  in pursuit of this goal. In general, Tezuka-sensei didn’t take kindly to the idea of others influencing the direction of his creative visions basically ever, if the story of the Jungle Emperor: Onward, Leo! anime is any indication. (He’s just like me for real.)

If Tezuka-sensei wanted to write about war, he did. If he wanted to write about rape or trauma or abortion or racism, he did. He jumped on the chance to write about sex ed and, well, several of those other topics in Apollo’s Song.

If that scares you, don’t worry. Most of the time, Astro Boy was usually about the nature of war, human rights, the nature of humanity, and robots. It was also written for grade school kids.

Tezuka’s penchant for frank honesty wasn’t limited to commentary made within his manga, but also about his manga, and his statements on Astro Boy are some of his more standout claims on that front. That he called Atom a “monster” and said he created him “for the exposure and the money” doesn’t paint a flattering picture of his attitude towards his most famous work.

But, in truth, his distaste for compromising the truth of his characters at others’ suggestions probably betrays his real feelings about Atom. As much as he may be Tezuka’s monster, he is also his pure-hearted hero of justice and beloved creation. And, by his own admission, his feelings towards his work during the creation of “The Greatest Robot on Earth”, the Astro Boy story on which Pluto is based, were distinctly positive (even if at one point the background characters remark that Atom is a monster!)

The readership’s opinions on “The Greatest Robot on Earth” were likewise pretty positive. Among those readers was Naoki Urasawa, who credits the story with inspiring his deep love of manga. (His recounting of the impression the story left on him in this interview with Netflix Anime is incredibly sweet.)

Naoki Urasawa and His Monster

Who is Naoki Urasawa, besides the guy who co-wrote and illustrated the 2003 Pluto manga? Well, Urasawa-sensei is my favorite mangaka, so jot that down, and he’s known for his suspense thrillers, layered narratives, melodramatic showstopper moments, and also stories about cute girls doing sports. He is also a musician and guest professor alongside his editor and Pluto co-writer, Takashi Nagasaki.

20th Century Boys, named in part for a T.Rex song, is arguably his most famous work and it is heavy on the 1960s-1970s nostalgia, but in a good way! The inherent optimism, kindness, hope, and passion (and sometimes outright cheese) of every Urasawa character and title never feels insincere. The series is a seinen with the heart and whimsy of a shonen (and personally, I feel like such a description holds true for even Uraswa’s darker works.) 

If you don’t want to read 20th Century Boys or its sequel, 21st Century Boys, you can watch the live-action movie adaptations.

Meanwhile, Monster is my favorite manga and anime. Herr Doktor Tenma (yeah, like Astro Boy’s Tenma), a Japanese brain surgeon practicing in 1980s Germany, saves the life of a little boy only to learn years later that the kid is a mass murderer, his murdering ways continue into his adulthood, and he will likely never be caught. Only Tenma knows the truth, so he embarks on a quest to stop the “monster” he revived. 

I have less familiarity with Yawara! and Happy!, but the first is a sports comedy about a girl struggling to balance an athletic career and a normal life, and the second is a sports drama about a girl pursuing tennis to avoid becoming a prostitute. 

Pineapple Army is about an ex-merc’s adventures working as a self-defense instructor. Urasawa illustrated this one, but did not write it. I suppose I could have included Billy Bat as a representative work instead, but I honestly didn’t want to start unpacking that—though I will say that Billy Bat is probably the closest answer Urasawa has to Tezuka’s Message to Adolf since they both spin around the concept of a rumor or idea causing the world to lose its collective mind.

So what motivated Urasawa to add Pluto to his body of work? Mostly his editor/producer and co-writer, Takashi Nagasaki, probably. Er, that’s not very flattering. Let me try again.

Japanese media loves to emphasize passing its passions and convictions to the new generations (source: have you ever read or watched a mainstream action shonen in your life? If you’ve been paying attention to anything I’ve written about My Hero Academia or read the manga itself, I’m sure you think as much as I do that pointing out such a thing feels like beating a dead horse), and Urasawa’s (and later, the M2 team’s) motivation in creating Pluto is no exception. As Urasawa put it in his Netflix interview, “It’s like we received the baton from Tezuka-sensei, and would pass it on to the new generation."

And Osamu Tezuka-sensei’s son, Macoto Tezka (who probably spells his name that way so people don’t get him mixed up with his dad) let Urasawa and Nagasaki do it so long as they made sure the new retelling was something new, exciting, and unique when compared to the original! And while the pressure to succeed in this endeavor probably damn well near killed Urasawa-sensei, I think Tezka made the right call!

But if the goal was to pass on this Astro Boy story, which was written by a REALLY old dude, beloved by kinda-old dudes to the new generation, and practically unheard-of by today’s anklebiters, what kind of direction was the damn thing meant to take?! And why was the answer “fantasy Gulf War Astro Boy fanfiction”?!

Astro Boy in the Eyes of the New Breed

Astro Boy may be a series meant for younger kids, but it didn’t exist in a vacuum separate from the climate of the world from which it came. Tezuka would probably roll over in his grave if it did. The work, its messages, and its sensibilities were grade-A, postwar Showa stuff—particularly its reflections on pacifism, war, and power. 

Nagasaki’s summation from the postscript of Pluto: UrasawaXTezuka volume 8 sums up Tezuka and his generation’s outlook pretty handily, but I think it’s helpful to show exemplify this outlook and contrast it with the outlook of Nagasaki and Urasawa’s generation through manga!

Please observe this key moral-of-the-story panel from “The Greatest Robot on Earth” published in 1964 alongside this panel from late-1980s Dragonball featuring Muten Roshi stating the core idea of his series. I’ve chosen Dragonball as a point of comparison not just because of its notoriety as a big shonen title created for a similar audience as the original Astro Boy, but because creator Akira Toriyama was born in 1955 and, much like his contemporary Urasawa, who was born in 1960, “The Greatest Robot on Earth” left a deep impression on him. (Despite what the caption implies, the photographed page in this tweet actually features Toriyama’s admiration of Tezuka, though I don’t doubt the article from which it is pulled also includes Tezuka’s feelings about Toriyama. I ran it through Google Translate a few times and then laughed when I realized Toriyama made a self-deprecating joke about his poor reading skills, since he points out that he was in third grade when he read “The Greatest Robot on Earth” in the magazine Second Grader.)

To Astro Boy’s Ochanomizu, strength ain’t all that great, and strength for strength’s sake is foolish and vain. In fact, Professor Ochanomizu, who is the moral compass for most Astro Boy adventures, doesn’t value the pursuit of strength the way modern shonen, and several other characters within his own series, do. Hell, he doesn’t give Uran any superpowers even though Atom, the robot boy with nuclear power fueling his 100,000 horsepower (later 1,000,000 horsepower) and seven special powers is her brother! 

At the time of Ochanomizu’s creation, real-life Japan still freshly remembered World War II and the bombings of Hiroshima and Nagasaki; no the fuck Ochanomizu (and Tezuka, through him) wasn’t about to endorse or create robots that doubled as weapons. That nonsense was for other, “more violent” robot manga, or the slew of other misguided and corrupt roboticists within the Astro Boy canon. Well, except there was that one time Ochanomizu helped create the artificial sun, but he didn’t ever intend for it to become a weapon.

Meanwhile, while Roshi also does not believe in strength for strength’s sake, he absolutely pursues it and encourages his pupils to do the same while fostering their awareness of the hardship, dangers, and fun of their path. Even with his warning, the Dragonball cast’s pursuit of strength is portrayed as alluring despite the double-edge, much like promoting national pride (and power) increases a nation’s convictions in its unity and identity but also draws the negative attention of other, possibly more powerful nations. Andy Yee succinctly frames this still-impending crossroads about how Japan might use its nationalism—its “pursuit of strength” in Dragonball lingo—in his 2013 article “The Twin Faces of Japanese Nationalism”. In it, he quotes this 2012 Project Syndicate article by Joseph S. Nye, Jr. pointing out that nationalism could be a force for positivity if tempered with reform and control, but could also cause the country to start conflict with its neighbors and shit the bed if left to run wild. (The conversation surrounding the topic of Japanese nationalism continues beyond 1980s manga or the 2013 socio-political scene, of course.)

Unlike Atom or Ochanomizu, Dragonball’s Goku finds such attention alluring: his heart’s desire is to fight strong opponents. It is his ikigai (“reason to live”) and at the end of the Cell Games, it becomes his, uh, shinigai (“reason to die”), if you will.

Did I lose you? I just asserted that the messages in these shonen about acquiring strength = messages about acquiring national pride and power. At its best, the Dragonball-esque attitude towards increasing national pride (and combat strength) is empowering, inspirational, and bolsters the good-hearted. At its worst, it could feed into a cycle of toxicity, unproductive self-importance and, ultimately, flat-out Japanese nationalism and war (and at its stupidest, it just becomes Let’s Fighting Love. Protect my balls.) Since classic Dragonball is a gag manga, I doubt Toriyama was ever thinking this hard about the messages of his work in regards to world history, but that’s sort of the point: Toriyama and his generation likely weren’t thinking this hard about it. Dragonball’s authorship lacks the crushing, firsthand memory of the consequences of unbalanced and misused power that the authorship of Astro Boy has.

In other words, Astro Boy’s cast pursued scientific advancement while lamenting the inevitable folly and destruction mankind brought forth with it so that Son Goku could fish naked, kick ass, get his ass kicked, meet god, kick ass, ghost god, ghost his family and friends, come back, kick more ass, repeat this cycle like twice, and get everyone to thank him for it. Dragonball’s more optimistic, power-fantasy-ish outlook broadly categorizes the outlook generation of New Breeds (shinjinrui) born around the 1960s like Toriyama, Urasawa, and Nagasaki before the reality introduced in their emerging adulthood hit them like a fucking truck.

The New Breed generation earned its name because their outlook and values, which were developed during a time of economic plenty and peace, seemed totally divorced from the values of the generations that lived during or immediately after World War II.

“They might as well be a different species,” snarked their elders, probably, though not necessarily out of bland hatred—Yoshiyuki Tomino’s Gundam series portrays his Newtypes, who are meant to be at least somewhat analogous to the real-life shinjinrui, in a generally more sympathetic light and occasionally a positive one (if they aren’t being used by someone else, that is.)

Tomino, who was born in 1941, also worked on Astro Boy at Mushi Pro.

Baggage between generations is not unique to any one country, obviously. But in this case, it seems Urasawa and Nagasaki decided to tap into it and incorporate the core beliefs, hopes, and grief of their generation and those of the generations before them into Pluto. 

Taking this approach was also the perfect excuse for Urasawa to distill everything he knew and loved about Tezuka’s works into one transformative manga. And don’t just trust Tomohiko Murakami on that—trust me as a fan of both Tezuka and Urasawa. It’s very noticeable that Urasawa and Nagasaki pulled from all things Tezuka to create Pluto even as it incorporated new ideas, including criticism of the Gulf War.

…So it’s probably a good thing I took the time to explain all this stuff to you so that you can now start to see it too! You can thank me later. Let’s see how the classic “The Greatest Robot on Earth” compares to Pluto.

[pale-empress-of-corvids]

You can be against animal cruelty and still...

-Feed your companions meat if it was part of their NATURAL diet (DOGS AND CATS NEED MEAT!!!!!!!!)

-Buy second hand leather goods, you are not funding the leather industry but a thrift store or someone who needs the money more than the leather jacket or old cowboy boots.

-Take a job in a restaurant that serves meat because it's the only place that's hiring and you need to pay rent.

[chaos0pikachu]

Two Flavors of Japanese (BL) Cinema

Recently I came across a post that proposited that Japanese cinema hadn't changed since the 1950's and came in, essentially, two types. 

Let's discuss that. 

I can’t go into the history of all Japanese cinema in a singular blog post like that’s just not possible, there’s literal books and classes you can take on this subject, and I will be linking further reading down at the bottom of the post so you can do just that. 

This fact alone, should already disprove the point that Japanese cinema hasn’t changed since the 1950’s. Other than the fact that like, Japan isn’t a static society that is forever unchanging because human beings do not work like that. 

Which is why I’m writing this essay at all. 

I love cinema, I love storytelling and filmmaking. And, frankly, I may not be an expert but I am annoying. I own that. 

Japanese cinema has held influence over many directors, writers, animators, and so forth. 

Just watch this playlist of Sailor Moon references across various cartoons. Or how Satoshi Kon influenced the work of Darren Aronofsky and Christopher Nolan. Or how James Cameron and the Wachowskis were both influenced by Mamoru Oshii’s 1995 Ghost in the Shell. And then there’s Akira Kurosawa who’s been cited as a major influence for directors like: Steven Spielberg, George Lucas, and Martin Scorsese and a slew of others.

I want folks to know there’s a slew of amazing films from Japan and that distilling the industry - the blood, sweat and tears of its creators - to a strict dichotomy of this or that, either/or is disrespectful at best and xenophobic at worst. 

It’s also just a shame because, like, guys there’s so many great films from Japan! There’s also probably a lot of great live action shows from Japan but I’m not super knowledgeable about them - I mainly watch anime so that’s not a great metric in terms of Japanese television - so I’m just talking about films in this post. 

Ok so main points I’m gonna address: 

Japanese Cinema hasn’t changed since the 1950s 

Japanese film style falls under an extreme dichotomy of cinematic/sweeping (described as “atmospheric”) or cartoonish/slapstick (described as “live action manga”)

Baby does any of this have to do with BL? (no, but it IS more gay than you think)

With these four films: The Hidden Fortress (1958), Lady Snowblood (1973), Gohatto (1999), and Kubi (2023). 

I picked these four because they’re all “period pieces” taking place feudal Japan - or with the aesthetics of feudal Japan, The Hidden Fortress nor Lady Snowblood aren’t based on actual historical events, like Gohatto and Kubi are, however loosely, but take place in an amorphous 15th to 18th century Japan - and I think they strongly show the development of this singular genre in Japanese cinema. 

Plus the latter two films, Gohatto and Kubi, are gay as fuck and I know my people. 

[you can also read this post on this blog post which includes additional links as tumblr has a limit and for easier readability as this is a long post]

The Hidden Fortress 

Released in 1958, directed by Akira Kurosawa it’s probably the most well-known film on the list. It’s a film that exists within the “Golden Age” of Japanese cinema alongside films like Kurosawa’s own Seven Samurai (1954), Yasujirō Ozu’s Tokyo Story (1953) and Kenji Mizoguchi’s Ugetsu (1953). 

It was also the era where, after the American Occupation post-WWII a boom of movie distribution took place with new film studios such as: Toho (y’all know them from any Godzilla movie ever made), Toei (if you know One Piece you know Toei but they’ve done a ton of films both animated and live action) and others. 

The story is straight forward, two peasants, Matashichi and Tahei who bicker their asses off like an old married couple the entire film, happen upon a Very Hot Man with the Only Thighs Out (Toshiro Mifune was a BABE) named Rokurota and his companion a icy young woman named Yuki. 

Matashichi and Tahei have just escaped like, a ton of ~circumstances that include failing to become samurai, being broke as fuck, getting captured and forced into servitude - don’t worry that lasted like 6 hours tops - and then find gold hidden in a stick on a mountain. 

Turns out Rokurota has all the stick gold they could want! So they team up neither realizing Rokurota and Yuki are actually part of a clan that’s been recently wiped out and they’re on the run from a rival clan who has wiped theirs out. Yuki is the princess of said clan and it’s only survivor, while Rokurota is her samurai general and retainer. 

Tahei and Matashichi, living in ignorance of these facts, try to steal the gold away from them because they live that hustle life until the end when all is revealed and Yuki grants them both with a gold piece to share (this is a really big piece of stick gold). 

There’s other things that happen, like a fight scene between Rokurota and rival clan member, Yuki owning every single scene she in - I fucking love her - but that’s the gist. 

The story is, again, pretty uncomplicated, it balances the comedy of Tahei & Matashichi with the stoicism of Rokurota and Yuki well, and all the acting is strong. In terms of its film style, by modern day standards it’s not especially “cinematic” Kurosawa doesn’t favor fanetic camera movements, his camera is often very still and the movement he employs is often in individual character ticks, and/or background set pieces. This film has a lot of great set pieces. 

Kurosawa didn’t employ camera techniques like panning, he doesn’t really do extreme close ups, there's no swooping shots or fancy tricks, I’d say a majority of the camera shots in The Hidden Fortress are a combination of mid, and wide, with a few mid-close ups. One thing to notice is Kurosawa’s use of scene cuts; instead of a cut he used pan sweeps to change scenes. If you’ve ever watched a Star Wars film you know exactly what I mean. 

The Hidden Fortress, first and foremost, is an action adventure film. It has more in common tonally with Top Gun Maverick or Star Wars A New Hope, in that it's straight forward, sincere, and grand in scale, grounded by a very honest set of characters who are strongly motivated. 

I feel like in modern day discussions we association “action/adventure” films in a sorta of negative way; this is probably due, in part, to the oversaturation of the high budget blockbusters of the last ten years - oh MCU, how you’ve fallen - that are overly bombastic, overly complicated, overly connected, and the root of what audiences connect with - the characters - tends to be lost. 

Scott Lang's motivations in Ant-Man and the Wasp: Quantumania are to protect his teenager daughter and the family he's built, which are simple, strong, and relatable character motivations. However, they got lost in the conventions of the plot, the frantic energy of the film, the simple amount going on around Scott that his motivations become less a central focus and thus he becomes small within his own film. We, the audience, become distant and it grows more difficult to connect with what's happening. This can still work on some level, the Fast and Furious franchise isn't successful because it's sophisticated, but the Fast-chise has embraced it's cheesier conventions and spectacle, while blockbusters like the MCU's output, simple juggle to much all at once. It also helps that while the cast keeps growing in the Fast and Furious films, there's still less than ten characters you have to actually know and care about. To fully understand and connect with the characters of The Marvels, you have to watch Ms. Marvel and WandaVision on Disney+ and the task becomes more akin to homework than simply the enjoyment of watching a movie. 

The epic scale grows so large it feels daunting, rather than exhilarating. 

I think this is why a film like Winter Soldier, more so than most MCU films of the last decade, has continued to be a fan favorite of the universe and of blockbuster lovers whether you are a fan of the MCU or not. At its root, Winter Soldier is character driven, with deeply motivated characters,  which is what makes the action and adventure aspects stick. 

The Hidden Fortress is similarly character driven with a simple and straightforward story that is about honor, loyalty, a princess, a loyal samurai/knight, rebuilding a decimated clan, and two “normal” characters to keep everything grounded and relatable. Which in turn, helps make it timeless. While the filmmaking itself isn't grandiose as what modern audiences may be used to, Kurosawa knows how to direct a scene and more than that, direct his actors. Mifune is commanding as always, but for me, it's really actress Misa Uehara as Princess Yuki that steals the movie. 

Lady Snowblood

Released in 1973 and based on a manga of the same name by Kazou Koike and Kazuo Kaminura, directed by Toshiya Fujita, Lady Snowblood and its sequel Lady Snowblood: Love Song of Vengeance are considered cult classics. Lady Snowblood, famously, is Quentin Tarantino’s inspiration for his Kill Bill saga (like, a freaking lot). 

Lady Snowblood is a part of the era of “new wave” and “pink films” that were emerging in Japan and elsewhere. Stateside I think a close equivalent to both the style and content of Lady Snowblood and other films like it are exploitation films. In fact while watching Lady Snowblood I couldn’t help but get exploitation film vibes just off the aesthetics and thematics of the film itself. 

To break down Lady Snowblood’s plot it goes like this: Yuki is tasked with getting revenge on four people who had a hand in her father, and older brother’s murder, and her mother’s rape (which is seen on screen so warning for y’all this is def a Does the Dog Die movie). 

Yuki’s mother kills one of her rapists, but is imprisoned before she can kill the others and while in prison she purposely gets pregnant so her child can carry on her revenge after she dies. Yuki is born, and raised by one of the fellow inmates and a priest who trains her in martial arts. She’s raised as a “demon”, whose only purpose is revenge for her mother, father, and brother. And boy does she get revenge the film is violent and graphic (even if by modern day standards the blood looks fake as fuck the emotions are there). 

Like The Hidden Fortress this film is very character driven, with a highly motivated protagonist but it’s also revels far more in it's violence and the spectacle of that violence. Yuki, in comparison to her earlier counterpart Princess Yuki, is the driver of the action in the story. She's an active participant in the plot, and the story centers around her. Princess Yuki is commendable, she's compassionate, and she makes decisions, but the story is more about what she represents - a fallen princess - than what she does. She's symbolic, the embodiment of a leader, a samurai spirit of nobility who becomes a leader worth following. Yuki, on the other hand, needs no protection from others, she's a much more direct and active part of the story since the story is hers - and her mothers - she's more elegant than regal, and there's nothing necessarily 'noble' about her.  She's not seeking to rebuild her clan as a leader, her motivations are singularly about her revenge quest to fulfill her mother's dying wish. 

In some ways, they're very similar - Yuki also feels compassion for another woman who's been used by the men around her as Princess Yuki does - and in others they are very different and speak to the changing expectations and idealizations of women from the 1950s to 1970s. 

Lady Snowblood is also way more violent than any Kurosawa film I’ve watched including The Hidden Fortress. While there is action in The Hidden Fortress, it’s all employed with specific purpose. Which is one of Kurosawa’s strengths as a director. It’s calculated and singular. Yes blood spurts up in Yojimbo but it's limited; quick and efficient, with more in common with John Wick or Collateral than the more fantastical and aesthetic Tarantino or Robert Rodriguez fare. 

Lady Snowblood revels in the aesthetic violence, there’s no “purpose” for Yuki to cut an already dead person in half, she does it out of pure frustration and for the glory of showing the audience that internal rage. Of a body hanging, dripping blood and gore onto the clean floor as the curtain draws to a close. 

The film also features on screen rape, sex, and nudity which The Hidden Fortress does not. There’s an implication that characters in the film would assault Princess Yuki if they could, but nothing ever goes beyond brief implication (still gross tho guys come on). Whilst in Lady Snowblood, the rape is brutal, the violence is brutal, and the emotions are far more intense because of it all. 

The allowance - for lack of a better term - of this kind of material showcases a cultural shift overall in the terms of visual storytelling filmmaking began experimenting with in telling, and in what audiences were responding too. Lady Snowblood was a beloved success for its overall low budget. In comparison to the two, The Hidden Fortress is filmed better, with more technique and focus, Lady Snowblood almost seems rustic in comparison, but it's a sort of rustic that speaks to experimentation. 

Low angles from a characters pov staring high above her, extreme zooms on Yuki's burning eyes, the oversaturated colors of red-orange blood or green walls or white clothes, the starless pitch black sky as powdery snow falls. The images are arresting even if at times they're choppy, and while the film opts for non-linear chapter breaks to create a story flow in comparison to Kurosawa's iconic screen swipes and straight forward narrative, yet, both work. 

Gohatto

Behold, the promised gay cinema I promised. 

Gohatto is a 1999 film directed by Nagisa Oshima based on the short story, Shinsengumi Keppuroku by Ryotaro Shiba. 

Gohatto is a pretty late entry in the new wave/pink films of its heyday but those films were Oshima’s bread and butter. Often dubbed as one of Japan’s cinema outlaws for his anti-establishment films, one of his films, Night and Fog in Japan (1960) was pulled from theaters all together. Most people in the west will probably know him even tangentially for his queer film Merry Christmas Mr. Lawrence starring David Bowie and Beat Takeshi or for this absolutely banger quote from the New York Times article, A Japanese Film Master Returns to his Cinema: 

(If you’re a BTS fan, the composer Suga and RM like, Ryuichi Sakamoto, both starred and composed the main theme of Merry Christmas Mr. Lawrence Forbidden Colors, he plays the guy in love with David Bowie’s character)

Gohatto combines the setting of a Kurosawa film, with the more experimental storytelling of Lady Snowblood, whilst imbuing the film with more surrealistic elements and more complexity. And making it gay like - for real for real. 

Gohatto goes like this: it’s the late 18th century in Japan, everything politically is on shaky ground, and the shinsengumi are looking for newbies to join ranks. Welp, they find two promising newbies and wouldn’t ya know it one newbie, Kano, is like, hella pretty. He’s got bangs. 

He’s so pretty in fact that all these other dudes in the shinsengumi crew wanna smash, I mean down bad like the Taylor Swift song or whatever I don’t listen to Taylor Swift. 

This is all treated with a lackadaisical normality; there’s teasing about “I never considered sleeping with a man before, but damn that Kano kinda…” but there’s never a moment of “omg they’re GAY?”

Beat Takeshi’s - who’s also in this film, he’s been in a lot fo queer films I'm noticing - character Vice-Commander Hijikata Toshizo often asks other characters not if they’re attracted to Kano - the implication being that they are - but rather if they are in love with Kano. Because lust is fleeting, but love is dangerous to your duty. 

Kano also might be a spy, or a murderer, it’s all very ambiguous and the ending isn’t a “happy” one. This isn’t a film about a love story of any sort, it has more in common with erotic thrillers than the action adventure of The Hidden Fortress, or the rape revenge fantasy of Lady Snowblood. Where as the former films have definitive endings, Gohatto ends ambiguously. 

What actually happened? And why did it happen? What did it all mean, in the end? The film offers no strict answers to these questions, asking instead, that its audience to come to their own conclusions. It’s also much more historical than the previous two films, taking real life historical figures like: Hijikata Toshizo, Okita Soji, and Kondo Isami and asking the question, “hm, what if they all maybe fell in love with this super pretty man before being overthrown and what does that mean metaphorically?” 

The Hidden Fortress doesn’t ask its audience to interrogate society in any meaningful way and that’s not a knock against it, it’s just an observation. Lady Snowblood specifically presents the plight of women, and a slight take on classism within the system, through the lens of violence and destruction. Gohatto is much more metaphorical, it’s not providing the audience with a direct message like the former two films, but presenting it’s thematics in a much more abstract way. The Hidden Fortress is an action adventure, with heroes who achieve their goals and overcome their obstacles. Lady Snowblood is a rape revenge with an understandable protagonist who succeeds in her bloody revenge. Gohatto has no heroes, and offers no straightforward catharsis at the end of its story story. 

Its film style is also far more atmospheric compared to the epic scale and straightforwardness of The Hidden Fortress, or the lower budget charming violence of Lady Snowblood. 

There’s lots of mood lighting, overhead shots of characters dimly lit, camera cuts to rain after two characters have sex, extreme close ups of one character observing Kano’s eyes and lips. It’s not a black and white film like The Hidden Fortress, but it’s not nearly as saturated in color and brightness as Lady Snowblood. 

Lady Snowblood drips with color, and light, even at night there always almost seems to be a spotlight on Yuki with an empty starless sky in the background. Gohatto is much more grounded in realism than high visual aesthetics, opting to create more of a lingering dreamlike trance or fog to the cinematography when the story’s final act begins to unfold. 

Yet, one thing Gohatto has in common with both The Hidden Fortress and Lady Snowblood is its violence; operating somewhere between the two. Like The Hidden Fortress the violence is quick, purposely, and specific, and like Lady Snowblood blood spurts, gushes, and heads are displayed proudly and grotesquely.

Kubi

Kubi is a 2023 film directed by Takeshi Kitano aka Beat Takeshi - this is the third time his name has been dropped in relation to a queer film in this post go Beat Takeshi - based on a novel of the same name that Kitano also wrote. 

Kubi is like Beat Takeshi’s sengoku period slash RPF fanfic come to gruesome bloody (literal, not British) life. A period piece epic; Kubi is both about samurai warlords and a historical event known as the honno-ji incident, which took place in 1582. It features various historical figures like Oba Nobunage - if you’ve watched some anime or played some JRPGs you’ve probably at least heard of this name before - and other prominent historical figures of the time. 

The basic gist of the movie is Oba Nobunage is both really good at his job, so he’s super powerful politically, but he’s also a grade-a asshole whom all the other important samurai lords fucking hate. However, they also all fucking hate each other and all want to take Nobunage’s place and get all that sweet, sweet power for themselves. The honno-ji incident involved one of these guys doing a coup for reasons still unknown today and then pretty much almost immediately dying swiftly after leaving another samurai lord to take over. 

Kubi takes these historical events, and is like “okay but what if we added some gay innuendo and gay sex to this drama?” with more beheadings than a French revolution. 

Out of all the films on this list Kubi is, admittedly, the one I enjoyed the least, however, it’s an interesting retrospective on the growth of both the Japanese film industry and this specific genre in and of itself. 

Kubi’s film style is very modern, it’s beautiful, it’s sleek, it’s expensive looking. And yet there’s specific scenes that feel like callbacks to the Kurosawa era, like the black and white flashback between Nobunage and his fellow samurai lords. One of Kurosawa’s top films was Kitano’s Hana-Bi (1997), and Kitano has worked with Kurosawa’s daughter on costume design on four other films as well, so these references feel not only purposely because of general influence but also referential in a way. 

In terms of story and tone, Kurosawa’s The Hidden Fortress is sincere and straightforward, Lady Snowblood is experimental and fearless, Gohatto is introspective and suspenseful, whilst Kubi is unrelenting and even feels mocking at times. There is no break in Kubi's violence, there's almost no tenderness or softness, characters are selfish, and self-centered. The selfish, but joyful peasants in The Hidden Fortress don't exist here, and are replaced with a peasant character who murders his own friend and then rejoices over being relived of his family once he discovers they were murdered too. At times, Kubi feels like a subversion of the more glamourous depictions of the samurai in film. Which feels as though following similar footsteps established in Gohatto which also explored, subtextually, the faults within the samurai media persona. 

At times the film feels almost like a dark comedy, it doesn’t glamorize these samurai warlords, nor their clans, nor their ideals in the way The Hidden Fortress does, nor does it interrogate them in the way Gahotto does. Instead the story at hand is presented with a brutal realism, objective if a bit mocking with a side order of gay sex. Which isn’t presented in a mocking way so much as just an everyday aspect of life. 

When Mitsuhide and Murashige are caught by spies sleeping together there’s no shock or awe about it, just a calm report and the bigger issue is Mitsuhide hiding a fugitive more so than him sleeping with a man.

Similarly, when Nobunage is literally fucking one of his vassals in front of Mitsuhide, it’s not to disgust the other man, but rather a powerplay of sorts to make the latter jealous - at one point Nobunage promises if Mitsuhide accomplishes a mission for him, he’ll sleep with him - and it seemingly works to some degree. There’s subtext throughout the film that Mitsuhide might be, if not in love with Nobunage, want him in an obsessive way all the same (including being down to bone). 

Like with Gohatto the queerness is inherent, just a part of the culture. It’s not “romance” by any means, but it is simply a part of life and the culture itself. 

In terms of characters, Kubi's characters couldn't be more different from the characters in the previous mentioned films. The Hidden Fortress characters like Princess Yuki and Rokurota are easy to like, honorable, quiet, steadfast; while Matashichi and Tahei are less outright likable they offer a grounding and relatable to the big presence that are the former two. In Lady Snowblood, Yuki is quiet, calculating and menacing in her own right, truly embodying the idea of cold vengeance which makes her intriguing. In Gohatto Kano is elusive, which adds to his sensual allure, Okita is playful yet clearly hiding a more sinister air about him, and you just feel bad for Tashiro who’s pushy but seemingly sincere in his affections for Kano. 

Kubi has no by-the-by “likable” characters, every character is out for themselves in some way shape or form. So much so that the brief tenderness between Mitsuhide and Murashige is like a balm to a burn. Though I did absolutely enjoy the scene-chewing of Ryo Kase who played Nobunage. While Nobunage isn't a "likable" character by any means, he was so fun and engaging to watch he became a highlight of the film. 

Stylistically, this is a very modern epic film; it’s the type of film in terms of scale I imagine Kurosawa could have made if he had access to the same technology, but also wouldn’t because there’s no stillness or sincerity to it. The violence is also more in line with Lady Snowblood, but with a budget. Heads are lopped off with ease and at times with glee, dead bodies, headless bodies with crabs crawling out of the necks, a literal pile of heads for trophies it’s all here. It’s beautifully and dynamically filmed, it has a similar scale of a Lord of the Rings, or a Creation of the Gods I: Kingdom of Storms. 

Big set pieces, big costumes, big landscapes, big battles, and bigger body counts. It also has the largest cast of any film on the list - kinda neat that Kitano and Asano Tadanobu were both in Kubi and Gohatto together - and the best costumes of the bunch. 

It also, in my opinion, has the most complicated plot of all the films because of the heavy political intrigue - though this, admittedly, could be because of the culture gap as I’m not overly familiar with Japanese history. 

Okay so like, where does all this leave us in terms of those original bullet points? 

The Original Bullet Points

Japanese Cinema hasn’t changed since the 1950s 

If there's one thing - well okay many things cause I'm greedy but overall - I hope I've been able to outline here with these four films is that obviously Japanese cinema has changed since the 1950s. And thoroughly at that. Not just in terms of style, but in terms of character presentation, tone, stories technology, experimentation, and a growing reflection of the shifting and developing culture. 

It’s not simply that all four of these films are different stories, but that all four of these films are addressing different aspects of their modern culture via these period pieces, as well as, viewing this time period in ways that reflect the filmmakers own experiences and how they feel or felt about the world. 

Kurosawa was born in 1910 to Kitano’s 1947, Fujita and Oshima’s 1932. Kurosawa’s father was a member of an actual samurai family, his worldview would be thoroughly different from someone like Oshima, or Kitano, or Fujita’s. Some overlap, sure, but also still thoroughly different. 

And I feel that you can see that in their films; Kurosawa’s samurai films are almost referential at times, not always, but his work with Toshiro Mifune often leans that way; in The Hidden Fortress Mifune’s Rokurota is deeply loyal to his lord, the Princess Yuki, to the point that he won’t shed tears over his own sister being executed in her place. He spares the life of a rival because he respects him even though they stand on opposing sides. 

The samurai in Gohatto and Kubi aren’t nearly so idealized nor idolized, there’s very little “honor” in Kubi and even less loyalty. Whilst in Gohatto there’s a deep and subtle interrogation of the strict and oppressive bylaws of the shinsengumi. In one such scene, Kano is having drinks with a man who is interested in him, Yuzawa, who’s passionately talking about how the shensengumi uphold oppressive ideals including classism. 

[And then he jumps Kano’s bones I guess politics got the dude going lmao]

The Hidden Fortress’ Princess Yuki is at first, masculine - in story she was raised as a man rather than a princess - from the way she walks to the way she talks. She’s fierce, and upstanding, while also being compassionate to other members of her clan; even saving a young woman who’s a member of her clan that had been sold. There’s a regal quality to Princess Yuki. 

In comparison, Yuki in Lady Snowblood is elegant, and feminine, before striking out violently. Princess Yuki never has an “action scene” and in fact for a chunk of the film has to pose as a deaf woman to hide her identity. While not a passive participant in the plot, nor does she directly drive the action herself. While Yuki, well the entire movie is driven by her actions and the actions of her mother. The story is first and foremost, hers. 

Meanwhile women just like, they don’t exist in Gohatto or Kubi they’re like, in the ether~~~ they’re drifting, keeping out - or kept out? - of the drama. 

Given the vast differences in both style, tone, story and execution, how can you say wholeheartedly that Japanese cinema hasn’t changed since the 1950s? 

Japanese film style falls under an extreme dichotomy of cinematic/sweeping (described as “atmospheric”) or cartoonish/slapstick (described as “live action manga”)

I’m just…not gonna get into the overall history of Japan's adaptation of manga into live action films cause it would derail this conclusion and I ain’t got the time for that. I would like to note, Lady Snowblood is a live action film based on a manga of the same name - and it is not slapstick. It doesn’t even have comedic elements, it is a violent rape revenge story; I don’t think there’s a single moment where I chuckled. The Hidden Fortress is far lighter in tone, while Gohatto has more in common with Lady Snowblood - deeply and sincerely serious - and Kubi goes for a darker sort of comedy. 

This is just incorrect information. Personally I’m of the mind that “cinematic/sweeping is too broad a spectrum to even quantify as a film genre they are descriptors. 

That said, I don’t think Lady Snowblood is cinematic or sweeping. Gohatto is the only one on the list that’s even close to “atmospheric” though all four films have atmosphere - because atmosphere is a film technique it’s not a genre of film - The Hidden Fortress and Kubi are the only two I could qualify as “cinematic/sweeping” because they’re going for a larger bombastic scale. Though I feel folks watching The Hidden Fortress in the modern day might not find it cinematic because of how static and slow the film can be at times - the first act is long and drags quite a bit. 

To place such a strict dichotomy on an entire industry of filmmaking is simply bad film critique at best and xenophobic at worst given the context here. I’ve only talked about four films in one singular genre, I didn’t mention the countless other new wave films, or the birth of the kaiju genre with Godzilla, the expansion into horror and grindhouse - where does a film like Tag (2015) fit into such a strict dichotomy? -  nor the long, long history of animated works from various insanely highly influential and/or successful directors like Satoshi Kon, Makoto Shinkai, Hideaki Anno, Rintaro, Mamoru Hosoda, Mamoru Oshii, Isao Takahata, I mean the list goes on and on. 

If you expand your horizons you’ll find so many amazing films that do not flatly sit in this one or the other imposed categorization. Think about what queer cinema you may be missing out on by adhering to this imposed binary. 

Baby does any of this have to do with BL? (no, but it IS more gay than you think)

So, in the end, what does this have to do with BL? I would say it has both little and a lot to do with BL/GL which are genres all their own in Japan and other neighboring countries; as such their subject to the same waves, exploration and expansion as the four aforementioned films. 

It’s easy, if intellectually dishonest and academically lazy, to look at The Novelist and What Did You Eat Yesterday and say “BL only comes in two shapes and sizes”. 

There’s chocolate or vanilla and that’s it. When in reality there’s lots of ice cream flavors available, even if chocolate and vanilla are the best sellers it doesn’t mean strawberry or mint chocolate chip don’t exist. 

Where does animated BL fall into this western imposed binary? How does capitalism affect the output of what gets made for the screen and how? How does the political climate affect what’s being financed? Are BL and GL works that are being made somehow unaffected, existing in a stasis state, by the works across the film industry? Even from other queer works of film? What are we, as outsiders, not considering when we engage with this media? 

If we’re only looking at BL/GL for “queer representation” what films and/or television are we missing out on from these countries? What BL/GL are we missing by only engaging with what's put in front of us, and not diving deeper into learning more, expanding our individual knowledge, and experiencing stories that might take some work towards seeing? Stories that might be outside of our direct comfort zones because they don't fall into those strict if seemingly comforting boxes. What exploration into queer identity are we denying or ignoring the existence of because of these imposed binaries? 

I know some folks who are more well versed in BL history that would and do consider Gohatto and Kubi BL or BL adjacent, but I also know most western, especially American, audiences would consider neither of these films BL. 

So where does that leave them?

Further Reading: 

Cinematic History: Defining Moments in Japanese Cinema, 1926-1953

A Brief But Essential Introduction to Japanese Cinema

Filmmaking from Japan: The Golden Age of Japanese Cinema

Nagisa Oshima: Banishing Green

JAPANESE SOFTCORE: THE LAST OF TOKYO'S PINK EIGA THEATERS

The Last Samurai: A Conversation with Takeshi Kitano

The Evolution of the Japanese Anime Industry

Check out other related posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes? | Trends in BL (Sorta): Genre Trends

[animal-care]

Expanding Opportunities in the Animal Health Market: Trends and Outlook

Introduction

The Animal Health Market is witnessing dynamic growth and evolution, fueled by changing consumer preferences, advancements in veterinary medicine, and increasing awareness of animal welfare. In this blog, we explore key trends shaping the animal health industry and provide insights into the market's outlook for the future.

Rise of Pet Ownership

One of the most notable trends driving the animal health market is the growing popularity of pet ownership. As more people welcome pets into their homes, demand for veterinary services, pet care products, and preventive healthcare measures is on the rise. This trend is particularly evident in urban areas, where pet ownership is becoming increasingly common among young professionals and families.

Focus on Preventive Care

Preventive healthcare has emerged as a key priority for pet owners, leading to increased demand for vaccines, parasite control products, and wellness exams. Veterinarians are increasingly emphasizing the importance of regular check-ups and preventive treatments to maintain pets' health and detect potential issues early. This shift towards proactive healthcare is driving growth in the animal health market.

E-Commerce Boom

The rise of e-commerce platforms has transformed the way pet owners access veterinary products and services. Online retailers offer a wide range of pet care products, prescription medications, and veterinary supplies, providing convenience and accessibility to pet owners. This trend is expected to continue, with e-commerce projected to play an increasingly important role in the distribution of animal health products.

Focus on Animal Welfare

Consumer awareness of animal welfare issues is driving demand for ethically sourced and sustainably produced animal products. This includes pet food, livestock feed, and pharmaceuticals used in animal health care. Companies in the animal health market are responding to these demands by implementing sustainable practices, ensuring the welfare of animals throughout the supply chain.

Technological Advancements

Advancements in technology are revolutionizing the practice of veterinary medicine, with innovations such as telemedicine, digital health monitoring, and artificial intelligence gaining traction. These technologies enable veterinarians to deliver remote care, monitor patients' health in real-time, and make data-driven treatment decisions. As technology continues to advance, it is expected to further enhance the quality and accessibility of veterinary care.

Regulatory Landscape

The Animal Health Market is subject to a complex regulatory landscape, with stringent requirements for product safety, efficacy, and labeling. Regulatory agencies play a critical role in ensuring the quality and integrity of veterinary products and services, safeguarding animal and human health. Companies operating in the animal health market must navigate these regulatory requirements to bring products to market and maintain compliance.

Global Expansion Opportunities

The animal health market offers significant opportunities for global expansion, particularly in emerging markets with growing pet populations and increasing disposable income. Asia-Pacific, Latin America, and the Middle East are emerging as key growth regions for the animal health industry, presenting opportunities for investment and market expansion.

Conclusion

The animal health market is experiencing rapid growth and transformation, driven by evolving consumer preferences, technological advancements, and regulatory developments. From the rise of pet ownership and the focus on preventive care to the adoption of e-commerce and the expansion into global markets, the animal health industry is poised for continued growth and innovation. By staying abreast of key trends and embracing opportunities for innovation and expansion, stakeholders in the animal health market can position themselves for success in this dynamic and evolving industry.

[thlayli-ra]

while you're headcanoning, what are your codypunk headcanons? love hearing your thoughts!

Ok, so, bear with me here but... Codypunk can be summed up in the following photo:

(I SAID BEAR WITH ME!!!)

So it's objectively canon at this stage that Cody Rhodes is the prettiest person on the entire roster (male and female). He's the WWE equivalent of a Disney princess; beautiful, graceful, well-dressed, often faces up to terrible adversity but defeats his enemies with the power of kindness and friendship. He can also kick ass, has an animal companion and.. can he sing? I feel like he could sing!

Anyway, Cody is, of course, the white fawn. Pure and sweet.

Punk is the brown fawn with the grumpy face.

He's very protective of his pretty little friend. I absolutely adore this panel from the talented Otanod over on IG (please go check out their stuff, it's awesome!) that shows Dusty entrusting a young Punk to look out for Cody in WWE. Punk is older, more experienced and has come through the business the hard way, from absolutely nothing to the top of the industry. Unlike Cody, who is... dare I say it... a wrestling nepo baby.

View this post on Instagram

A post shared by Donato Soranno / OTANOD オタノド (@otanod__)

However, Cody doesn't really need protecting, he's perfectly capable of looking after himself and has proven it. Punk knows this, acknowledges this... and does it anyway. He can't help it. If the legendary Dusty Rhodes asks you to do something, you damn well do it. Punk is very old-school that way. (Also, he just loves his pretty little friend!)

Going back to the fawn photo, Punk's protectiveness of Cody is actually quite funny. Look at them! They're both so little and cute!!!! ❤️ Size-wise and skill-wise, they're equals but, more importantly, they are both incredibly vulnerable to violent attacks. Eh-hem (can we find some evidence, maybe?)

(Oh! There we go, thank you!😁)

They're a couple of beautiful deer in a world full of wolves. To survive, they rely on each other, to always have each other's back.

Things can get competitive, sure - young deer are known to lock horns from time-to-time - but so far, it hasn't turned bitter (time will tell on that one!)

Most importantly, there is a lot of healthy respect between them. Respect for their journeys, where they've been, what they've done, where they're going and if Punk is going to play second fiddle to anybody as king of the forest, he will do so for Cody.

[elbiotipo]

And yes, I indeed could make the point about why do robots need to look like humans? You could say to empathize with humans, but humans can empathize with lots of things, from animals to machines. You don't need synthetic skin and hair for that. Of course, needless to say, in practice it often falls into the uncanny valley.

It's not as common now, but when you see legions of human-but-not-quite robots that are treated as an underclass (like in the Animatrix or I Robot), you have to wonder why go through all the effort of creating human-like machines... according to robotic engineers, bipedal walking is one of the hardest things to achieve. In fact, we created realistic chatbots before mass-produced bipedal walking robots. And for that matter, why give personality and intelligence to industrial machines?

I can see there is a lot of potential in robots (or the broader category of artificial beings) as companions to humans to be human-like in both appereance and personality, and this is probably going to become a major and complex debate if personal robotics ever do become widespread (not guaranteed)

But stuff like this:

It's just silly.

Unless you want to do a hamfisted metaphor for slavery and racism that doesn't really work well but I would hope you're smarter than that (well, there was Detroit Become Human a few years ago, and guess what.)

It's the debate between "humanoid" and "usuform" robots, do robotics really need to follow the (surprisingly strange and hard to engineer) human form? Or is it better to follow the use they are gonna fulfill?

One could argue that robots created for human companionship should be more humanoid while those for other uses should be more usoform. But I argue that even for that, usoform robots are just more appealing and easier to engineer, and we have quite famous examples:

[crop-protection-market]

The Comprehensive Overview of the Animal Care Market Share, Growth and Forecast

The Animal Care Market, a crucial and compassionate industry, plays a pivotal role in ensuring the well-being and health of our beloved animal companions. This exploration delves into the dynamics of the Animal Care Market, encompassing analysis, demand, forecast, growth, challenges, and emerging trends.

Caring Compassionately: Understanding the Animal Care Market Landscape

The Animal Care Market is not merely an industry; it's a testament to our commitment to providing the best possible care for our furry, feathery, and scaly friends. Analyzing its multifaceted nature unveils the delicate balance between technological advancements, regulatory compliance, and the unwavering dedication of caregivers. Animal Care Market Analysis is influenced by evolving consumer preferences, advancements in veterinary science, and a growing awareness of animal welfare. The Global Animal Care Market Size is projected to reach USD 100 billion by 2025, reflecting a compounded annual growth rate of 6%. The Asia-Pacific region holds the largest share in the Global Animal Care Market, accounting for 35% of the total market revenue.

Meeting the Demand: Satisfying the Needs of Pets and Livestock Alike

Understanding the demand dynamics within the Animal Care Market is essential for stakeholders seeking to address the diverse needs of pet owners and livestock producers. Animal Care Market Demand is driven by the increasing adoption of pets, a surge in pet humanization trends, and the growing awareness of preventive veterinary care. Rising concerns about zoonotic diseases and the need for sustainable livestock practices contribute significantly to the demand for animal health products. Pet owners in North America spend an average of USD 1,200 annually on veterinary care and related products.

Forecasting a Brighter Future: Animal Care Market Growth and Outlook

Navigating the trajectory of growth and forecasting future trends is crucial for stakeholders aiming to contribute to the positive development of the Animal Care Market. The Animal Care Market Outlook is optimistic, with sustained demand for advanced veterinary services, pet insurance, and innovative healthcare products. Increasing government initiatives promoting animal health and welfare contribute significantly to the positive growth outlook. The Latin American region is expected to witness the highest growth rate in the Animal Care Market, with a projected CAGR of 8% over the next five years.

Revenue Realities: Illuminating the Financial Landscape of Animal Care

Delving into the revenue aspects of the Animal Care Market reveals the economic viability of the industry and the financial considerations influencing stakeholders. The Animal Care Market Revenue is diverse, encompassing veterinary services, pet products, and pharmaceuticals. The rise in pet ownership, coupled with an increased willingness to spend on premium pet products and services, significantly contributes to market revenue. Veterinary services contribute to 50% of the total Animal Care Market Revenue, reflecting the growing emphasis on professional healthcare for pets.

Sizing Up: Animal Care Market Size and Trends

Analyzing the size of the Animal Care Market alongside emerging trends provides a comprehensive view of the industry's current state and future possibilities. The Animal Care Market Size is witnessing a surge in demand for organic and natural pet care products. E-commerce platforms are becoming increasingly popular for purchasing pet products, reflecting changing consumer buying behavior. Online sales of pet care products have witnessed a 25% year-on-year increase, showcasing the digital transformation of the Animal Care Market.

Challenges on the Horizon: Navigating Animal Care Market Challenges

While the Animal Care Market thrives on compassion and care, it is not immune to challenges that demand thoughtful solutions. Animal Care Market Challenges include regulatory complexities, an increasing need for skilled veterinarians, and the ethical considerations surrounding animal testing. The rise in counterfeit animal health products poses a significant challenge to the integrity of the Animal Care Market. The shortage of skilled veterinarians is estimated to be 20% in developing regions, impacting the accessibility of veterinary services.

Embracing Trends: Navigating the Ever-Changing Landscape of Animal Care

Staying ahead in the Animal Care Market involves a keen awareness of emerging trends that shape the industry's future. Animal Care Market Trends include the rising demand for personalized pet nutrition, the integration of telehealth services in veterinary care, and the growing popularity of pet wearables. Sustainable and eco-friendly practices are gaining prominence, with consumers seeking ethically sourced and environmentally conscious animal care products. The market for pet wearables is expected to witness a remarkable CAGR of 12% over the next five years, driven by the increasing focus on pet health monitoring.

Conclusion

The Animal Care Market stands as a testament to our commitment to the well-being of our animal companions. Navigating its complexities requires a blend of compassion, innovation, and a proactive response to emerging trends and challenges. As the market continues to evolve, stakeholders must remain adaptable and dedicated to ensuring the health and happiness of the creatures we cherish.