JAPANESE CULTURE in CARDCAPTOR SAKURA Cardcaptor Sakura
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CUSTOMER ORDER FORM (Net)
ORDERS PREVIEWS world.com DUE th 18 JAN 2015 JAN COMIC THE SHOP’S PREVIEWSPREVIEWS CATALOG CUSTOMER ORDER FORM CUSTOMER 601 7 Jan15 Cover ROF and COF.indd 1 12/4/2014 3:14:17 PM Available only from your local comic shop! STAR WARS: “THE FORCE POSTER” BLACK T-SHIRT Preorder now! BIG HERO 6: GUARDIANS OF THE DC HEROES: BATMAN “BAYMAX BEFORE GALAXY: “HANG ON, 75TH ANNIVERSARY & AFTER” LIGHT ROCKET & GROOT!” SYMBOL PX BLACK BLUE T-SHIRT T-SHIRT T-SHIRT Preorder now! Preorder now! Preorder now! 01 Jan15 COF Apparel Shirt Ad.indd 1 12/4/2014 3:06:36 PM FRANKENSTEIN CHRONONAUTS #1 UNDERGROUND #1 IMAGE COMICS DARK HORSE COMICS BATMAN: EARTH ONE VOLUME 2 HC DC COMICS PASTAWAYS #1 DESCENDER #1 DARK HORSE COMICS IMAGE COMICS JEM AND THE HOLOGRAMS #1 IDW PUBLISHING CONVERGENCE #0 ALL-NEW DC COMICS HAWKEYE #1 MARVEL COMICS Jan15 Gem Page ROF COF.indd 1 12/4/2014 2:59:43 PM FEATURED ITEMS COMIC BOOKS & GRAPHIC NOVELS The Fox #1 l ARCHIE COMICS God Is Dead Volume 4 TP (MR) l AVATAR PRESS The Con Job #1 l BOOM! STUDIOS Bill & Ted’s Most Triumphant Return #1 l BOOM! STUDIOS Mouse Guard: Legends of the Guard Volume 3 #1 l BOOM! STUDIOS/ARCHAIA PRESS Project Superpowers: Blackcross #1 l D.E./DYNAMITE ENTERTAINMENT Angry Youth Comix HC (MR) l FANTAGRAPHICS BOOKS 1 Hellbreak #1 (MR) l ONI PRESS Doctor Who: The Ninth Doctor #1 l TITAN COMICS Penguins of Madagascar Volume 1 TP l TITAN COMICS 1 Nemo: River of Ghosts HC (MR) l TOP SHELF PRODUCTIONS Ninjak #1 l VALIANT ENTERTAINMENT BOOKS The Art of John Avon: Journeys To Somewhere Else HC l ART BOOKS Marvel Avengers: Ultimate Character Guide Updated & Expanded l COMICS DC Super Heroes: My First Book Of Girl Power Board Book l COMICS MAGAZINES Marvel Chess Collection Special #3: Star-Lord & Thanos l EAGLEMOSS Ace Magazine #1 l COMICS Alter Ego #132 l COMICS Back Issue #80 l COMICS 2 The Walking Dead Magazine #12 (MR) l MOVIE/TV TRADING CARDS Marvel’s Agents of S.H.I.E.L.D. -
Excellence in First-Year Writing 2020/2021
© 2021 Gayle Morris Sweetland Center for Writing Permission is required to reproduce material from this title in other publications, coursepacks, electronic products, and other media. Please send permission requests to: Sweetland Center for Writing 1310 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 [email protected] Excellence in First-Year Writing 2020/2021 The English Department Writing Program and The Gayle Morris Sweetland Center for Writing Table of Contents Excellence in First-Year Writing Winners list 6 Nominees list 7 Introduction 11 Feinberg Family Prize for Excellence in First-Year Writing 13 When Pop Culture Critiques: How American TV and Film 15 Examines the Links Between Politics, Justice, and the Judiciary’s Legitimacy Did Shen Fever Really Just Predict COVID-19? 34 How White Feminism Feeds Misogynoir 43 Matt Kelley Prize for Excellence in First-Year Writing 50 Cardcaptor Sakura’s Life-Changing Guidance 52 Ratatouille the TikTok Musical 59 Excellence in Multilingual Writing Liberty Renewed—Not Just Artistically 72 Is the development of hydroelectric power in accordance with the 78 principles of sustainable development? Excellence in the Practice of Writing Remix to the Letter to Your Younger Self 92 Gene Therapy: What You Need to Know 102 4 Excellence in First-Year Writing EDWP Writing Prize Chairs Andrew Moos Ruth Li EDWP Writing Prize Committee Martha Henzy Ryan McCarty Margo Kolenda-Mason Kelly Wheeler Ellie Reese Sweetland Writing Prize Chair Gina Brandolino Sweetland Writing Prize Judges Scott Beal Shuwen -
Princess: the Hopeful a Storytelling Game of Fighting Fear
Princess: the Hopeful A Storytelling Game of Fighting Fear When they told you that you were a Princess, you felt your childhood dream had come true. Sometimes you want to shake your childhood self, and make her see how much hard work it is to be a Princess. They showed you how you channel your hope into magic. You never imagined what magic really was like, how your own doubts could block your powers or turn them against you. They said you were going to help fix the world. Some days, you can’t even fix your own life. When you told them how you felt, they said it was OK to take a break. But it’s not OK, because you could never forgive yourself if you let everyone down. Princess: the Hopeful is a fan made roleplaying game for the New World of Darkness. Players take on the role of magical girls (or boys) who one day found themselves granted great magical power and the responsibility to fix all that is wrong with the world. If they can survive the trauma of real battle, learn that not every problem can be solved with a speech about friendship, and endure their enormous workload, then just maybe they can makePrincess: a difference. the Hopeful is a collaborative effort of posters on the RPGnet forums [http:// forum.rpg.net/]. Princess: the Hopeful: A Storytelling Game of Fighting Fear Edited by Michael Brazier ™ PublicationPrincess: date the 2013 Hopeful World of Darkness Rulebook God-Machine Chronicle is a fan-made roleplaying game for the New World of Darkness , published by White Wolf Game Studio. -
Contents General Information
Contents General Information ............. 2 Costume Contest ...................... 7 Room Parties ................................ 8 Guests of Honor ..................... 10 Tabletop Gaming ...................... 12 Video Gaming ............................ 13 Full Schedule ............................ 14 Panels & Events ......................... 20 Video Rooms .............................. 27 A Note from the Chair Another year has transpired and the staff have been hard at work assembling the following convention. Why haven’t you joined staff yet? It’s awesome. We only do this because of you, the Fanatics and Otaku. Without you, we have no reason to put together the most audacious, expensive thing in our year. It’s be- cause of the dedication and desire to share that the staff, dealers, artists, talent, panelists and guests of honor coalesce to present such an amazing event. I would like to take this opportunity to thank everyone, including those who don’t read this, for attending and making this possible. Thank you, Otaku. Thank you, Fanatics. Thank you, Guests of Honor. Thank you, Dealers. Thank you, Artists of the Alley. Thank you, Disk Jockeys (talent). Thank you, Hotel Ramada personnel. Thank you, Panelists. Thank you, Members (guests/attendees). Thank you, Staff of Anime Fusion. Thank you. Did I say, thank you? Let’s all make this the best, yet, Anime Fusion experience for all! This is, Anime Fusion 2015: The Future was Then. Where we explore the vision of our present from the past’s vision of the future. Space operas and spaghetti odysseys, to name a few, as well as westerns and historically based fictions. The Future was Then, as it is now. Share with your friends the wonder that is Anime. -
Princess: the Hopeful
Princess: the Hopeful Princess: the Hopeful is a collaborative effort of posters on the RPGnet forums Special Thanks To: Azunth, Cruton, EarthScorpion, Huitzil, Kearin, Luc “Nickname” French, Michael Brazier, Naomi Li, TheKingsRaven, and everyone else on RPGnet and elsewhere helped in the development of Princess: the Hopeful. Introduction My name is Shoutan Himei. I’m sixteen years old, and I’m very tired. – Sailor Nothing No matter how old we may be now, all of us were once young. The world was unexplored and exciting, full of possibility. What we lacked in experience and wisdom, we made up for in possibility and enthusiasm. We dreamed of fame, fortune, wealth, glory, respect. We wanted to be astronauts, cowboys, firemen, doctors, singers, rock stars, or all of the above at once. After all, we didn’t know what was possible – and that meant ANYTHING was possible. We looked at the world through guileless eyes, felt it as fully and intensely as anyone ever could. When we came to a new idea, we embraced it zealously and whole-heartedly, convinced we’d found the secret that would change the world. When we loved, we were convinced it was the most passionate ever felt; when we hurt, we thought it was a tragedy the likes of which had never been seen. We were convinced that we had the whole thing figured out, that we could make everything perfect if we just had a chance, if the grown-ups would just listen. After all, we could do anything if we put our mind to it. -
PEELING BACK the CANDY-COLORED WRAPPER an Examination of Feminization, Queer Relationships, and Localization in Puella Magi
PEELING BACK THE CANDY-COLORED WRAPPER An Examination of Feminization, Queer Relationships, and Localization in Puella Magi Madoka Magica, Cardcaptor Sakura, and Sailor Moon By RACHEL SMITH Honors Thesis Oklahoma State University Stillwater, OK 2016 PEELING BACK THE CANDY-COLORED WRAPPER An Examination of Feminization, Queer Relationships, And Localization in Puella Magi Madoka Magica, Cardcaptor Sakura, and Sailor Moon Thesis Approved: Katherine Hallemeier Thesis Adviser Martin Wallen Second Reader ii TABLE OF CONTENTS Chapter Page ABSTRACT .............................................................................................................v LIST OF FIGURES ............................................................................................... vi I. An Introduction to Manga and Anime, the Shoujo Genre, and Magical Girls ...........7 Shoujo Manga and Anime: A Brief Crash Course...................................................8 The Magical Girl Phenomenon ..............................................................................13 Peeling Back the “Candy-Colored Wrapper” ........................................................17 II. Queer Subtext, Shoujo Tradition, and Puella Magi Madoka Magica .....................19 The Tragic (and Comedic) Shoujo Tradition: Mami, Sayaka, and Kyouko ..........20 Homura and Madoka: A Tragic(?) Contradiction ..................................................24 Mami and the Tradition of Heterosexualization ....................................................27 What Does Madoka Magica -
Card Captor Sakura
Card Captor Sakura Ewen “Blackbird” Cluney A Big Eyes, Small Mouth Adaptation www.blackbird.nu Card Captor Sakura A Big Eyes, Small Mouth Adaptation by Ewen "Blackbird" Cluney Introduction When this seal is broken, disaster will come to this world... Cardcaptor Sakura is a fun, cute, and insanely popular series by CLAMP, with about 11 manga volumes so far, plus an anime series, a movie, and more merchandise than you can shake a magic wand at. What follows is an adaptation of stuff from the series into Big Eyes, Small Mouth. For the most part, it has two sections; details on the Clow Cards, and stats and info for the characters from the series. This will intially only cover the first story arc, and only the manga (the first 6 volumes; it's what I have access to right now). Thanks to: Assorted CCS webmasters, notably Rabi, Ruby, and Ann the Sakuranomiko. Manga translators; Fuu-chan, Kittyhawk, and Ann the Sakuranomiko. CardCaptor ML people who answered my questions; Meghan, KSaintTail, OcealLily, and Bonita Kelso. The Clow Cards on the card (in roman characters); otherwise the card can manifest again and resume wreaking havoc. A Card Captor's The Clow is a book containing a collection of mystical destiny is not entirely in her own hands, as many of the cards cards created long ago by a powerful wizard named Clow Reed. will be naturally drawn to her, especially as she comes to Each card is in some ways a living thing, and when not possess more and more cards (others don't care; it depends on contained or controlled the cards can act on their own, using their individual temperament). -
Guests of Honor
Contents General Information ............. 3 Photoshoots ............................... 5 Costume Contest ...................... 7 Swap Meet & Room Parties ....... 9 Guests of Honor ..................... 10 Autograph Sessions ............... 11 Full Schedule ............................ 12 Panels & Events ......................... 17 Video Rooms .............................. 24 A Note from the Chair Thank you, thank you, thank you. Welcome to year three of Anime Fusion: Otaku Takeover. It is you the members of Quad Cities Anime that make this event possible. Because of your contribution of money and time we the staff can do what we do for your enjoyment. Be that in the panels, video rooms, table top gaming, video gaming or hanging out with friends in the Reactor Lounge and eating in Free Parking. Hospitality is a hard working dedicated machine of people providing members with the minimum fuel to continue enjoyment of this conven- tion. We are always saying welcome to volunteers, and with some prizes as thank you for hours volunteered there is no reason not to volunteer as groups or singles. Without you, this would be a very empty hotel. Don’t forget to sleep after dancing the night away, but don’t sleep too long or you’ll miss some of our fantastic early programming. With running water comes responsibility. Please be kind to one another and their noses. As we all celebrate what brings us together, we must also act together to make this the best Anime Fusion yet. Thank you and partake of Anime Fusion: Otaku Takeover! Christopher Picotte Convention Chair Anime Fusion 2014 Special Thanks Sponsors Additional Support Brown, Sherilyn Lubahn, Darrell Anime Twin Cities Ehrler, Kevin Maahs, Timothy Geek Partnership Society Fahland, Jeff Misialek, Sara RightStuf International Harper, Shawn Omann, Nicholas Hicks, Justin Reid, Elizabeth Kent, Taylor Saniti, Scott Lee, Daniel Wright, Anthony Anime Fusion 2014 1 General Information Basic Rules -> Don’t break the hotel! Signs may only be posted using blue painter’s tape. -
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. -
Form and Character in Contemporary Comics and Manga
Bard College Bard Digital Commons Senior Projects Spring 2019 Bard Undergraduate Senior Projects Spring 2019 Framing the Superheroine: Form and Character in Contemporary Comics and Manga Dana Elizabeth Lubow Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2019 Part of the Japanese Studies Commons, Reading and Language Commons, and the Visual Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Lubow, Dana Elizabeth, "Framing the Superheroine: Form and Character in Contemporary Comics and Manga" (2019). Senior Projects Spring 2019. 118. https://digitalcommons.bard.edu/senproj_s2019/118 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. 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. For more information, please contact [email protected]. Framing a Superheroine: Form and Character in Contemporary Comics and Manga Senior Project Submitted to The Division of Languages and Literature of Bard College by Dana Lubow Annandale-on-Hudson, New York May 2019 Acknowledgements . Thank you to Jeremy Coppola, Emma Fishback, and Chloë Spears, whose encouragement and support throughout completing this project has kept me sane. Thank you to Maria Cecire, who in our meetings helped me find new avenues and clarify my ideas at various stages And thank you to Nate Shockey, my advisor, for his help at every stage of this project. -
Awnmag5.12.Pdf
Table of Contents MARCH 2001 VOL.5 NO.12 4 Editor’s Notebook What good is technology? 5 Letters: [email protected] TECHNOLOGY 6 The Technology Circle Over the past five years the changes in special effects technology for film and television have been monumental, causing large shifts and new issues for production companies and the soft- ware/hardware companies that service them. Bruce Manning outlines the issues and then sits down with Richard Taylor to discuss. Visit us online to see enlarged images and additional infor- mation on Richard’s work. 12 Low-Cost Solutions, High-End Results With today’s new software packages becoming more and more efficient for less and less money, one can definitely do more with less. John Edgar Park discusses the different software and hard- ware combos that can get you on the fast track to great looking CGI work. Go online to see detailed specs on Strata 3D and Hash Animation:Master online at: http://www.awn.com/mag/issue5.12/5.12pages/parkblurring.php3. 16 Making It To The Web Exporting your animation to Flash so that it plays smoothly and soundly over the Internet is get- ting more complicated with every new product crowing about its “Flash-export capability.” Mark Winstanley is here to make sense of it all for you. 2001 ADDITIONAL FEATURES 20 There Once Was A Man Called Pjotr Sapegin From Russia to his new home of Norway, Pjotr Sapegin is bringing his own twisted sense of humor to his re-worked fairy tales. Who is this man behind a salt controlling troll, a genital lov- ing cat and a rat seeking romance? Chris Robinson investigates. -
Table of Contents the University of British Columbia’S Film Journal
CINEPHILE Table of Contents The University of British Columbia’s Film Journal Vol. 7 No. 1 Editor’s Note 2 Spring 2011 ‘Reassessing Anime’ Contributors 3 ISSN: 1712-9265 Playing the Kon Trick: Between Dates, Dimensions 5 and Daring in the films of Satoshi Kon Copyright and Publisher: Paul Wells The University of British Columbia Film Program The Sound of an Android’s Soul: Music, Muzak, 10 Editor-in-Chief: and MIDI in Time of Eve Jonathan A. Cannon Philip Brophy Layout: Jonathan A. Cannon Beyond Maids and Meganekko: Examining the Moe 15 Shaun Inouye Phenomenon Faculty Advisor: Michael R. Bowman Ernest Mathijs Program Administrator: Reviewing the ‘Japaneseness’ of Japanese Animation: 20 Gerald Vanderwoude Genre Theory and Fan Spectatorship Department Liaison: Jane Leong Jennifer Suratos Artwork and Front Cover: The Higurashi Code: Algorithm and Adaptation in the 26 Chloe Chan Otaku Industry and Beyond Back Cover: John Wheeler Hanahlie Beise Mamoru Oshii’s Ghost in the Shell 2: Innocence: Thinking 31 Editorial Board: Before the Act Robyn Citizen, Andrew deWaard, Frédéric Clément Shaun Inouye, Colleen Montgomery, Brent Strang, Babak Tabarraee Printing: East Van Graphics Cinephile would like to thank the following offices and departments CINEPHILE is published by the Graduate at the University of British Columbia for their generous support: Program in Film Studies at the Depart- ment of Theatre and Film, University of Offices of the Vice President Research & International British Columbia, with the support of the Faculty of Arts Centre for