I wish Sega released a DLC where you play the og divisions during the Great Demon War in 1930. You get to choose which captain you want to play between Ogami or Shinjiro, and you can choose whether or not they've romanced someone of their respective divisions.
You can get to see both the heartwarming and the sad moments between everyone. Spend time with everybody. Bring back the mini-games of the first and second games. Take part in eating competitions with Kanna, try to beat everybody at koi-koi, cook with Maria, ect.
Choose your team as you fight back against the demons. Experience the victory poses of every battle.
That moment when things are at their bleak. The moment you meet Hinata Amamiya, Sakura's mother, and you know it's the moment you've been dreading since the beginning.
And then the end. Everyone seals themselves away. Maybe you play Sumire during this part, forced to listen to the goodbyes of the characters you've come to love.
The curtain falls, the credits run, and you have the entire cast singing the theme song one last time. One last hoorah and a goodbye for the older fans, and a glimpse into what was for the newer ones.
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Top 10 Chinese Girls in Anime: INPO
10. Lynn Minmay - Macross
9. Wang Liu Mei - Gundam 00
8. Kou Shuurei - The Story of Saiunkoku
7. Shampoo - Ranma 1/2
6. Lan Fan - Fullmetal Alchemist: Brotherhood
5. Ran-Mao - Black Butler
4. Meiling Li - Cardcaptor Sakura
3. Princess Aska - Magic Knight Rayearth
2. Li Kohran - Sakura Wars
1. Chi-Chi - Dragon Ball
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omg someone drew li kohran from sakura taisen in splat. not one of the top anime girls I expected to see but I love it
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Blog9 Session 7 - REPRESENTATION visual culture & identity
The image of Chinese people in animation tends to be the bun head, cheongsam, braids, kung fu, and if you count Chinese culture there will be pandas.
In the early years this image symbolism was conducive to rapid dissemination and the arbitrary nature of the symbols was able to speed up the audience's reaction in terms of communication.
So how did these Chinese symbols become linked to the Chinese identity?
Between 1990 and 2000, mainly Japanese and American animation was the most widely disseminated. The reason why Chinese imagery was particularly symbolic in this period is that 2D animation is inherently flat and has more semiotic applications than the realism of 3D animation, where the cost of 2D hand-drawn pursuit of realism is so high that rapid communication through symbols is widely used.
Here are a few examples of Chinese people in popular animation.
Japanese games and animations from that period.
Clothing as a key way in which identity takes a visual form Crane, D. (2000) Fashion and its Social Agendas: Class, Gender and Identity in Clothing. Chicago : University of Chicago Press
Chun-Li's (チュン・リー) pillowy hair, lee kohran's (リ・コーラン) twisted braids, Lynn Minmay's (リン・ミンメイ) cheongsam and cuisine, and LI SYAORAN's (リシャオラン) do-rags and fang-jutsu, from Street Fighter, Sakura Wars, and Cardcaptor Sakura.
American animation productions from this period
Disney's Mulan in '98 was the ultimate distillation of Chinese cultural symbols. Thanks to the superb research of the Disney team, all the symbols of Chinese culture were presented to the audience in the form of animation, from the landscape, the Great Wall and the palace, to the people's make-up and armour, allowing the world to feel the charm of Chinese culture once again.
In summary, it can be seen that the audience of this period was also for other nationalities around the world, so highlighting the uniqueness of the nation was the best choice to be able to distinguish itself from other races.
It is also because China is seen from the perspective of other races, and even if the symbols are summarised accurately, they lack the meaning behind them.
Although Disney presents an exquisitely beautiful version of ancient China, its own values are Western. As one review spits out: Chinese people during the North and South Dynasties had bacon and fried eggs for breakfast, hierarchical ancestral halls overflowed with democratic discussions, and just because Hua Mulan saved the Emperor, there was no excuse for a hug with him …… This would not have been possible in real ancient China
LI SYAORAN who also wears Taoist costumes should not be cloaked, if you look closely at Chinese culture you will know that hair represents essence in Chinese culture, Taoist priests hair would be worn in a bun and not a single strand of hair should be outside.
While this rapid dissemination introduced viewers to Chinese elements, it also installed a biased understanding of this image of the Chinese, for example that all Chinese people know Chinese kung fu.
After 2000, this stereotype took on a new dimension.
Although the bun head and cheongsam still exist, and thanks to the previous cultural export of animation, such images of Chinese female characters have become more popular. But the culture also began to diversify.
The King's World, a serialised manga that began in '06 and was animated in '13, moved the Chinese elements from the fantasy world to the overhead history. As a Japanese manga artist, Hara Taijiu chose the Warring States period of China as the setting for a magnificent overhead epic based on the development of two orphans.
In this work, Ying Zheng, Lu Buwei, Bai Qi, Li Si ……, all familiar historical figures of China, make their appearance. However, due to its choice of setting and relatively good koan, The King's World still managed to kill off the many homogenised Three Kingdoms titles and generated a lot of buzz in Japan.
The portrayal of Hua Mulan in 2012's Wreck-It Ralph 2 also chose this approach of weakening the symbols: simply embroidering two golden Mushu dragons on Mulan's handsome jacket without over-emphasising its Chinese attributes.
For audiences, the most immediate benefit of this trend is that we are finally moving away from the uniformity of bun heads and cheongsams and will see more interesting and unique Chinese characters in the future. And for the cultural industry, it means a fading of stereotypes, a rise in cultural influence, progress and development, and understanding and cross-fertilisation.
Crane, D. (2000) Fashion and its Social Agendas: Class, Gender and Identity in Clothing.
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