User:Knulclunk/Sandbox Fujikawa

Tekken 3
Even at a very young age, Ling Xiaoyu loved amusement parks. Also she was tutored in martial arts by Wang Jinrei from a young age. He believed that if she were more serious, she could achieve true greatness, but became frustrated by her careless attitude.

While vacationing in Hong Kong with her family, she noticed a yacht bearing the name: “Mishima Zaibatsu”. Knowing that the Mishima Zaibatsu was rich and powerful, she decided to seek out Heihachi Mishima and make her dream a reality. Abandoning her family, Xiaoyu stowed away on the ship.

The ship’s security soon discovered her and informed Heihachi of her presence. By the time that Heihachi arrived on the scene, all of the Tekkenshu—Heihachi’s personal security force—that were aboard the ship had been beaten into unconsciousness and strewn about the deck. It looked as if the ship had been hit by a hurricane.

Amidst the chaos, Heihachi found Xiaoyu. She threatened to beat him up if he did not accept her challenge. Amused by her juvenile antics, Heihachi roared with laughter and promised to build her theme park if she won his tournament. She enrolls at the Mishima Polytechnical School, and this is where she first meets both Jin Kazama and Miharu Hirano. Bringing along her old school's trained panda (aptly named "Panda"), Heihachi teaches her to fight, much like he has taught Kuma, so that Xiaoyu would have a bodyguard. This inspired Xiaoyu to see Heihachi as something of a grandfather toward her.

Tekken 4
After the King of Iron Fist Tournament 3, Xiaoyu continued to live, study, and train as a ward of the Mishima Zaibatsu, but her life became boring and mundane, lacking any particular goals.

Two years later, Xiaoyu was delivered an anonymous e-mail admonishing her not to trust Heihachi. The anonymous individual warned her that Heihachi posed an immediate danger to her life. At this time, Xiaoyu was a junior at the Mishima Polytechnical School and had become sick of her daily routines, but receiving this mysterious e-mail rejuvenated Xiaoyu’s passionate spirit.

Xiaoyu replied to the e-mail dozens of times. Although the sender never contacted her again, Xiaoyu became convinced that Jin, who had been missing since the previous Tekken tournament, had sent it to her.

Around this same time, Heihachi announced the King of the Iron Fist Tournament 4. Hoping to reconnect with Jin and unmask the Mishima Zaibatsu’s evil deeds, Xiaoyu decided to enter the tournament.

Tekken 5
At the end of the previous tournament, Xiaoyu is rescued from the evil plans of Heihachi Mishima by Yoshimitsu, who then tells her about the tragic history of the Mishima family. Xiaoyu starts to believe that the root of all misfortune surrounding Jin and the Mishima family was Heihachi pitching Kazuya off the edge of a cliff when he was five years old.

At this point, Xiaoyu believes it is her personal mission to save the tragic Mishima family. She wished that there were some way to turn back time and fix the past. Her prayers were answered when she heard an unnamed scientist boast that if he had the money, he could build a time machine.

To obtain the money to fund the invention, Xiaoyu enters The King of the Iron Fist Tournament 5 to win the prize money.

Tekken 6
Ling Xiaoyu breathed a sigh of relief when she heard Heihachi had not truly died. However, as head of the Mishima Zaibatsu, Jin Kazama aims to take Heihachi’s life. Xiaoyu was going to try and stop Jin herself, but the Zaibatsu pushed towards militarization, making it difficult to approach Jin.

The Mishima Zaibatsu’s declaration of war drew hostility from around the globe. When the King of Iron Fist Tournament 6 is announced, Ling Xiaoyu enters in the hope that she can save Jin’s soul from evil.

Other Appearances
Outside of the main series, Ling Xiaoyu has appeared in Tekken Card Challenge, Tekken Tag Tournament and Tekken Advance. Ling Xiaoyu also appears in Smash Court Tennis Pro Tournament 2 as a unlockable character. Her comic book appearances includes Tekken Forever and Tekken: Tatakai no Kanatani. She will also appear in the 2009 movie, Tekken potrayed by Chiaki Kuriyama.

Endings
Tekken 3
 * Heihachi Mishima keeps his promise, and he builds Xiaoyu a theme park. Xiaoyu imagines a place full of happiness and color called: "Xiaoyu Land". However, when her daydream ends, Heihachi unveils the real theme park, which is a gloomy place called: "Heihachi Land"! Heihachi is roaring with laughter. Xiaoyu gets angry, and beats up Heihachi, yelling: "Jerk!"
 * (Note: This ending is unique in that it is done using hand-drawn animation in combination with computer-generated imagery.)

'''Tekken Tag Tournament--Normal Ending
 * Xiaoyu spends a heartfelt moment with Panda, and then she rides on her loyal pet to the distance.

'''Tekken Tag Tournament--Special Ending
 * Jin Kazama walks away from school leisurely, carrying a duffel bag. Xiaoyu demurely races to him and speaks with him (though, her words can't be heard), though Jin does not seem too affected by her presence.  After a few moments, Xiaoyu waves goodbye and darts off.

Tekken 4
 * Ling Xiaoyu wins the tournament and takes over the Mishima Zaibatsu. No one foresaw this outcome. Miharu Hirano visits Xiaoyu in her new office. Miharu confesses that she has flunked all of her college entrance exams, so Xiaoyu offers her a job. Xiaoyu tells Miharu that she saw Jin after the tournament. He told her that "[she] has all of these dreams, and [she] should make them happen for [her]self.” Xiaoyu tells Miharu that she wants the two of them to build her theme park together.

Tekken 5
 * After winning the tournament, Ling Xiaoyu is the first to use her time machine. She travels back to the time when Heihachi was about to throw Kazuya Mishima off a cliff, intending to avert this event that will rip the family apart. Unfortunately, Xiaoyu had lost control of the time machine and it barreled into Heihachi and Kazuya, sending Kazuya falling from the clifftop, while Heihachi is nearly sent over himself. Xiaoyu is miserable because of her failure, and the old scientist comes to her, laughing, and tells her that nobody can really change the past.and that “The best [she] can hope for are minor improvements.”
 * (Note: As with her Tekken 3 epilogue, this ending is unique in that it is done using hand-drawn animation in combination with computer-generated imagery.)

Appearance
Xiaoyu is a Chinese teenager with black hair. Her signature hairstyle is the two pigtails on the sides of her head. She also wears a modified version of a qipao, or a cheongsam, as her primary outfit in Tekken 5 and later. Her secondary outfit consists of pants and a sleeveless jacket with bunny ears hood. Her bonus outfits are the Gothic Lolita costume, the colorful fur costume also with one costume more than other characters; is her school uniform. Within Tekken 5, Xiaoyu has more selectable costumes than any other character.

In Tekken 5: Dark Resurrection and Tekken: DR, her hair can be customized with different colors, and her secondary hair colors are pink, brown, and blonde. Her hairstyle can also be customized into short bobs, braided and rainbow afro.

Fighting Style and Moves List
Ling Xiaoyu practices Hakke Sho and Hikka Ken, which is Baguazhang and Piguaquan in Chinese, respectively. Xiaoyu's style is flowing and smooth; many of her attacks are graceful and move in a windmill-like formation. Typical of a person of her size and build, Ling Xiaoyu is not strong in regards to the damage inflicted by her moves. Xiaoyu emphasizes speed, as her moves have a relatively higher priority. The high priority of her attacks lead to lots of poking. In addition, she also has a quick roll and cartwheel that can be used evasively along with stances which keep an opponent confused.

Miharu Hirano
Miharu Hirano (平野 美晴) is an alternate costume for Ling Xiaoyu in Tekken 4, and is also her best friend in the game's storyline. She shares the same moves as Xiaoyu, as well as her prologue, epilogue and win animations. She wears a school uniform identical to Xiaoyu's and has short, feathered dark red hair.

History of Puerto Rican Migration
Once formerly dominated by Italian, German and Irish enclaves, East Harlem has since been significantly labeled Spanish Harlem. The migration of Puerto Rican immigrants to New York City started after the end of the Spanish American War in 1898, when Puerto Rico came under the control of the United States. In 1917 the Unites States Congress gave United States citizenship to the Puerto Rican population, allowing free migration to the mainland.

The Puerto Rican population of El Barrio remains the most poor amongst all immigrant groups within U.S. cities, as of 1973 about “46.2% of the Puerto Rican Migrants in East Harlem were living below the federal poverty line.” As of 1990, The Puerto Rican niche was the largest immigrant group within the United States.

Puerto Ricans have occupied El Barrio in such large numbers since 1917 and after World War 1, an era called the "Great Migration". A long history of colonization in Puerto Rico has had an impact on the unsettling movement of Puerto Ricans from their homeland. From the Spanish invasion in 1508, the Puerto Rican population has always been under the influence of colonial powers, and for that matter there has always been a struggle for independence. Ever since their Spanish rule, Puerto Ricans have always come to the U.S. to earn their livings, however it was not until the end of the Spanish Cuban-American War in 1898 that the huge influx of Puerto Rican workers to the U.S would begin. “In 1898 the end of the Spanish-Cuban-American War, the United States acquired Puerto Rico and has retained sovereignty ever since. Puerto Rico’s colonial ruler changed, and migration now from the colony to the metropolis has increased.” Furthermore, what became an attraction to these people was when in 1917, the U.S. congress “declared all Puerto Ricans U.S. citizens, enabling a migration free from all immigration barriers. Meanwhile, U.S. political and economic interventions in Puerto Rico created the conditions for emigration, by concentrating wealth in the hands of U.S. corporations and displacing workers.” The importance to understanding that Puerto Rico is a rural based economy and in most cases the economic policymakers in Puerto Rico blamed over-population for all of the islands faults and unequal distribution of work and income. Policymakers promoted “colonization plans and contract labor programs to reduce the population. U.S. employers, often with government support, recruited Puerto Ricans as a source of low-wage labor to the United States and other destinations.” Why New York, and specifically why El Barrio? East Harlem has long been associated with colonization from early European settlements of Irish, Jews, Germans, and most recently Italians.

It was labor recruitment that developed the basis of this particular community. The Puerto Rican Diaspora was not just evident in El Barrio, small portions went to cities like Tampa Bay, Philadelphia and Boston, and however it was in El Barrio where the numbers were the greatest. The number of Puerto Ricans living in New York City, as a whole was “88%, as 69% were living in El Barrio as of 1970.” Labor recruitment was the number one factor in creating this large community in East Harlem, moreover, Puerto Ricans also were vital in making the settlement much more accommodating. Puerto Ricans helped others settle, find work, and build communities by relying on social networks containing friends and family. Puerto Rico became the site of one of the most massive emigration flows of this century.

Puerto Rican migrants emigrated to the U.S. and in particular El Barrio, in search of higher-wage jobs. The Puerto Ricans found low-wage jobs in the latter years of the 1960s and 70s. The U.S. economy had a shift from the manufacturing sector to a service sector, forcing these people into hard times, as many of them worked in factories and relied on these particular jobs to support their families back home in Puerto Rico, and themselves in their new home in El Barrio. To better understand the importance of factory jobs for a decent standard of living for these former rural workers. “…labor in industrial production is still crucial and central to the global economy. However, the export of production from the center to the less media-visible periphery, and the development of the informational service economy, is an outright assault on working-class populations.” Puerto Ricans were first desired for means of cheaper labor, and now as the economy shifted away from a manufacturing unit, it had pursued cheaper labor elsewhere. The whole reason for their incorporation into the U.S economy was to create means of cheaper labor, and offer this labor migration the facet of a better life.

mei li
A book entitled Mei Li [May Lee] written and illustrated by Thomas Handforth, was the winner of the Caldecott Award in 1939, the second year the Award for the most distinguished American picture book was presented. The story is about a little Chinese country girl who goes to the nearby city with her brother to attend the New Year's Fair, returning to their farm in time to welcome the arrival of the Kitchen God at midnight. The book offers children a visually fascinating introduction to the landscape and people of China along with a satisfying universal story of a child who ventures forth, has exciting adventures and returns safely home.

The black and white lithographs spread across the pages are bold and vital. The sturdy buildings of the cityscape create a dignified setting as counterpoint to the exuberance of the foregrounded figures: acrobats, fortune tellers, bareback horse riders, tightrope walkers, performing bears and Mei Li herself. An early art teacher of Handforth's suggested that he draw the space around the figure rather than the figure itself and in Mei Li it is the white space that first captures the readers' attention, draws the eye across the page and defines the pictures.

Mei Li, like every book, has its creation story. In 1934, Handforth was living in Peking, China, in a large old house, spending a good part of every day sketching the life that teemed around him. He invited sword dancers, contortionists, jugglers, puppeteers, minstrels and acrobats into his studio to pose for him, plying them with cups of tea and keeping them entertained with imitations of Charlie Chaplin's walk. They posed for him over and over and he got to know them well.

He wanted to bring all these friends of his together in a picture book for children, but could not decide who should play the leading role. Then he met Mei Li, a little girl who had been abandoned at an early age and left on the doorstep of a missionary's home. She was adopted by and lived with an American lady in Peking and when the woman was called back to the United States for a year, Mei Li was left in the care of the wife of a poor gardener. Handforth discovered her as he walked past a neighboring compound and saw her peering at him from behind her gate. He struck up a friendship with the family and discovered that Mei Li was a determined, energetic child who managed everything and everyone around her. She needed no urging to pose for him and before long she was running the whole show, even dragging her friends in to be drawn by the artist. She took over the studio and made herself the star, totally charming Handforth, who soon realized that in Mei Li he had discovered the central character for his children's book.

Sources:

Handforth, Thomas, Mei Li, Garden City, New York: Doubleday & Company, Inc. 1938. Handforth, Thomas. "The Story of 'Mei Li'" in The Hornbook Magazine, vol. xv, no. 4, July/August, 1939, pp.237-240.

Lorna Simpson
Lorna Simpson (Born 1960-) is an African American artist and photographer who made her name in the 1980s and 1990s with artworks such as Guarded Conditions and Square Deal. Her work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex. In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art.

Born in Brooklyn, New York, she attended School of Visual Arts in New York and then at the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980's era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.

Simpson's 1989 work, Necklines, shows two identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop” individual words on black, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.

Lorna Simpson has explored developing her photographs on large felt panels as well producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel relationships to be drawn.

Lorna Simpson lives in Brooklyn with her partner Jim Casebere and their daughter Zora.

Through concern for their lack of identity, she focuses on attempts to articulate the experience of these anonymous women, hoping that through the images viewers will be able to share and thereby begin to understand, their view of the world.

She began her career as a documentary photographer and, though her work maintains its roots in the documentary photography tradition, addressing themes of cultural, political, and social significance, it has moved farther and farther from photography per se. She is best known for her series of life-size "portraits" of African-American women in which most of the models' facial features "twist" or problematize the image itself. An example is Necklines.

Necklines, 1989

Lorna Simpson, one of the foremost figures in conceptual photography and installation art, began to exhibit in the early 1980s while in graduate school at the University of California in San Diego. Her early works question the authority of photographs as bearers of factual truth, attacking, in particular, stereotypes attached to African American females.

In the late 1980s, Simpson concentrated increasingly on text-image interventions and serial imagery. Untitled (2 Necklines) is exemplary of this period. Two identical black-and-white photographs of a woman, shown from her lower chin and mouth to her breast bone, hang in matching black circular frames on either side of a vertical column of black-and-white plaques. All but one of these plaques bear a single word—ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop. These references to encirclement combined with the round shape of the photograph evoke the menace of lynching. The final textual panel, larger than the rest, makes this threat explicit; set against a blood-red background, the white words read, “feel the ground sliding from under you.” Manipulating language and form, Simpson subverts the serene beauty of these photographs and converts aesthetic seduction into a compelling picture of aggression and victimization.

.......... On their own, the images are fairly bland, fashion-shoot stuff. But the words on accompanying plaques toughen them up. One plaque reads:

So who's your hero --

Me & my runnin buddy

How his running buddy was standing

When they thought he had a gun

Suddenly, the fact that the man is seen from behind makes him vulnerable. Other texts refer, obliquely, to problems with finding a job, fraught relationships with women, racial violence, family. As words and images bounce off one another, a generic figure becomes a character in a narrative: a suspect in a police lineup, a subject of racial profiling, a black man under duress.

Over the next several years Ms. Simpson revisited and elaborated this format, with one significant alteration: she used only women as models. For the most part she presented them all in the same way, dressed in plain white shifts -- slips? night dresses? hospital gowns? -- with their backs to us or their faces otherwise invisible.

If the early photographic pieces are Ms. Simpson's most forceful work, her films are her most beautiful. Corridor (2003) sets parallel scenes from the lives of two women, one apparently a household servant in 1860, the other a well-heeled homeowner in 1960, side-by-side to haunting effect. (Both roles are played by the artist Wangechi Mutu.)

Eskimo pie

Gyo Fujikawa (1908–1998) was an American illustrator and children's book author. A prolific creator of more than 40 books for children, her work is regularly in reprint and has been translated into 17 languages and published in 22 countries. Her most popular books, Babies and Baby Animals, have sold over 1.7 million copies in the U.S. Fujikawa is recognized for being the earliest mainstream illustrator of picture books to include children of many races in her work, before it was politically correct to do so.

Early Life
Try this

Gyo Fujikawa was born in Berkley, California to Japanese parents, Hikozo and Yu Fujikawa. She was named after a Chinese emperor her father admired prior to birth. Gyo (pronounced "ghee-o") translates roughly to "Charles"

he American-born daughter of Japanese parents, Gyo Fujikawa was named after an ancient Chinese emperor greatly admired by her father. Although the name "Gyo" roughly translates to "Charles," Fujikawa's father bestowed the name upon his unborn child, and when she turned out to be a girl, he nevertheless kept the masculine name.

Gyo Fujikawa's first illustrated book was the 1957 edition of Robert Louis Stevenson's "A Child's Garden of Verses".

Gyo Fujikawa attended Chouinard Art Institute and was on the faculty of from 1933-39. She worked for Walt Disney in California before moving to New York and going into advertising. Her most recognized commercial work may be the "Eskimo Pie" kid. She also created several (6±) stamps for the United States Post Office, including the 1997 32¢ "yellow rose" stamp. Fujikawa was a life member of the Society of Illustrators.

Written and Illustrated by Gyo Fujikawa

 * Babies, 1963
 * Baby Animals, 1963
 * A to Z Picture Book, 1974
 * Let's Eat, 1975
 * Let's Play, 1975
 * Puppies, Pussycats, and Other Friends'', 1975
 * Sleepy Time, 1975
 * Oh, What a Busy Day!, 1976
 * Babies of the Wild, 1977
 * Betty Bear's Birthday, 1977
 * Can You Count? New York, 1977
 * Our Best Friends, 1977
 * Millie's Secret, 1978
 * Let's Grow A Garden, 1978
 * My Favorite Thing, 1978
 * Surprise! Surprise!, 1978
 * Come Follow Me to the Secret World of Elves and Fairies and Gnomes and Trolls, 1979
 * Jenny Learns A Lesson, 1980
 * Welcome Is a Wonderful Word, 1980
 * Come Out and Play, 1981
 * Dreamland, 1981
 * Fairyland, 1981
 * Faraway Friends, 1981
 * The Flyaway Kite, 1981
 * Good Morning!, 1981
 * Here I Am, 1981
 * Jenny and Jupie, 1981
 * The Magic Show, 1981
 * Make-Believe, 1981
 * My Animal Friends, 1981
 * One, Two, Three, A Counting Book, 1981
 * Shags Has a Dream, 1981
 * Mother Goose, 1981
 * A Tiny Word Book, 1981
 * Year In, Year Out, 1981
 * Jenny and Jupie to the Rescue, 1982
 * Fraidy Cat, 1982
 * Me Too! New York, 1982
 * Sam's All-Wrong Day, 1982
 * Shags Finds a Kitten, 1983
 * That's Not Fair, 1983
 * Are You My Friend Today?, 1988
 * Sunny Books: Four Favorite Tales, 1989
 * Ten Little Babies, 1989
 * See What I Can Be!, 1990
 * Good Night, Sleep Tight, Shh, 1990

Illustrated by Gyo Fujikawa

 * A Child's Garden of Verses, 1957. by Robert Louis Stevenson
 * The Night Before Christmas, 1961. by Clement C. Moore
 * Mother Goose, 1968
 * A Child's Book of Poems, 1969
 * Fairy Tales and Fables, 1970.
 * Poems for Children, 1980
 * Baby Mother Goose, 1989
 * Poems for Small Friends, 1989.