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Posts Tagged ‘よしながふみ’

Ooku 2-205

Ooku, Vol. 2, p. 205

Image via TBS.

Ooku, Ep. 3. Ain’t no party like an ooku drag party… Image via TBS

Hello to my new readers from d-addicts, where my blog was linked on the Ôoku drama thread. I know I’m rather behind on the write-ups, but I do hope you enjoy them as I get them out.

Episode 2 recap here. For other past posts about the films, manga, and drama, see the Ôoku category.

Warning: spoilers, rape, violence.

I’m a great fan of stories (regardless of medium) that make me experience a range of complex and subtle emotions. Or, as one might say, something that hits me right in the feels. The events of Vol. 2, Ch. 4 in the manga–Ep. 3 in the drama (aired 26 Oct. 2012)– are the precursor to a truly epic emotional roller coaster.

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The official trailers for Ôoku: Tanjô and Ôoku: Eien have both been released. (For the full index of posts on the series, see here.)

Ôoku: Tanjô (Iemitsu/Arikoto)

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Finally! I’ve been waiting and waiting for some teaser photos from the new Ôoku TV series (Ôoku Tanjô, Oct. 2012) and film (Ôoku Eien, Dec. 2012), and here they are! (Full index of posts on the series here.)

TBS Drama. Ôoku: Tanjô (Arikoto/Iemitsu) (『大奥:誕生』[[有功・家光篇]). Release date: Oct. 2012.

“The Shogun is a woman; her retainers are 3000 beautiful men….” Photo from TBS: http://ohoku.jp/eien/index.html

Oh.

Let me talk about effective uses of visual media for marketing to potential viewers and to rabid fans. When you release the first promotional photos into the wild, you want your audience to have an immediate all-caps reaction Tumblr-style:

WHAT IS THAT I MUST SEE IT NOW
ALL THE FEELS
CAN’T BREATHE

John Barrowman after David Tennant kissed him at ComicCon

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Part 3: The New Culture

Image from Amazon.co.jp

In the final installment of my look at the cultural revolution during Iemitsu’s reign in Yoshinaga Fumi’s manga 『大奥』 (Ôoku), I’d like to explore the political and cultural changes to the (female) Iemitsu’s Edo through the connection between fashion and political power.

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Part 2: Political Power and Female Daimyô

As the events happening within the ôoku reflect the changes in sexual culture this reimagined Edo Period, Yoshinaga, with her wonderful  knack for world-building,  shows the full societal impact that the decimation of the male population and the unbalanced sex ratio have on the greater political and social culture.

"A woman's voice?" (Vol. 3, p. 215)

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Part 1: The Sexual Revolution Within the Ôoku


There’s a line in Volume 1 that really defines the larger work of Ôoku, where a character notes that the men there kept like goldfish: a luxury item to have simply for the sake of having. For the third and (part of) the fourth volumes of Ôoku, I’d like to shift the focus from the narrative itself to the larger cultural issues presented in the volume. No work of art or literature exists in a vacuum, and the third and fourth volumes of Ôoku address the present issue of “herbivore men” and their counterpart, “carnivore women.” Unlike Otomen, though, the story of Ôoku is not directly about this issue, but there’s no denying the connection between contemporary culture and the work. The content of this volume is largely meant to explain the changes in Japanese (alternate history) culture caused by the Red Pox, or how the culture in the world that Yoshinaga created evolved from the Shogunate of Iemitsu to that of Yoshimune.

I’d like to address this in multiple parts—first the sexual revolution within the ôoku; next, the changing political and social world; and finally the lasting cultural impact that the revolutions within and without the castle have on the world. The issues addressed here are fairly lengthy, so I’ve divided up Part 1 into subsections. Spoilers are a given; also, one image contains some potentially NSFW cleavage.

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Manga Review: 『大奥』(Ōoku:The Inner Chambers), Vol. 2

Image from Amazon.co.jp

Read the review of Vol. 1 here. Ôoku masterpost here.

Sad to leave Yoshimune and Mizuno of vol. 1 behind for the next story arc, I reluctantly started vol. 2 of Ôoku, but I quickly left my regrets behind as I got absorbed in the story. Readers, this manga is a tour de force. It’s not just the art or the writing– this volume put me through an emotional wringer in a way that only the endings of Nausicaa of the Valley of the Wind and The Rose of Versailles have.

As Yoshimune reads the records of the ōoku, we travel back in time to the 1630s. The manga starts with an explanation: The first two Tokugawa shoguns, Ieyasu and Hidetada, were men. However, the third shogun, Iemitsu, fell victim to the Red Pox. Little by little, we piece together the (disturbing) story of how the female Tokugawa line started.

Spoilers, of course, follow.

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