Publisher Preview

Total Page:16

File Type:pdf, Size:1020Kb

Publisher Preview TABLE OF CONTENTS F O R T H E PLAYERS 01 INTRODUCTION 5 02 CHARACTER CREATION 13 03 MECHA ASSAULT FORCE 35 04 MECHA-RELATED RULES 47 for the gamemaster 05 GAMEMASTER’S SECTION 75 06 SECRET HISTORY OF JAPAN 1 0 9 07 CAMPAIGN SCENARIOS 131 11 INTRODUCTION CREATION CHARACTER MECHAMECHA ASSAULTASSAULT FORCEFORCE 44 34 3333 TIMELINE OF THE MECHA ASSAULT FORCE The Mecha Assault Force, of M.A.F., is the first line of defense for the Japanese islands from attacks by the giant monsters that threaten it. For as long as the island nation has had a self-defense force, there has been a dedicated core of soldiers who pit themselves against the most devastating natural force on Earth. What follows is a brief history of the M.A.F. and details on their current deployment of mecha. M.A.F. history uses the same “era names” as other calendars in Ja- pan, based on the life and reign of the current emperor. The first kaiju appeared during the reign of the Showa emperor Hirohito, and is thus MECHA ASSAULT FORCE called the Showa era, lasting from 1945 to 1983. The next great kaiju era was the Heisei, lasting from 1984 to 1999. Due to the radically dif- ferent nature of kaiju attacks in recent years, a third “Millennium” era began in 2000. || Showa Era (1945-1983) The creation of the Mecha Assault Force is directly tied to the closing events of WWII. Here is a brief timeline of the important mecha and kaiju related events of the modern era. 1945: The first kaiju, Kaibutsu, is created by a freak mutation of atomic radiation. The Japanese military believes it is a terror weapon of the United States. The Emperor orders the military to immediately surrender and beg the U.S. to stop “Its monster.” The Japanese army lures Kaibutsu to the sacred city of Nagasaki, where a second atomic bomb destroys it. 1945-48: US and Japanese scientists study the remains of the kaiju, but are unable to discern its origins. Dr. Surakowa and Prof. Rampo Kyari are lead Japanese researchers on the project. The government denies the existence of the kaiju, maintaining the cover story that it was only the bomb that caused the Japa- nese surrender. 1948: Kaiju research notes and samples of genetic material are stolen by communist agents and sent to the newly formed North Korea. 1950: During the Korean conflict a new incarnation of the kaiju Kaibutsu is unleashed upon American Marines in the battle of the Chosin reservoir. This leads to the Finland Accord that lim- its kaiju to defensive weapons used only within a nation’s own borders. 35 1950: The knowledge that kaiju truly exist has a chilling effect on MECHA ASSAULT FORCE the Japanese populous. Many turn to religion for solace, while others seek the protection of new military technology. Many be- gin calling for a military force that can protect the islands from these new threats. Prof. Rampo has a vision of the universe as a whole and spends weeks in hospital. He will spend years trying to put into words the image he saw in that one moment. 1953: Dr. Surakowa, working on his own, discovers a chemical means of destroying the kaiju. Unfortunately it would have an equally devastating effect on mankind. As a man of peace who fears the introduction of new terror weapons, he keeps this chemical process a secret. 1954: Kaibutsu returns, this time attacking the nation of Japan and devastating Tokyo. Surakowa is persuaded to use his chem- ical weapon on the creature, but only after first destroying his research, and then killing himself after killing the kaiju. The Japanese Self Defense Force is formed. Its first act is to create the Anti-Kaiju Force (A.K.F.), a group founded to devel- op technology and tactics to use against the great beasts. The military turns to Prof. Rampo Kyari to head Research and Devel- opment for the A.K.F. 36 1957: Senshueki, a flying reptilian kaiju, appears as the first radical monstrous mutation. It is a product of rapid evolution produced in a matter of years rather than eons. 1958: Yowai appears, born from a weaker strain of kaiju meant to emulate the great Kaibutsu, but failing miserably. They are pro- duced as “foot soldiers” that can be bred as quickly as they die. 1959: Kameyuu, a colossal sea turtle, terrorizes sea lanes. This marks the first attack by the Underwater Shogunate of Mu, a campaign which will last for nearly 20 years. 1960: Prof. Rampo discovers Zeta particles, a sub-atomic ele- ment that interacts with Gravitons. By stimulating Zeta parti- MECHA ASSAULT FORCE cles, he produces areas of intense gravity, which can be project- ed as weapons of devastating power with little to no dangerous by-products. He calls his weapons GAZERs (Gravity Amplifica- tion by Zeta Emission Recovery). Gazer technology requires vast amounts of power, so cannons must be trucked into a position and hooked into a city’s power grid directly. 1961: Senshuga first sighted over Korean air space, and identi- fied as the first insect kaiju. It is later learned that N.K. scientists worked for months to find a breed of moth amongst the thou- sands of varieties that would respond to kaiju mutation. 1962: Yamazaru, one of the great gargantua kaiju, appears in northern Japan. Tank mounted Gazer weapons harass and chase it across the big island of Honshu. They are too slow to deliver the killing blow before the creature’s regenerative powers return it to health. That same year Navy destroyers drive Kameyuu out of the Sea of Japan. Prof. Rampo suggests a faster, more maneu- verable weapons platform: a humanoid robot that could func- tion like a walking battleship. He calls his design a “mecha.” 1963: Ti-Lung, resembling a Chinese Dragon, attacks shipping in international waters. Though originally believed to be anoth- er Mu kaiju, Ti-lung is eventually tracked back to North Korea, a creation honoring their northern neighbor China. A formal protest is lodged and North Korean is ordered to operate the creature only within their territorial waters. It disappears after sinking the U.S. Naval vessel Pueblo. 1964: “Metaru Jaianto,” the first remote-controlled humanoid robot, is fielded. Designed as a special support weapon capable of following kaiju into regions inaccessible to Gazer tanks, Me- taru captures the imagination of the country. It is seen as a way 37 of fighting the kaiju on their own level, and becomes a beloved MECHA ASSAULT FORCE symbol of the technological prowess of the country. Iseijin appears, called the “Space Monster” by some due to its alien nature, and denied by the North Korean government as their creation. Kadouguera, a terrifying robot, repeatedly menaces cities in Japan, but is consistently defeated by Metaru. The only clue to the robot’s origin is the emblem of the Imperial Chrysanthe- mum on its chest, formerly reserved only for battleships of the Imperial Japanese Navy. ADMIRAL KIMAGURA VS JAPAN Above the waves of WWII, the Imperial Japanese Navy ruled the seas. Under the command of Admiral Yamamoto, the island nation created an interconnected defense network designed to make Japan impregnable. Beneath the waves, however, was another story, where strange creatures and mysterious forces worked against the nation. The master submariner of the Imperial Navy was Admiral Kimagura, a driven man wholly devoted to the service of the Emperor: he did not fight for his nation, he fought for the incarnate god that ruled it. At the end of WWII Admiral Kima- gura and his crew disappeared, but strange shipping attacks and kidnappings of scientists began. In the 1960s the truth behind these events became clear. Admiral Kimagura returned, unleashing a personal menag- erie of technological terrors upon Japan, each emblazoned with the Chrysanthemum device of the Showa Emperor found at the prow of every Imperial Navy vessel. His battle against what he considered the “corrupted excrement” of a once- proud nation continued until a power arose that threatened to destroy, not just Japan but the Emperor himself. 1965: Sanshuseki, a flying, 2 headed “iseijin” kaiju, appears as the most powerful creature yet recorded. Rappagon, a burrowning kaiju with a fiery horn, appears around the mountains of Fuji. “Metaru Fever” grips the country, as the robot becomes a pop-culture phenomenon. With new kaiju appearing Metaru is used as a front-line weapon, and military planners begin to see 38 the potential of battlefield robots. Prof. Rampo sees the limita- tions of radio-controlled robots, however, and begins design- ing a piloted mecha. The A.K.F. creates a new arm: the Mecha Assault Force. Mysterious shipping accidents are rumored to be caused by a giant submarine. 1967: The first manned mecha is fielded, the “Senkanbuku” (battleship warrior). Because Gazer weapons still require vast amounts of power, the diesel-powered Senkanbuku is armed with 16-inch naval guns. A five-man crew operates the vehicle. Over the next 8 years advances in computer technology allow all MECHA ASSAULT FORCE non-combat tasks on board mecha to be handled through either on-board or remote computers, reducing the crew requirement to a single pilot or a pilot and navigator. 1969: A rash of new kaiju attack across the world, sparking ru- mors that the source of many of these creatures must be some place outside North Korea. Ebitenshu, a giant crustacean kaiju, patrols Korea’s shores after the mysterious disappearance of Ti- lung. Kamakira, a monstrous Praying Mantis, proves impossible to control, and begins a slow flight around the world.
Recommended publications
  • Isekai No Seikishi Monogatari
    Tenchi Muyo! War on Geminar ------------------------------------------------------------------------------------------------------------------- Intro: The Tenchi Muyo series is huge, and the canonicity may not be particularly clear to the uninitiated. This part of the series and Jump take place after the start of the main timeline and GXP. The story takes place in the world of Germinar, and you no longer need to worry about multiversal goddesses, planet-busting trees, and other such things for your stay. Following Masaki Tenchi's half-brother Masaki Kenshi, this story would normally start with the attack on the Swan (a flying landship), but it now starts with the arrival of Kenshi at the Summoning Ruins still not long before. This world is bathed in high levels of a relatively nondescript energy. This prevents nearly all technology from working above a certain altitude in addition to making others extremely sick, eventually to the point of death, should they stay in these areas. Even the pilots of this world's holy mecha cannot enter these areas or they both will shutdown. This has lead to the higher lands being covered in mostly normal flora and the occasional super flora. The people of this world have coped with this by building their cities lower than the effected areas and carving out valleys for travel. Take your pick of the purchases available below with the 1,000CP (choice points) provided, and be sure to read the notes. ------------------------------------------------------------------------------------------------------------------- Origins: How you start in this world. Your age is 15 and your gender stays the same. Both can be changed for 100CP. ------------------------------------------------------------------------------------------------------------------- Drop-In (Free) – You just show up in the Holy Land one day.
    [Show full text]
  • Kaiju-Rising-II-Reign-Of-Monsters Preview.Pdf
    KAIJU RISING II: Reign of Monsters Outland Entertainment | www.outlandentertainment.com Founder/Creative Director: Jeremy D. Mohler Editor-in-Chief: Alana Joli Abbott Publisher: Melanie R. Meadors Senior Editor: Gwendolyn Nix “Te Ghost in the Machine” © 2018 Jonathan Green “Winter Moon and the Sun Bringer” © 2018 Kane Gilmour “Rancho Nido” © 2018 Guadalupe Garcia McCall “Te Dive” © 2018 Mari Murdock “What Everyone Knows” © 2018 Seanan McGuire “Te Kaiju Counters” © 2018 ML Brennan “Formula 287-f” © 2018 Dan Wells “Titans and Heroes” © 2018 Nick Cole “Te Hunt, Concluded” © 2018 Cullen Bunn “Te Devil in the Details” © 2018 Sabrina Vourvoulias “Morituri” © 2018 Melanie R. Meadors “Maui’s Hook” © 2018 Lee Murray “Soledad” © 2018 Steve Diamond “When a Kaiju Falls in Love” © 2018 Zin E. Rocklyn “ROGUE 57: Home Sweet Home” © 2018 Jeremy Robinson “Te Genius Prize” © 2018 Marie Brennan Te characters and events portrayed in this book are fctitious or fctitious recreations of actual historical persons. Any similarity to real persons, living or dead, is coincidental and not intended by the authors unless otherwise specifed. Tis book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Published by Outland Entertainment 5601 NW 25th Street Topeka KS, 66618 Paperback: 978-1-947659-30-8 EPUB: 978-1-947659-31-5 MOBI: 978-1-947659-32-2 PDF-Merchant: 978-1-947659-33-9 Worldwide Rights Created in the United States of America Editor: N.X. Sharps & Alana Abbott Cover Illustration: Tan Ho Sim Interior Illustrations: Frankie B.
    [Show full text]
  • The Rhetorical Significance of Gojira
    UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 The Rhetorical Significance of Gojira Shannon Victoria Stevens University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Repository Citation Stevens, Shannon Victoria, "The Rhetorical Significance of Gojira" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 371. http://dx.doi.org/10.34917/1606942 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE RHETORICAL SIGNIFICANCE OF GOJIRA by Shannon Victoria Stevens Bachelor of Arts Moravian College and Theological Seminary 1993 A thesis submitted in partial fulfillment of the requirements for the Master of Arts in Communication Studies Department of Communication Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2010 Copyright by Shannon Victoria Stevens 2010 All Rights Reserved THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Shannon Victoria Stevens entitled The Rhetorical Significance of Gojira be accepted in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies David Henry, Committee Chair Tara Emmers-Sommer, Committee Co-chair Donovan Conley, Committee Member David Schmoeller, Graduate Faculty Representative Ronald Smith, Ph.
    [Show full text]
  • Views That Barnes Has Given, Wherein
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Darker Matters: Racial Theorizing through Alternate History, Transhistorical Black Bodies, and Towards a Literature of Black Mecha in the Science Fiction Novels of Steven Barnes Alexander Dumas J. Brickler IV Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES DARKER MATTERS: RACIAL THEORIZING THROUGH ALTERNATE HISTORY, TRANSHISTORICAL BLACK BODIES, AND TOWARDS A LITERATURE OF BLACK MECHA IN THE SCIENCE FICTION NOVELS OF STEVEN BARNES By ALEXANDER DUMAS J. BRICKLER IV A Dissertation Submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 Alexander Dumas J. Brickler IV defended this dissertation on April 16, 2018. The members of the supervisory committee were: Jerrilyn McGregory Professor Directing Dissertation Delia Poey University Representative Maxine Montgomery Committee Member Candace Ward Committee Member Dennis Moore Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS Foremost, I have to give thanks to the Most High. My odyssey through graduate school was indeed a long night of the soul, and without mustard-seed/mountain-moving faith, this journey would have been stymied a long time before now. Profound thanks to my utterly phenomenal dissertation committee as well, and my chair, Dr. Jerrilyn McGregory, especially. From the moment I first perused the syllabus of her class on folkloric and speculative traditions of Black authors, I knew I was going to have a fantastic experience working with her.
    [Show full text]
  • A Cinema of Confrontation
    A CINEMA OF CONFRONTATION: USING A MATERIAL-SEMIOTIC APPROACH TO BETTER ACCOUNT FOR THE HISTORY AND THEORIZATION OF 1970S INDEPENDENT AMERICAN HORROR _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by COURT MONTGOMERY Dr. Nancy West, Thesis Supervisor DECEMBER 2015 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled A CINEMA OF CONFRONTATION: USING A MATERIAL-SEMIOTIC APPROACH TO BETTER ACCOUNT FOR THE HISTORY AND THEORIZATION OF 1970S INDEPENDENT AMERICAN HORROR presented by Court Montgomery, a candidate for the degree of master of English, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________ Professor Nancy West _________________________________ Professor Joanna Hearne _________________________________ Professor Roger F. Cook ii ACKNOWLEDGEMENTS I would like to express my deepest appreciation to my committee chair, Dr. Nancy West, for her endless enthusiasm, continued encouragement, and excellent feedback throughout the drafting process and beyond. The final version of this thesis and my defense of it were made possible by Dr. West’s critique. I would like to thank my committee members, Dr. Joanna Hearne and Dr. Roger F. Cook, for their insights and thought-provoking questions and comments during my thesis defense. That experience renewed my appreciation for the ongoing conversations between scholars and how such conversations can lead to novel insights and new directions in research. In addition, I would like to thank Victoria Thorp, the Graduate Studies Secretary for the Department of English, for her invaluable assistance with navigating the administrative process of my thesis writing and defense, as well as Dr.
    [Show full text]
  • Llllllllllll~Ll1lllllllll~~781894 814928 Sample File CHAPTER ONE: BASICS
    I- I -J Sample file -4k 9 ~~llllllllllll~ll1lllllllll~~781894 814928 Sample file CHAPTER ONE: BASICS ...................... 4 M12 General Longstreet ................67 Infantry Walker Mk VI1 Cavalier ...... 68 Fantasy ............................................. 5 Infantry Walker Mk XI1 Roundhead . 69 Steampunk ....................................... 5 PzK IV Loki ..................................... 70 Alternate History ............................... 5 PzK V Valkurie ................................ 71 Modern Day/Near Future .................. 5 PzK VI Donner ................................ 72 Far Future ......................................... 5 PzK VI1 Uller ................................... 73 Marc A . Vezina. Senior Editor Space Opera .................................... 6 Gear Krieg Modern ............................. 74 Alistair Gillies. Contributor Espionage ........................................ 6 M1AI Abrams Mechatank .............. 77 Horror ............................................... 6 M3A1 Bradley IFW ......................... 78 Christian Schaller. Contributor Sentai ............................................... 6 M1025 HMMWV ............................. 79 Campaign Themes ............................... 6 The texts in Chapter 1. 5 and 6 are RT-72 Mechatank ........................... 80 Action ............................................... 6 R-57 SCUD Mobile Launcher .........81 based on the mecha rules texts cre- Adventure ............................. Phoenix Rising ...................................
    [Show full text]
  • 00:00:00 Dan Host on This Episode of the Flop House We Discuss—Godzilla: King of the Monsters!
    00:00:00 Dan Host On this episode of The Flop House we discuss—Godzilla: King of the Monsters! [Audience applauds, cheers.] 00:00:07 Stuart Host Cars!!! 00:00:11 Music Music Light, up-tempo, electric guitar with synth instruments. 00:00:37 Dan Host Hey, everyone, and welcome to The Flop House. I’m Dan McCoy. 00:00:40 Stuart Host I’m Stuart Wellington! 00:00:42 Elliott Host And I’m Elliott Kalan. And we’re in Boston again. [Audience cheers, applauds.] 00:00:46 Crosstalk Crosstalk Elliott and Stuart: Oh, boy! 00:00:50 Elliott Host And Dan? When we’re in Boston, what do we like to do on this podcast? 00:00:53 Dan Host [Laughs.] Well, we like to do the same thing as we normally do, but we wear— 00:00:58 Elliott Host “Try to take over the world.” Pinky and the Brain. Wonderful, yes. [Audience laughs.] 00:01:02 Dan Host We talk about— 00:01:03 Stuart Host Wait—was that set in Boston? 00:01:05 Elliott Host Yeah. It was originally called Pinky and the Brain’s Boston Adventure. [Stuart laughs.] And then they were like, “They never leave the cage, really. Or they rarely do. So why are we calling it out as Boston? If we just take Boston out of the title then people can imagine it’s happening in their town.” And then the executives were like, “That would be frightening. If I had super-intelligent mice in my town? But okay! You’re Steven Spielberg We’ll do it!” [Audience laughs.] 00:01:30 Dan Host Um, so— [Laughs.] [Audience laughs.] I’m sorry.
    [Show full text]
  • Artificial Intelligence,” States That the Ending Is “The Film’S Most Sentimental Moment, Yet It’S Questionable Whether It Involves Any Real People at All” (220)
    THE STORY OF AI Professor Hobby (William Hurt), addressing a group of scientists, speaks in the beginning of the film of the mechas’ perception of life, their emotions, and their capabilities. Demonstrating his cyborg creation’s response to physical stimuli, he pricks the hand of a mecha named Shelia. Although Shelia reacts to the pain, it doesn’t seem to bother her emotionally. When Hobby asks her to disrobe, Shelia does so with no hesitation; the professor stops her at her blouse and touches her in a way that reveals the robotics inside her humanlike skin. Hobby declares that for his next challenge, he will attempt to create a mecha that can love. One of his colleagues, however, asks the important questions: would this child be able to truly love or would it just be a simulation, and even if the mecha could love, would its owners love it back? With the entrance of David (Haley Joel Osment), the mecha built to love, Spielberg, while telling the story of how the mecha’s guardians relate to him, also challenges the audience in their reactions to David. At first, David is a pleasant enough mecha; while not causing any major problems, his robotic yet kid-like demeanor is a tad creepy. To illustrate, David constantly follows his “mother” around the house, stands perfectly still, and stares at her in wonder, as if he is waiting for her to something special. Eventually, Monica grows tired of David following her around, so she shoves him in the linen closet and locks him in there.
    [Show full text]
  • Saturday Evening Toronto Congress Centr Toronto
    Saturday Evening Toronto Congress Centr e 6:00pm 7:00pm 8:00pm 9:00pm 10:00pm 11:00pm 12:00am 1:00am 2:00am S t a g e Jpop Dance Party Hall F Comic Market/ Open until 8pm Crafters Hall D Dealers Open until 8pm Hall E Gallery Open for Viewing Momiji until 8pm T C C Otakubaloo (Parking Lot Rave) P a t i o Renaissance Hote l Create Name That Muskok a II/III Anime Create Yaoi Mystery Otaku Funtime That Hentai Game Shows Jeopardy That Yaoi Jeopardy Dating Game Anime (18+) Muskok a I Art Doctor Singing Anime Songs tba Workshops Animation Collingwood Light Psych - Language Yaoi and Yaoi North Bulbs & ology of Gay Sex 101 of Yaoi Feminism Panels Corn Yaoi Niagar a Yaoi North Yaoi videos – see co n for schedule Viewer's Choice Videos Algonquin Manga Library Open Room MacIntosh DDR Open Play Room Adventure! Battle Royal. Underworld LARP Werewolves Haliburton Tournament Underworld LARP In Game Tavern of Millers Hollow Underworld LARP Golden Del. WARH AMMER Settlers of Catan TRPA Battletech Mini’s Spartan Iron Fist: Pieter Van Hiel Battletech Minis TRPA TRPA Northern Spy World of D arkness LARP - ITA Ambrosia I/II 6:00pm 7:00pm 8:00pm 9:00pm 10:00pm 11:00pm 12:00am 1:00am 2:00am Area 1 Soul Ca libur 4 (PS3) Guilty Gear XXAC (PS2) King of Fighters 2002 (PS2) WarTech: Area 2 Mario Kart Madness (GC) Puyo Puyo (Wii) Senko no Ronde (360) Shoot -Em -Up (Shmup) Puzzle Game Area 3 Free Play Free Play Free Play Area 4 Rock Band Idol – second round Fr ee Play Area 5 AN Home Arcade Ambrosia III/IV 6:00pm 7:00pm 8:00pm 9:00pm 10:00pm 11:00pm 12:00am 1:00am 2:00am
    [Show full text]
  • History, in Celluloid Joanne Bernardi Introduces Students to the Delicate Art of Preserving Films—And to the Enduring Appeal of “Monster/Creature” Movies
    In RevIew FIlm StudIeS History, in Celluloid Joanne Bernardi introduces students to the delicate art of preserving films—and to the enduring appeal of “monster/creature” movies. By Kathleen McGarvey There are many iconic images of the nuclear age, but among those spawned by pop culture, perhaps none is more famil- iar than a certain enormous lizard. Atomic Creatures: Godzilla, a film and media stud- ies course taught this fall by Joanne Bernar- di, an associate professor of Japanese and a MONSTER KING: Bernardi (with her own collection of monster movie memorabilia) teaches member of the film and media studies pro- a course on Japanese monster films, a genre that has established Godzilla (above) as a gram faculty, takes a look at the phenom- fixture in global popular culture since the postnuclear lizard’s debut in 1954. 12 ROCHESTER REVIEW November–December 2010 Getty ImaGes (GoDzIlla); aDam FeNster (BerNarDI) 3_RochRev_Nov10_Review.indd 12 10/29/10 11:16 AM In RevIew enon that generated and helped define the doctorate in Japanese and film studies at the diversity of national film industries, Japanese kaiju eiga, or monster film. Columbia before she ever encountered the and helps students become more aware of “I think it’s the most important course I original Gojira. It played at the Public The- the breadth of film and media studies as a teach—it’s a matter of life and death,” says ater’s Summer in Japan film series in New discipline. It also gives us an appreciation Bernardi, who says the films bring together York City in 1982.
    [Show full text]
  • Colorado Chicano Movement Archives
    Colorado Chicano Movement Archives Occupation of TB-1, University of Colorado-Boulder Juan Federico “Freddie Freak” Miguel Arguello Trujillo Collection University Archives Colorado State University-Pueblo 2200 Bonforte Blvd. Pueblo, Colorado 81001 719-549-2475 [email protected] The Colorado Chicano Movement Archives is part of the Southern Colorado Ethnic Heritage Archives in the Colorado State University-Pueblo Archives, which also includes collections relating to more general Hispanic heritage, Italian heritage, and the Orman Collection of Native American Artifacts. Carmen Arteaga Audiovisual Collection, 1970s Carmen Arteaga, Pueblo, CO educator and Chicano activist, videotaped meetings, events, demonstrations and Chicano activists, both in Pueblo and Denver. Events documented include discrimination in education, police brutality, Belmont Park, racial unrest at Centennial High School (Pueblo), Crusade for Justice, land rights, polluted water, Cinco de Mayo parade, El Centro building, community safety, Chicano division and unification, Teatro and other cultural events, Chicano artists Significant individuals on the video include Corky Gonzales, Martin Serna, Ricardo Romero, Eddie Montour, Francisco Coca, and Chucky Salazar. Elias Baca Sound Recording Collection, 1986-1996 The collection consists of six sound recordings, including recordings of Elias Baca singing his corridos and union songs. There are also interviews with Baca, his daughter Eva Baca Martinez, and grandson Frank Martinez which discuss the Ludlow Massacre, Baca's music, and life in the mining camps. George Autobee Papers, 1975-2000s The collection contains original video recordings relating to Hispanic Veterans, documents relating to MEChA and Chicano Studies at Colorado State University-Pueblo and research materials relating to Hispanics in Pueblo, Colorado. Liz Aragon Blanton, 1930s-1990s Liz Aragon Blanton was a Chicano Studies teacher at Central High School in Pueblo.
    [Show full text]
  • Nostalgia in Anime: Redefining Japanese Cultural Identity in Global Media Texts
    NOSTALGIA IN ANIME: REDEFINING JAPANESE CULTURAL IDENTITY IN GLOBAL MEDIA TEXTS A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Masters of Arts in Communication, Culture and Technology By Susan S. Noh, B.A. Washington, DC April 24, 2017 Copyright 2017 by Susan S. Noh All Rights Reserved ii NOSTALGIA IN ANIME: REDEFINING JAPANESE CULTURAL IDENTITY IN GLOBAL MEDIA TEXT Susan S. Noh, B.A. Thesis Advisor: Michael S. Macovski, Ph.D. ABSTRACT Anime has become a ubiquitous facet of the transnational global media flow, and continues to serve as a unique and acknowledged example of a non-Western media form that has successfully penetrated the global market. Because of its remarkable popularity abroad and a trend towards invasive localization techniques, there have been observations made by Japanese culture scholars, such as Koichi Iwabuchi, who claim that anime is a stateless medium that is unsuitable for representing any true or authentic depiction of Japanese culture and identity. In this paper, I will be exploring this notion of statelessness within the anime medium and reveal how unique sociocultural tensions are reflected centrally within anime narratives or at the contextual peripheries, in which the narrative acts as an indirect response to larger societal concerns. In particular, I apply the notions of reflective and restorative nostalgia, as outlined by Svetlana Boym to reveal how modern Japanese identity is recreated and redefined through anime. In this sense, while anime may appeal to a larger global public, it is far from being a culturally stateless medium.
    [Show full text]