Gay, Lesbian And Bisexual Flag Icons For A Blushing Van Helsing Sprite Plus A Transparent One For All

Princess Tutu and Grand Narrative

Once upon a time, there was a clumsy school girl granted the power to transform into the magical ballerina Princess Tutu.

“Once upon a time” is a familiar phrase used to connect stories that take place in lands distant and times different from one another into the same fairytale world. Each episode of the anime Princess Tutu begins with this familiar phrase and then proceeds to tell a story both known and new, where Hans Christian Anderson’s Ugly Ducking becomes Odette, the Swan Queen, from Swan Lake, thanks to the magic of the mysterious Drosselmeyer, who bares a striking resemblance to the character of the same name from The Nutcracker. Princess Tutu is not just a retelling of a handful of fairy tales, it’s an adaptation of stories across literature, ballet, opera, and of course, anime. Each piece of Princess Tutu’s narrative belongs to worlds larger than its own. The series challenges paradigms about typical narrative creation by weaving together multiple “grand narratives”.

While working as an editor for Kadokawa Shoten in the late 80s, Otsuka Eiji wrote a paper called “World and Variation: The Reproduction and Consumption of Narrative” in which he explains the idea of the grand narrative. An individual story only gives the audience a small glimpse into that wider world that the story is set in. This wider world is full of countless narratives told from countless perspectives that make up the grand narrative. Eiji uses the Gundam franchise to illustrate this concept where any given episode of the anime is a small snapshot of narrative within the larger universe(s) Gundam takes place in. Eiji explains, “Countless other [stories] could exist if someone else were the main character.”

Everyone is the main character of their own story. But most of these stories that make up the grand narrative of a world are hidden from view. It’s impossible to tell every story at once and have it be comprehensible. Instead we can only consume small bite-sized narratives that give us a snapshot of the (hopefully) interesting parts of a protagonist’s life. But who, exactly, is controlling these smaller narratives? This is a question faced by the characters of Princess Tutu.

The concept of shifting protagonists and expanding the audience’s view into the grand narrative heavily ties into Princess Tutu’s premise. The anime’s story is catalyzed by Drosselmeyer, the author of a fictitious book called The Prince and The Raven. The book’s ending is a stalemate between the titular characters so Drosselmeyer decides to promote the minor character of Princess Tutu to the role of main character to help the story move forward.

As you can probably tell by the name, Princess Tutu is heavily influenced by ballet. One of the show’s more significant influences is Swan Lake. Through the anime’s re-purposing of Swan Lake’s Odette as a magical girl, Princess Tutu continues to uphold ballet’s tradition of adapting the story for its own purposes.

Princess Tutu and Odette

The basic story of Swan Lake is about a prince falling in love with a girl cursed to be a swan from sunrise to sunset by an evil sorcerer. The sorcerer tricks the prince into confessing his love for his daughter, Odile, instead of the swan girl thus dooming the swan girl’s chance at true love and breaking the curse.

Amanda Kennell, an American scholar, outlines in her paper “Origin and Ownership from Ballet to Anime” Swan Lake’s production history and the evolution of the ballet’s narrative. The original staging in 1877 had the story end with the villain going unpunished and the two lovers drowning in a flood. In a revival staging from 1895 the villain was defeated and the two lovers reunited in heaven after throwing themselves into a lake. In a single scene production called The Magic Swan from the 1940s, the iconic “black swan” was introduced setting the precedent for the same ballerina to play the role of Odette and Odile in striking white and black costumes. And finally, another staging in 2006, not only adopted the White and Black Swan motif, but also changed the ending once again so that the prince kills the villain and he and Odette live happily ever after.

Despite each staging of the classic having significant differences, none of the variations are cast away as counterfeits. The value of the production isn’t in how close it is to the original Swan Lake but instead in the relative merit of each variation. In fact, it doesn’t really matter which you consider “the original” where the additions made by each carry their own merit and add to Swan Lake’s grand narrative. In this same regard, it would be acceptable to consider Princess Tutu another variation on the world of Swan Lake’s grand narrative.

There is terminology for this phenomenon in Kabuki theater. Eiji points out in his paper the similarities between the concepts of Sekai (world) and Shukou (plot) from Kabuki theater and his ideas of the grand narrative and the smaller narratives.

In Kabuki, Sekai represents the world a story takes place in and Shukou represents the story that is a product of that world. Each staging of a Kabuki play is its own Shukou derived from either a single Sekai or the mixing of Sekai. What matters in creating a good performance is not necessarily conveying the Sekai but instead the relative merit of the Shukou’s take on things. No performance is exactly the same and different actors bring different strengths to a performance and in turn provide a different experience for the audience’s entertainment. This of course carries over to more art forms than just Kabuki, classic ballet is in a similar position where entire songs are sometimes re-choreographed just to match the strengths of an individual ballerina. Ballet in particular has a long tradition of making minor and major changes to suit an individual performance. Whether it be tweaking choreography or straight up giving the story a different ending. The evolution of Swan Lake’s production is an excellent example of how productions of what are considered to be the same story can dramatically vary.

But Princess Tutu borrows from more stories than just Swan Lake. This brings us back to Kabuki and the idea of mixing Sekai in order to create another Shukou.

Princess Tutu takes pieces of classic stories and rearranges them to create something simultaneously familiar and completely new. Princess Tutu is not forging a new Shukou from only Swan Lake’s Sekai, but instead is connecting the canon of European literature and performing arts together into an even more extensive grand narrative.

Just look at the series’ opening for example, where Swan Lake and The Nutcracker are intertwined with one another as the anime’s titular character is dressed in the ballet costume of Odette and dances to The Nutcracker’s Flower Waltz to simultaneously combine the worlds of two ballets while producing an entirely new moment unique to the Princess Tutu anime.

The anime ends on the implication that if one person tries to control a story and the grand narrative it’s connected to, that person will fail. Princess Tutu is an excellent reminder of how stories are dynamic. Stories end up taking on a life of their own evolving, expanding and being reworked by both creators and consumers.

Eiji explains that once the consumers feel they have a grasp on the grand narrative they are free to produce their own small narratives from it. This is exactly how its creators forged Princess Tutu from the grand narrative of classic literature and performing arts. Just as mangaka can’t help it if a doujinshi adds to the narrative of their original story, Travosky can’t control the new life his ballets have taken on in Princess Tutu. Stories will take on a life of their own, abandon the need for an original and become a part to a larger grand narrative to be consumed and reworked over and over.

She-Ra Where’s Micah?

So, obviously the rumors of Micah’s death is greatly exaggerated or misunderstood. We’re never shown exactly how he ‘died’ we just know he did and Angella feels responsible since it is implied it was her plan or decision that lead to his supposed death. Which is why Angella has a fear of making another bad decision that she didn’t make any decisions leading ( or contributing) to the original Princess Alliance to fall apart.

So, Micah isn’t dead. Then where is he? If he was a prisoner of the Horde he would’ve been used as a bargaining chip by them already. To get Angella and Castaspella to comply with whatever demands in order to ensure Micah’s safety. Both have a strong emotional and personal relationship with Micah, they would’ve done it. Two kingdoms submitting with little to no resistance at the same time would be a huge advantage for The Horde.

I theorize Shadow Weaver somehow has him under her own secret and private improsonment. Without Hordak’s or anyone else’s knowledge. Why would Shadow Weaver hide this from Hordak?

Simply because Shadow Weaver cares about her own magical power first and foremost. Even if giving Micah to Hordak would gain her approval and favor, Shadow Weaver has shown again and again, Hordak and his mission means nothing to her. Hordak is simply convenient for her goal.

The way she used Glimmer as a living magic battery while crude, but given the rushed circumstances she seemed to be comfortable and at ease with the situation. While showing disregard for Glimmer’s physical well being during this, it shows she has the knowledge to perform this and a lack of empathy to take magic from other’s regardless if it’s hurting them.

It also helps show that she’s hypothetically done it to Micah and possibly still did while she was in the Frightzone. Shadow Weaver probably has a complex spell or magical device that’s keeping him imprisoned (and out of sight) but alive enough to serve as a magic battery. Her being kicked out of the Frightzone has possibly cut her off from his magic.

Though, if he’s not being held by Shadow Weaver he’s possibly stuck or trapped in whatever area of the mission he ‘died’ in or he has amnesia as a result of the injuries he received on said mission.

Today’s my 22 birthday!

this is a harvest mouse appreciation post

literally the cutest animal ever in history look at this lil fuzz

tiny bean ! friendly bean

they climb on basically everything. probably to get closer to kiss u

if this mouse gets any more disney than this it will probably break out into song

just look at this tiny nugget !!!

harvest mice use their tails for stability while climbing but also to be unnecessarily cute. this deters predators

tiny feet !!!!! tiny toes !

momma with itty puffs

kisses !! 1 hit KO

they are literally too small how dare

harvest mice !!!

harvest mice !!!!!!!!!!!!!!

harv e s t  m i c e  !! ! !!!

thankyou for your time

$50,000 immediately dropped into my bank account wouldn't improve EVERYTHING but boy it sure would be a grand, sexy little start to a good, happy life path, don't you think

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Aesthetically Pleasing Anime Movies

The mentions below are a combination of beautiful visuals animation movies that had captured an immediate attention due to its fresh and appealing color choices and drawing-styles; yet, still intrigued the audience with a unique plot. Before you check out the list, keep in mind that I did not forget any of Studio Ghibli productions. I think every project in Ghibli is so special that I feel I need to make a separate post, don’t you agree? Plus, I want to give a shout-out to other animes. Some are extremely underrated and need much more love and appreciation!  ❤️  this and enjoy~ 

Hirune Hime: Shiranai Watashi no Monogatari /  Ancien and the Magic Tablet (2017)

Digimon Adventure tri. 4: Soushitsu / Digimon Adventure tri. Loss (2017)

Uchiage Hanabi, Shita kara Miru ka? Yoko kara Miru ka? / Fireworks, Should We See it from the Side or the Bottom? (2017)

Zutto Mae kara Suki deshita.: Kokuhaku Jikkou Iinkai / I’ve Always Liked You (2016)

Koe no Katachi /  A Silent Voice (2016)

Kono Sekai no Katasumi ni /  In This Corner of the World (2016)

Kimi no Na wa /  Your Name (2016)

Hana to Alice: Satsujin Jiken / The Case of Hana & Alice (2015)  

Kokoro ga Sakebitagatterunda / Anthem of the Heart (2015)

Sarusuberi: Miss Hokusai (2015)

Giovanni no Shima / Giovanni’s Island (2014)

Inari, Konkon, Koi Iroha / Inari, Konkon, ABCs of Love (2014)

Tamako Love Story (2014)

Kotonoha no Niwa /  The Garden of Words (2013)

Buki yo Saraba / A Farewell to Arms (2013)

Hal (2013)

Kaguya-hime no Monogatari / The Tale of the Princess Kaguya (2013)

Ookami Kodomo no Ame to Yuki / Wolf Children (2012)

Nerawareta Gakuen /  Psychic School Wars (2012)

Ano Hi Mita Hana no Namae wo Bokutachi wa Mada Shiranai / Anohana: The Flower We Saw That Day (2011)

Hotarubi no Mori e /  Into the Forest of Fireflies’ Light (2011)

Hoshi wo Ou Kodomo / Children Who Chase Lost Voices (2011)

Momo e no Tegami / A Letter to Momo (2011)

“Bungaku Shoujo” Movie / Book Girl, Literature Girl (2010)

Summer Wars (2009)

Byousoku 5 Centimeter /  5 Centimeters Per Second (2007)

Paprika (2006)

Toki wo Kakeru Shoujo /  The Girl Who Leapt Through Time (2006)

Tekkon Kinkreet (2006)

Bonus: A 15 one-minute shorts created by various people from Japan’s animation industry. Be prepared to indulge in 3 seasons of masterworks. 

Ani*Kuri15 (2007)

everyone who reads this post will get some big spicy joy within 24 large minutes (hours)

CHOCOLATE PUMPKIN CUPS❤️ Ingredients🍎: CHOCOLATE LAYERS ½ cup melted coconut oil ½ cup cacao powder 2 tablespoons maple syrup PUMPKIN LAYER 2 tablespoons melted coconut oil ½ cup pumpkin purée (not pumpkin pie filling) 3 tablespoons almond butter (or your favorite nut butter) 2 tablespoons maple syrup ½ teaspoon ground cinnamon Prep👩🏻‍🍳: Line a muffin tin with cupcake liners. Combine all ingredients for chocolate layer in a small bowl. Mix until well combined. I found that measuring out about ½ tablespoon (or a little less) into each cupcake liner was just enough to fill both chocolate layers. These layers are very thin! I made 10 chocolate cups. You may have to spread out the chocolate so it fills the whole liner. Freeze for 15 minutes. Meanwhile, prepare the pumpkin layer. Combine all ingredients for pumpkin layer in a small bowl. Mix until well combined. I measured out about 1 tablespoon for each cup. Layer over the chocolate and freeze for 20 minutes or until firm. Finish by layering the leftover chocolate over the pumpkin layer and freeze for an hour or until firm. Transfer cups to a sealed container and store in freezer. Source: the glowing fridge