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Adeptus Evangelion, and Not a Game Master, Look No Further! This Chapter, and Indeed This Entire Book, Is Intended Only for Game Masters
We do not own Evangelion™, Dark Heresy™, Warhammer 40K™, or any other intellectual property to be found within this work in any way. We do not claim ownership of any of the art that appears in this work. Instead, all credit regarding the art should go to the artists of Gainax, or the artists listed below. This work is not to be distributed for money to anyone under any circumstances. However, while we may not be able to claim ownership, it would be unfair to refuse to give credit where credit is due to the following: CREDITS Project Coordination: Black Mesa Janitor (RHM), Elpizo (Sachiel) Development and Playtesting: Blast Artists: Writing and Editing: ClamPaste Anonymous Anonymous Feldion (RPSS) bluewine Blast HLeviathan (GRGR III) Drawfag X-09 !W7.CkkM01U CapnKeene Karada Guardsman Harry Dr. Baron Von Evil Satan CapnKeene Jebus (8546514) Dial J. S. Cervini Feldion (RPSS) Mr_Rage LDT-A (RHK) Gilgamesh, King of Heroes Latooni Mastermind Omega !EnkiduOJiw!!fXOkC1tdv81 LawfulNice vendredi Jebus LDT-A (RHK) Vincent “Siege” Angerossa Kamen macrophage Karada Mastemind Omega Special Thanks: Mari Touhou Homebrew Guy Anonymous Masocristy (OlympusMons) Archivist Mordegald Zhuren You, for your continued Protagonist support. Sorain Highwind Yue ZZEva Table of Contents Weaving a Story 1 Anomalous Materials 33 Setting and Tone 2 Unique Armory Contents 33 Keeping your Players Interested 2 Experimental N2 Reactor 33 Mood and Lethality 3 Cold Blooded 34 Extra Material 4 Free Range Evangelions 34 Pacing your Stride 4 Fly me to the Moon 35 In Conclusion -
Neon Genesis Evangelion: Specchio Della Società E Della Psiche Umana
CORSO DI LAUREA MAGISTRALE IN LINGUE E CIVILTÀ DELL'ASIA E DELL'AFRICA MEDITERRANEA Neon Genesis Evangelion: specchio della società e della psiche umana. RELATORE: Chiar.ma Prof.ssa Roberta Maria Novielli CORRELATORE: Chiar.ma Prof.ssa Paola Scrolavezza LAUREANDA: Martina Anais Zavatarelli Matricola 987557 Anno Accademico 2013 / 2014 要旨 「新世紀エヴァンゲリオンと」とは庵野秀明監督の創造力によって生み出されたアニメー ション作品である。1988 年の「トップを狙え!」と 1990 年の「ふしぎの海のナディア」 の制作で評価されていた庵野監督の「エヴァンゲリオン」は、テレビシリーズとして 1995 年 10 月から 1996 年 3 月までテレビ東京系で放映された。アニメーションを制作した のは株式会社ガイナックスである。 「EVANGELION」とはギリシャ語由来の単語で、キリスト教の間では「福音(良い知ら せ)」という意味の言葉であり、派生して「キリスト教のもたらす救いや幸い」の意味な どでも使われている。キリスト教の象徴が入っているにもかかわらず、「EVANGELION]と いう単語を選んだ理由は複雑な感じがするからだと庵野監督が言った。 26 話のシリーズは、テレビ放映が終わった翌年に二つの劇場版として封切られ、話題と なった。1997 年 3 月には、テレビ放映された第 1 話から 24 話までを再構成した劇場版の 映画「新世紀エヴァンゲリオン シト新生」(英題 DEATH&REBIRTH)が公開となり、同年 7 月には、第 25 話、第 26 話を再構成したの劇場版の映画「Air/まごころを、君に」(英 題 THE END OF EVANGELION)が、完結版として配給された。 2007 年に入り、リビルドという「再構築」の意味を持つ作品である「ヱヴァンゲリヲン 新劇場版」4 部作の政策が発表され、同年9月には、第一作の「ヱヴァンゲリヲン新劇場 版:序」が公開された。「新劇場版」は、2009 年 6 月に第二作の「ヱヴァンゲリヲン新劇 場版:破」が、2012 年 11 月に第三作「ヱヴァンゲリヲン新劇場版:Q]が公開されている が、第四作の公開日は未定である。 終末の未来に設定された作品の中では主人公である碇シンジをはじめとした 14 歳の少年 少女たちが超巨大な「人造人間エヴァンゲリオン」という決戦兵器に乗り込んで人類のた めに戦う。西暦 2000 年にセカンドインパクトと呼ばれる地球規模の大災害が起きた。そ して西暦 2015 年、人類はセカンドインパクトを引き起こしたとされる「 使徒」という謎 の存在からの攻撃を受けていた。それに立ち向かう選ばれた Children たちは、国連特務 組織 NERV の完成させたエヴァンゲリオンを操縦し、人類を滅亡させようとする敵から人 類を守る。「エヴァンゲリオン」は、メカジャンルに属しているものの、他のメカや SF アニメとは明確に相違する点がある。 その相違点を挙げるとすれば、エヴァンゲリオンが「生きている」ことである。エヴァン ゲリオンは巨大な生命体であり、パイロットが脳神経を同期させて操縦するという画期的 な設定を持つ。神経接続する操縦システムでは、その稼動状況がパイロットとエヴァの -
(Not): an Eco-Phenomenological Reading of Neon Genesis Evangelion1
NARRATIVES / AESTHETICS / CRITICISM THE MECHA THAT THEREFORE WE ARE (NOT): AN ECO-PHENOMENOLOGICAL READING OF NEON GENESIS EVANGELION1 GIUSEPPE GATTI Name Giuseppe Gatti peculiar synergy between themes, forms of storytelling Academic centre Roma Tre University and “out-of-joint” consumption, the Japanese robotic E-mail address [email protected] animation series thematized and popularized content and perspectives on mediated experience that I define as KEYWORDS “eco-phenomenological”: “phenomenological” because (i) Anime; enactivism; presence; ecophenomenology; narrative it reevaluates the quality of the subjective experience in its ecosystem. historical and biocultural context; “ecological” because (ii) it look at the environment as an intelligent system; and (iii) it proposed a multidisciplinary approach between the human ABSTRACT sciences and the life sciences. In the late 1960s, Japanese animation inaugurated a The article proposes an analysis of the forms of prolific science fiction strand which addressed the topic narration and reception of the anime series Neon of mediated experience. In a context of transnational Genesis Evangelion (1995-1996), in its ability to have reception and consumption of anime, the “robotic” subgenre intercepted, synthesized and internationally popularized (particularly the one that will be called “mecha” in the in an innovative and almost unparalleled way, the 1980s, i.e., narratives of giant robots piloted by a human complexity of the eco-phenomenological perspective. within) occupies a strategic place. By highlighting the Views and epistemological approaches at the center of the contemporary scientific and cultural debate will 1 The author thanks Ilaria De Pascalis, Jacopo Nacci and the anonymous referees for be reconstructed, discussed and analyzed through the their valuable comments and suggestions. -
Weaving a Story
Weaving1 a Story Chapter 1: Weaving A Story What makes something Evangelion? It may seem like a strange question, but it is one that GMs should think about at least once before running a game of AdEva. Neon Genesis Evangelion doesn’t need to answer for itself, but any attempt to replicate the feel of the source material requires the GM to understand what they are trying to imitate. Creating their own cast of characters, Angels, and plotlines, it is inevitable that the campaign will deviate from what was shown in the show. This is to be expected, and even encouraged! Customizing your game to your group and your story can be central to a good AdEva campaign. With that in mind, it is important for the GM to understand the formula that makes a game like that of Neon Genesis Evangelion. The Evangelions themselves are an ingredient to that dish, but not the only one. In some ways, they are not even the most important one. At its heart, any game that seeks to emulate the style, if not the setting, of Evangelion will find itself dependent on the following concepts. Mythos: An obfuscating terminology based on a common theme, such as mythology. Second Impact: The world having already suffered a majority calamity. Stakes: The fate of the world being at stake for most, if not all, battles. Machina Diabolis: The machines used to save the world being dangerous and secretive. AT Fields: The existence of the Absolute Territory Field. Conspiracy: A sinister plot of global proportion operating in the shadows. -
08. Chapter 1.Pdf
Reading Cyberpunks CHAPTER 1 GENDER IN CLASSIC AND JAPANESE CYBERPUNK 1.1 Introduction and Scope As the first wave or classic cyberpunk gave way to more women-friendly, if not outright feminist narratives, it became clear that a distinction was drawn on various lines simultaneously. This particular mode of writing emerged in sync with the burgeoning women's rights movements specifically in the USA, and situated these marginalized narratives at the center of the cyberpunk universe, where the central concern shifted from the reframing of the humanist metanarrative to an explosion of the varied understandings of gender, performativity and sexual identity in a cyberpunk world. The protagonists shifted from the classic straight, white male to a gay Chinese (China Mountain Zhang), a Japanese engineered gynoid (The Windup Girl), a lesbian hacker (Trouble and her Friends), or a technologically indentured slave and a male android concubine in a fundamentalist state (Nekropolis), among many others. Their stories projected contemporary socio-cultural marginalizations onto a cyberpunk world to explore the ramifications of technology on the construction and condition of hitherto invisible categories. Therefore, the term feminism, in the context of the current study, is less about a specific definition or understanding of the multi-faceted term; rather, it is largely indicative of the ways in which it challenges the narrative elements of classic cyberpunk on multiple levels - that of gender roles, sexual orientation, ecological damage and representations of racial/cultural identity, thereby becoming inclusive of entities beyond the standard straight, white male. Foram Chandarana | 78 Reading Cyberpunks The emergence of such a second wave arose from no specific, identifiable incident - while the first (and for a long time, the sole) female writer who wove gender into cyberpunk, Pat Cadigan, can be called the bridge between classic cyberpunk and feminist cyberpunk, at no point in cyberpunk history was the writing limited to only feminist concerns. -
Roberto Francisco Fideli Causo
FACULDADE CÁSPER LÍBERO Roberto Francisco Fideli Causo COMUNICAÇÃO, TECNOLOGIA E IDENTIDADE Ficção e narrativa nas animações Neon Genesis Evangelion e Ghost in the Shell São Paulo Agosto/2016 FACULDADE CÁSPER LÍBERO Roberto Francisco Fideli Causo COMUNICAÇÃO, TECNOLOGIA E IDENTIDADE Ficção e narrativa nas animações Neon Genesis Evangelion e Ghost in the Shell Dissertação apresentada ao Programa de Pós-Graduação em Comunicação da Faculdade Cásper Líbero, área de concentração “Comunicação na Contemporaneidade” e linha de pesquisa “Produtos Midiáticos: Jornalismo e Entretenimento”, como exigência parcial para a obtenção do título de mestre em comunicação, sob a orientação do Prof. Dr. Dimas A. Künsch. São Paulo Agosto/2016 Causo, Roberto Francisco Fideli Comunicação, Tecnologia e Identidade: Ficção e Narrativa nas Animações Neon Genesis Evangelion e Ghost in the Shell / Roberto Francisco Fideli Causo -- São Paulo, 2016. 236 f. : il. ; 30 cm. Orientador: Prof. Dr. Dimas A. Künsch Dissertação (mestrado) – Faculdade Cásper Líbero, Programa de Mestrado em Comunicação, linha B – “Produtos Midiáticos, Jornalismo e Entretenimento”, 2016. 1. Comunicação. 2. Tecnologia. 3. Identidade. 4. Ficção Científica. Causo, Roberto Francisco Fideli. Faculdade Cásper Líbero, Programa de Mestrado em Comunicação. I Dimas A. Künsch II. Título. Como todos os outros, este trabalho é para os meus pais. AGRADECIMENTOS Agradeço primeiramente ao meu professor orientador Dimas A. Künsch, que recebeu este trabalho de braços abertos após quase dois anos de desenvolvimento e me ajudou a concluí-lo sempre com paciência, calma e ótimas contribuições. Agradeço aos meus pais, Finisia Rita Fideli e Roberto de Sousa Causo que me acompanharam por todo esse longo e turbulento processo, me ajudaram a revisar o trabalho, serviram como consultores, orientadores e psicólogos, principalmente nos períodos mais difíceis.