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[13][14][15] The title is a rhythm game that features arrangements of songs made by various artists over the years using the Vocaloid software. The original story of the game is told in a visual novel and musical film-style. The direction of the game's design and concept is different from other Hatsune Miku-related games, such as Sega's Hatsune Miku: Project DIVA, where the player and Hatsune Miku face each other directly and communicate in the game. The project is said to be "a work that embodies the existence of Hatsune Miku" and explores the relationship between music and people. One of the reasons behind this format was the idea of "wanting the younger generation to listen to more Vocaloid music and other songs from the internet. " Therefore, while knowing that there could be people opposed to the idea of addition of original characters, it was decided to develop such a setting.and what we have here is, in a nutshell, Edo-period Japan: the remix. Baseball, tagging/graffiti, Van Gogh, zombies, and Catholicism are tossed into the "chanpurū" with a whole lot of revised Japanese pseudo-history. As such the medley of influences and tangential tale-spinning occasionally smacks of filler, but one would do well to understand that this show is simply all /about/ the filler — and this is all for the better, because Samurai Champloo is at its freshest and most hilarious when it's veering off the rails. It even has the single most entertaining recap episode I've ever seen. Even with all this episodic improv, Fuu's journey in search of a "samurai who smells like sunflowers" provides a compelling core to the story, much like a steady hip-hop beat giving structure to the mix of samples and freestyle verses. Her ronin traveling companions Mugen and Jin mingle like oil and water, and there we have the perfect cast for hilarity and drama.
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