I'm Gonna Make Everything in Each of These Worlds Bow to Me."
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Schoolgirl RPG Complete Edition
Schoolgirl RPG Complete Edition By Ewen Cluney Sample file 1 Credits Presented by Yaruki Zero Games (www.yarukizerogames.com) Original Maid RPG design by Ryo Kamiya Written by Ewen Cluney (©2014) Cyborg Catgirl Art by Wossa and Dawn Davis The following icons are used under a Creative Commons Attribution license: Dice by Les Kleuver Girl by Andrew McKinley Catgirl by Nick Green Swimmer by Cristina Gallego Woman by Nicolas Morand Woman by Matt Brooks Cockroach by Michael Thompson VHS icon by Mike Wirth Hammer by Michael A. Salter Energy Drink by Daniel Brunsteiner Syringe by Richard Pasqua Male icon by Rahul Anand Bomb icon by Maximilian Becker Shinai icon by Luke Anthony Firth Star icon by Vincent BARSE Nunchucks icon by Stephen Copinger Color-Fan by Dan Hetteix Sample file 2 Table of Contents Introduction ..................................... 5 Teacher Rules ................................ 47 Character Creation .......................... 9 1. Attributes ................................... 49 1. Attributes .................................... 11 2. Subject ........................................ 49 2. Special Qualities .......................... 11 3. Special Qualities ......................... 50 3. Stress Explosion .......................... 12 4. Stress Explosion ......................... 50 4. Colors ......................................... 12 5. Weapon ..................................... 51 5. Stress Limit .................................. 12 6. Colors ......................................... 52 6. Details ........................................ -
When I Open My Eyes, I'm Floating in the Air in an Inky, Black Void. the Air Feels Cold to the Touch, My Body Shivering As I Instinctively Hugged Myself
When I open my eyes, I'm floating in the air in an inky, black void. The air feels cold to the touch, my body shivering as I instinctively hugged myself. My first thought was that this was an awfully vivid nightmare and that someone must have left the AC on overnight. I was more than a little alarmed when I wasn't quite waking up, and that pinching myself had about the same amount of pain as it would if I did it normally. A single star twinkled into existence in the empty void, far and away from reach. Then another. And another. Soon, the emptiness was full of shining stars, and I found myself staring in wonder. I had momentarily forgotten about the biting cold at this breath-taking sight before a wooden door slammed itself into my face, making me fall over and land on a tile ground. I'm pretty sure that wasn't there before. Also, OW. Standing up and not having much better to do, I opened the door. Inside was a room with several televisions stacked on top of each other, with a short figure wrapped in a blanket playing on an old NES while seven different games played out on the screen. They turned around and looked at me, blinking twice with a piece of pocky in their mouth. I stared at her. She stared back at me. Then she picked up a controller laying on the floor and offered it to me. "Want to play?" "So you've been here all alone?" I asked, staring at her in confusion, holding the controller as I sat nearby. -
Subculture As Social Knowledge: a Hopeful Reading of Otaku Culture
DE GRUYTER Contemporary Japan 2016; 28(1): 33–57 Open Access Brett Hack* Subculture as social knowledge: a hopeful reading of otaku culture DOI 10.1515/cj-2016-0003 Abstract: This essay analyzes Japan’s otaku subculture using Hirokazu Miya- zaki’s (2006) definition of hope as a “reorientation of knowledge.” Erosion of postwar social systems has tended to instill a sense of hopelessness among many Japanese youth. Hopelessness manifests as two analogous kinds of refus- al: individual social withdrawal and recourse to solipsistic neonationalist ideol- ogy. Previous analyses of otaku have demonstrated its connections with these two reactions. Here, I interrogate otaku culture’s relationship to neonationalism by investigating its interaction with the xenophobic online subculture known as the netto uyoku. Characterizing both subcultures as discursive practices, I argue that the similarity between netto uyoku and otaku is not one of identity but one of method. Netto uyoku discourse serves to perform an imagined na- tionalist persona. While otaku elements can be incorporated into netto uyoku performance, other net users invoke the otaku faculty of parody to highlight the constructed nature of netto uyoku identity through ironic recontextualiza- tion. This application of otaku principles enables a description of otaku culture as a form of social knowledge, reoriented here to defuse the climate of hope- lessness purveyed by the netto uyoku. In the final section, I offer examples of subcultural knowledge being applied to national and international issues in order to indicate its further potential as a source of enabling hope for Japanese youth. Keywords: otaku, subculture, nationalism, Internet, media studies, Japanese studies, cultural studies 1 Introduction This essay investigates social orientations within Japanese subcultures accord- ing to anthropologist Hirokazu Miyazaki’s (2006: 160) definition of hope as a * Corresponding author: Brett Hack, Aichi Prefectural University, E-mail: [email protected] © 2016 Brett Hack, licensee De Gruyter. -
The Yuribou Guide to Fanservice for Animators
The Yuribou Guide to Fanservice for Animators Disclaimer: All art here is taken from various image boards and image searches and appears without artist’s permission. If you are the artist and wish your art to be removed or your work credited, please email me on the address below Brought to you by Yuribou at Yuri to Boushi to Hon no Tabibito (http://yuribou.net/blog) Introduction Hello young animator! You’ve fought through the ranks of artist wannabes and failed otaku sycophants and have finally won your way into the midst of greatness. But the first thing to decide - what type of anime would you like to make? Fanservice did I hear you say? You choose to walk the thin pink g-string between gratuitous service and softcore pornography? Good choice! Then you’ve come to the right place! The Reverse Breast Grab (or RBG) - One of the advanced Welcome to the Yuribou Guide to Fanservice manoeuvres that can make or break a seasoned fanservice for Animators. Anyone can draw a cheap animator’s career. panty shot, but how can you make it appeal to the masses who just shrug this off as just There are four things that are the most an everyday phenomenon? How do you important in fanservice - make your moe super-moe? What differentiates a boring glasses girl from • First and foremost - art quality desirable meganekko? When is it appropriate • Character (both designs and to insert token yuri? And most importantly, character) how can you make an anime that Yuribou will • Situations - a good mix of cheap and watch? well planned • Overall storyline and character Granted that last one isn’t too difficult. -
Deviating Voice. Representation of Female Characters and Feminist Readings in 1990S Anime 2019
Repositorium für die Medienwissenschaft Minori Ishida Deviating Voice. Representation of Female Characters and Feminist Readings in 1990s Anime 2019 https://doi.org/10.25969/mediarep/16392 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Ishida, Minori: Deviating Voice. Representation of Female Characters and Feminist Readings in 1990s Anime. In: IMAGE. Zeitschrift für interdisziplinäre Bildwissenschaft. Special Issue of Issue 29, Jg. 15 (2019), Nr. 1, S. 22– 37. DOI: https://doi.org/10.25969/mediarep/16392. Erstmalig hier erschienen / Initial publication here: http://www.gib.uni-tuebingen.de/image/ausgaben-3?function=fnArticle&showArticle=517 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter -
Slaying Dragons Ebook, Epub
SLAYING DRAGONS PDF, EPUB, EBOOK Daniel Kolenda | 224 pages | 07 Jan 2020 | Charisma House | 9781629996578 | English | Lake Mary, United States Slaying Dragons PDF Book But had he ever awoken to the truth, it would have been truly pitiable. We have listed all the details we had about the same. Product image 1. It sees you shrink. I have family members who have also fallen for scams. Bad boy Gentleman thief Pirate Air pirate Space pirate. Like this: Like Loading But our daily battles are part of a much bigger war, and we have been given all we need to win. Notify me of new posts by email. Please enter your name, your email and your question regarding the product in the fields below, and we'll answer you in the next hours. A similar thing befell my uncle. The perspective of meeting people beyond the veil, free from the haze of mortality, resonates with me. I sometimes see my life as slaying dragons. You will falsely think that quitting will bring peace and reprieve, but alas, only regret and disappointment await the quitter. The recurring Crucible event in Destiny 2 , Iron Banner, has returned once again. Then, the real property is sold because of defaulted mortgages or unpaid taxes. Do you believe it? Sigurd overhears two nearby birds discussing the heinous treachery being planned by his companion, Regin. Strings were broken, the tail piece looked awful, the bridge was weird, and the fingerboard was covered in old, brittle tape. Join the conversation There are 6 comments about this story. Add To Cart. -
Swashbuckler Kindle
SWASHBUCKLER PDF, EPUB, EBOOK James Moloney | 144 pages | 01 Dec 1995 | University of Queensland Press | 9780702228254 | English | St Lucia, Australia Swashbuckler PDF Book McCoy, Jr. Keep scrolling for more. From the Editors at Merriam-Webster. The film fared poorly at the box office and was described as an "expensive flop". Perfect Thrust Ex : At 15th level, while the swashbuckler has at least 1 panache point, she can as a full-round action make a perfect thrust, pooling all of her attack potential into a single melee attack made with a light or one-handed piercing melee weapon. Inspired Blade. While the hero may face down a number of henchmen to the villain during a story, the climax is a dramatic one-on-one sword battle between the protagonist and the villain. Lovable rogue Gentleman detective Jack Trickster. Swashbucklers spend panache points to accomplish deeds. Bensen, D. Rate This. Those who use panache and luck gain twice their Charisma bonus in their pool. Keep scrolling for more More Definitions for swashbuckler swashbuckler. All of the other class features found in the core class and not mentioned among the alternate class features remain unchanged and are acquired normally when the character reaches the appropriate level unless noted otherwise. Dec 24, Trailers and Videos. These bonus feats must be selected from those listed as combat feats. This deed replaces the subtle blade and cheat death deeds, plus an additional 11thlevel deed. Precise Strike Ex : At 3rd level, while she has at least 1 panache point, a swashbuckler gains the ability to strike precisely with a light or one-handed piercing melee weapon though not natural weapon attacks , adding her swashbuckler level to the damage dealt. -
Reflections of (And On) Otaku and Fujoshi in Anime and Manga
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2014 The Great Mirror of Fandom: Reflections of (and on) Otaku and Fujoshi in Anime and Manga Clarissa Graffeo University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Graffeo, Clarissa, "The Great Mirror of Fandom: Reflections of (and on) Otaku and ujoshiF in Anime and Manga" (2014). Electronic Theses and Dissertations, 2004-2019. 4695. https://stars.library.ucf.edu/etd/4695 THE GREAT MIRROR OF FANDOM: REFLECTIONS OF (AND ON) OTAKU AND FUJOSHI IN ANIME AND MANGA by CLARISSA GRAFFEO B.A. University of Central Florida, 2006 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2014 © 2014 Clarissa Graffeo ii ABSTRACT The focus of this thesis is to examine representations of otaku and fujoshi (i.e., dedicated fans of pop culture) in Japanese anime and manga from 1991 until the present. I analyze how these fictional images of fans participate in larger mass media and academic discourses about otaku and fujoshi, and how even self-produced reflections of fan identity are defined by the combination of larger normative discourses and market demands. -
Haruhi in Usa: a Case Study of a Japanese Anime in the United States
HARUHI IN USA: A CASE STUDY OF A JAPANESE ANIME IN THE UNITED STATES A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Ryotaro Mihara August 2009 © 2009 Ryotaro Mihara ALL RIGHTS RESERVED ABSTRACT Although it has been more than a decade since Japanese anime became a popular topic of conversation when discussing Japan, both within the United States and in other countries as well, few studies have empirically investigated how, and by whom, anime has been treated and consumed outside of Japan. This research thus tries to provide one possible answer to the following set of questions: What is the empirical transnationality of anime? How and by whom is anime made transnational? How is anime transnationally localized/consumed? In order to answer the questions, I investigated the trans-pacific licensing, localizing, and consuming process of the anime The Melancholy of Haruhi Suzumiya (Haruhi) from Japan to the United States by conducting fieldwork in the United States’ agencies which localized Haruhi as well as U.S. anime and Haruhi fans. The central focus of this research is the ethnography of agencies surrounding Haruhi in the United States and Japan. I assume that these agencies form a community with a distinctive culture and principles of behaviors and practices in the handling of the Haruhi anime texts. The research findings to the above questions could be briefly summarized as follows. The worldview, characters, and settings of Haruhi (i.e. a fictious world of Haruhi which is embodied and described through its anime episodes and other related products) “reduces” and “diffuses” as it is transferred on the official business track from the producers in Japan to the localizers in the United States (i.e. -
Generic Light Novel / Manga / Anime Jump
Generic Light Novel / Manga / Anime Jump As you feel reality shift around yourself, you appear in the middle of a grand library with shelves filled to the brim with… Manga, Light Novels and Blu-Rays. “Ah you have come. I have been expecting your arrival” In front of you stands a cloaked being who bows to you as a form of greeting, “This place is a realm is used to store certain forms of stories, at the moment we’re in the Japanese section of the collection. This section covers all the stories the Japanese have told throughout their many variations throughout the Multiverse” The being spreads out their arms as they direct you to the mountains of entertainment around you. “As this places caretaker, I’m here to instruct you and to explain what your current Jump will be. You shall enter a new story with a place reserved for you” The beings hands you a jar filled with slips of paper with cp written on them. “Now, with those 1000cp, decide what story you shall enter and the role you shall take” Genre Selection Roll a 1d38 for the list genres four times or pay 50cp to choose the four genres you want. However, you can add or replace a genre with Isekai for free (1)Adventure (2)Romance (3)Comedy (4)Action (5)Drama (6)Ecchi (7) Fantasy (8) Game (9) Harem (10) (11) Horror (12) Jossei Historical (13) Kids (14) Magic (15) Martial (16) Mecha (17)Military (18) Music Arts (19) (20) Mystery (21) (22) Police (23) (24) Monsters Parody Post-Apocaly Psychological ptic (25) School (26) Science (27) Seinen (28) Shoujo (29)Shounen (30) Slice if Fiction Life (31) Space (32) Sports (33) Super (34) (35) Tragedy (36) Yuri / Power Supernatural Yaoi (37) Isekai (38) Free Pick Those four genres will determine which story you’ll journey through next, but what will be your role be in it. -
Yuribou Guide to Fan Service for Animators Found on Ixthedamned Tim Woo Reposted Without Permission
Yuribou Guide to Fan Service For Animators Found on http://www.yuribou.net/blog/ ixthedamned Tim Woo Reposted without permission and incomplete at time of compilation. | The Reverse Breast Grab (or RBG) - One of the advanced manoeuvres that can make or break a seasoned fanservice animator’s career. Hello young animator! You’ve fought through the ranks of artist wannabes and failed otaku sycophants and have finally won your way into the midst of greatness. But the first thing to decide - what type of anime would you like to make? Fanservice did I hear you say? You choose to walk the thin pink g-string between gratuitous service and softcore pornography? Good choice! Then you’ve come to the right place! Welcome to the Guide to fanservice animation (a Yuribou production). Anyone can draw a cheap pantie shot, but how can you make it appeal to the masses who just shrug this off as just an everyday phenomenon? How do you make your moe super-moe? What differentiates a boring glasses girl from desirable meganekko? When is it appropriate to insert token yuri? And most importantly, how can you make an anime that Yuribou will watch? Granted that last one isn’t too difficult. We begin with an introduction to the genre with some salient examples of the qualities present in great and classic fanservice productions to date. There are four things that are the most important in fanservice - • First and foremost - art quality • Character (both designs and character) • Situations - a good mix of cheap and well planned • Overall storyline and character interactions Art quality is obviously the most important thing in fanservice. -
The Female Gaze in Contemporary Japanese Literature
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 The Female Gaze in Contemporary Japanese Literature Kathryn Hemmann University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Studies Commons, Comparative Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Hemmann, Kathryn, "The Female Gaze in Contemporary Japanese Literature" (2013). Publicly Accessible Penn Dissertations. 762. https://repository.upenn.edu/edissertations/762 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/762 For more information, please contact [email protected]. The Female Gaze in Contemporary Japanese Literature Abstract The female gaze can be used by writers and readers to look at narratives from a perspective that sees women as subjects instead of objects. Applying a female gaze to discourses that have traditionally been male-dominated opens new avenues of interpretation that are empowering from a feminist perspective. In this dissertation, I use the murder mystery novels of the bestselling female author Kirino Natsuo and the graphic novels of a prolific four-woman artistic collective called CLAMP to demonstrate how writers are capable of applying a female gaze to the themes of their work and how readers can and have read their work from the perspectives allowed by a female gaze. Kirino Natsuo presents a female perspective on such issues as prostitution, marriage, and equal employment laws in her novels, which are often based on sensationalist news stories. Meanwhile, CLAMP challenges the discourses surrounding the production and consumption of fictional women, especially the young female characters, or shojo, that have become iconic in Japanese popular culture.