Inuyasha Series OC Bio

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InuYasha Series OC Bio: Characteristics: Name: Nihongo: Meaning: First: Middle: Last: Alias: N/A Race: Human/Daiyokai/Yokai/Hanyo/Specter/Kugutsu/ Extra to Race: Full/ ¾ /Half/ ¼ Type: Kappa/Kitsune/Nekomata/Omukade/Bakeitachi/Bird/Flea/Inu/Wolf/Spider/Mantis/Moth/Turtle/Rat/Tiger/Tree/ Oni/Thunder/Wind/Dragon/Panther/Oyster/Bat/Humanoid/Cat/Hair/Horse/Root/Cow/Shikigami/Tanuki/Crow/ Mirror/Badger/Flower/Toad/Bone/Lizard/Salamander/Ninja/Otter/Snake/Coyote/Monkey/Ape/Lynx/Catfish/Sc orpion/Bull/Sheep/Ram/ Gender: Male/Female/Male (Transgender)/Female (Transgender)/Intersex Sexual Orientation: Heterosexual/Homosexual/Bisexual/Pansexual/Asexual Age: Birthday: Time of Birth: Blood Type: A+/A-/B+/B-/AB+/AB-/O+/O-/Unknown Personality: Horoscope: Aries/Taurus/Gemini/Cancer/Leo/Virgo/Libra/Scorpio/Sagittarius/Capricon/Aquarius/Pisces Appearance: Hair: Color: Length: Style: Eye Color: Skin Color: Body: Weight: Child: Pre-Teen: Teenager: Adult: Senior: Height: Child: Pre-Teen: Teenager: Adult: Senior: Outfit(s): Child: Pre-Teen: Teenager: Adult: Senior: Images: Child: Pre-Teen: Teenager: Adult: Senior: Professional Status: Affiliation: Precious Affiliations: Abilities: Weapons: Loyalty: Enemies: Personal Status: Status: Relatives: Best Friend(s): Friends: Pet(s): Hobbies: Likes: Dislikes: Former Love Interest: Love Interest: Portrayal: Voice Actors: Child: Pre-Teen: Teenager: Adult: Senior: Face Claims: Child: Pre-Teen: Teenager: Adult: Senior: Curiosities: Favorite Food: Favorite Color: Favorite Movie: (OC that are in Modern Time) Favorite Music: Favorite Clothing: (OC that are in Modern Time) Favorite Shoes: (OC that are in Modern Time) Favorite Subject: (OC that are in Modern Time) Favorite Animal: Favorite Element: Favorite Fruit: Favorite Vegetables: Favorite Book Genre: (OC that are in Modern Time) Favorite Sport: Favorite Ice Cream: (OC that are in Modern Time) Favorite Candy: Loves: Ideal Love-Interest: Other Information: Person's Name 4.5/5 Attack Power 2.3/5 Defensive Power 5/5 Speed 6/5 Intelligence Other 6/5 0 1 2 3 4 5 6 History: Synopsis: “???” Arc: ??? Quotes: “???” Trivia: “???” .

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Samurai Champloo: Transnational Viewing Jiwon Ahn
Samurai Champloo: Transnational Viewing Jiwon Ahn From the original edition of How to Watch Television published in 2013 by New York University Press Edited by Ethan Thompson and Jason Mittell Accessed at nyupress.org/9781479898817 This work is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License (CC BY-NC-ND). 39 Samurai Champloo Transnational Viewing Jiwon Ahn Abstract: Television criticism usually addresses “what” TV is watched, and ofen “who” watches, but “where” TV is watched is less commonly considered vital to understanding it. In this look at the anime program Samurai Champloo, Jiwon Ahn argues for the importance of “where” to the meanings and pleasures of texts which—like anime—circulate in television’s global fows. Watching an imported or translated text on television is an increasingly ordinary experience in the current state of globalization. But what unique critical questions should we consider in order to make sense of such viewings? To understand our de- sire for and pleasure in viewing imported television texts, we need to consider how texts produced for overseas distribution are designed diferently for international audiences, and how this design may infect (or not) our viewing of them. Anime ofers a productive example in that the format’s long history of international circula- tion inevitably involved the development of textual strategies suited to transnational consumption, including, notably, an efort to balance exoticism with familiarity in terms of appeal. While the popularity of shows such as Dragon Ball Z (Cartoon Net- work, 1998–2005), Ranma ½ (Fuji Television, 1989–1992), and InuYasha (Cartoon Network, 2000–2004) on U.S.
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Chapter One Introduction
CHAPTER ONE INTRODUCTION 1.1.Background of Study Japan has so many traditions of folklore that had inherited for generation whether in story form or in tradition form. With some creativity and existing technology that they had, some Japanese filmmaker has succeeded by making some Japanese folklore into more interesting form and well known by people whether inside Japan or outside Japan. According to Kitayama “Folklore is a stories shared by folk people from the past and these stories are similar to myths, except that they are related more to human matters than to supernatural beings” (Kitayama 2005: 85) By this quotation the writer argue that folklore is cultural product which is produced by people in the past and it is contained of myth and usually, the society will connect the folklore to supernatural even more to human matters. As emphasized by Lindahl, Although many people regard a “folktale” as a fictional form, I use the term here to apply to any traditional tale, whether its tellers consider it true, or false, or both. Thus, the scope of the tale extends far beyond fiction to encompass belief tales, personal experience stories, and accounts of major historical events (Lindahl, 2004: 200). Based on the quotation above, the writer argues that folklore acknowledges the practice of labeling narratives based on the element of belief, he also realizes the inherent story within each and the tendency of storytellers to use a little fiction and a little nonfiction in crafting their stories. Lindahl uses this terminology to put the focus on the storytellers themselves and help the reader to recognize the relationship between tale and teller.
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Download by Right Clicking on the Image; SAVE
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