#setsu asakura

[jareckiworld]

Setsu Asakura (1922-2014) — „1963” [watercolor and pigment, on plywood, 1963]

[anamon-book]

明日のために　石井ふく子 鎌倉書房 装幀＝朝倉摂、題字＝佐久間良子、挿画＝浜木綿子

[soul-of-sylvanos]

Otherkin Types:

Elvenkin of various types

Dragonkin

Tengu

Fictionkin:

Spiritual Kin and Selfhood

Link— Pretty much every legend of Zelda and fan series Hero’s Purpose

Fierce Deity— A deity of Termina, Majora’s Mask

Synpaths and Psychological Kin

Tenzin— Avatar: The Legend of Korra

Iroh— ATLA

Inuyasha

Yoh Asakura— Shaman King

Jonathan Joestar— you already know lol

Ashitaka— Princess Mononoke

Kamado Tanjiro— Demon Slayer

Tsugikuni Yoriichi— Demon Slayer

D— Vampire Hunter D

Kiriko— Overwatch 2

Shenhe— Genshin Impact

Prince Nuada— Hellboy 2

Alucard— Castlevania

Father Abel Nightroad— Trinity Blood

Lan Wangji— Mo Dao Zu Shi

Xie Lian— Tian Guan Ci Fu

Kenshin Himura— Rurouni Kenshin

Inugami— Kemono Jihen

Kinsidering

Legoshi— Beastars

Immortal Tatsu— Way of the Househusband

Sawamura Setsu— Those Snow White Notes

All Might— BNHA

Animal Aspects

Dragon

Wolf

Raven

Stag

Tropes

My tropes, best I know to say, would be as follows:

Late teen to adult. Alignment good. Sometimes lawful or neutral, often chaotic lol. Very helpful and supportive. Playful with a mild mischievous streak, but no harm intended. Priest/monk. Hero. Swordsman. Meditation and energy cultivation. Teacher vibes. Compassion

“Do no harm but take no shit”

[byneddiedingo]

Pîtâ in Funeral Parade of Roses (Toshio Matsumoto, 1969) Cast: Pîtâ, Osamu Ogasawara, Yoshio Tsuchiya, Toyosaburo Uchiyama, Don Madrid, Emiko Azuma, Yoshimi Jo, Koichi Nakamura, Flamenco Umeji, Saako Oota, Taro Manji, Mikio Shibayama, Wataru Hikonagi, Fuchisumi Gomi, Chieko Kobayashi, Yo Sato, Keiichi Takanaga. Screenplay: Toshio Matsumoto. Cinematography: Tatsuo Suzuki. Art direction: Setsu Asakura. Film editing: Toshie Iwasa. Music: Joji Yuasa. Toshio Matsumoto's Funeral Parade of Roses both participates in and parodies the late-1960s avant-garde "underground" film movement, with its reliance on eccentric cuts and random inserts. There's a scene in which the filmmakers are shooting a badly tuned television set, and keep fiddling with the set to get the kind of distorted image they want. And at one point someone quotes the avant-garde filmmaker Jonas Mekas -- and then gets his name wrong, calling him "Menas Jokas." Matsumoto's film keeps the viewer off-balance at all times, moving in and out of what we take to be "reality" to expose that it's all moviemaking. There is, for example, a scene in which the cross-dressing protagonist, Eddie ( Pîtâ), and a Black man, Tony (Don Madrid), seem to be having sex, with lots of pornographic gasping and facial contortions. But then the camera angle shifts and we see that there's a camera crew surrounding the bed where Tony is propped up by himself on the headboard while the camera is focused on the face of Eddie, simulating ecstasy. Even the main story of the film gets its distancing when we cut to the actor who plays Eddie, Pîtâ (or Peter, as the English language screen credits have it), being interviewed about the role he's playing. It's much like his own life, he says, except for the incest part. At this point in the film, we don't know about the incest part, which precipitates the crisis in Eddie's life. Suffice it to say that Matsumoto based a large part of the film on Oedipus Rex. The central story deals with the rivalry between Eddie and Leda (Osamu Ogasawara), the "Madame" of a club that caters to salarymen who want to sleep with gei boi, for the affections of Gonda (Yoshio Tsuchiya), a man who turns out to have more significance in Eddie's life than is at first apparent. There are some longueurs in Matsumoto's film, mostly having to do with the avant-garde sequences but also with a too-long drugged-out orgy scene. (Other people's orgies are invariably boring.) But there are some genuine shocks and some real emotion in the film, and the performance by Pîtâ -- best known as the androgynous Kyoami, the analogue to the Fool in Ran (1985), Akira Kurosawa's reworking of King Lear -- is outstanding.

[holespoles]

"Song of Temari" 

ill:Setsu Asakura 

Auth: Jyunichi Yoda

Kodomo no tomo

こどものとも「てまりのうた」

作：与田準一　絵：朝倉摂

[jareckiworld]

Setsu Asakura (1922-2014) "Switchyo Cat" Japanese Picture Book, 1971.

[jareckiworld]

Setsu Asakura (1922-2014) — Mythical Ruins [watercolor, pigment on plywood, 1964]

[anamon-book]

海と薔薇と猫と　加藤剛 創隆社 装幀＝朝倉摂