Touken Ranbu

Touken Ranbu (刀剣乱舞 lit. Chaotic Sword Dance) is a 2015 Japanese video game developed by nitro+ and hosted on DMM (now EXNOA). It is a card-collecting and card-battle game in the same vein of Kantai Collection, except it's good-looking men who are collectible playable characters instead of women, and it's named Japanese swords belonging to Japanese historical figures that are the famous artifacts being personified into playable characters instead of ships.

Premise and Themes
Despite having a ton of characters, with new ones getting implemented on the regular, the game doesn't have an overarching plot. However, it does have a basic premise: in the year 2205, evil forces called the Temporal Retrograde Army (時間遡行軍 jikan sokōgun)/ Historical Revisionists (歴史修正主義者 rekishi shūsei shugisha) travel back in time to alter historical events. The player character, a faceless non-identity being called a saniwa (審神者) is appointed by the government to create an army of personified historical swords called touken danshi (刀剣男士 lit. sword men), run a Japanese-castle-like establishment called the Citadel (本丸, honmaru, lit. main circle (of a castle)) that serves as their housing and base of operations, and send the aforementioned sword men into battle to preserve history.

In the PPC
As this continuum is about personified Japanese swords, calling certain characters "swords" is common practice, in canon and fandom, and will not cause the Word World to render them as sentient bladed weapons.

Minis
Minis in this continuum are mini-Revisionists. See Mini/Touken Ranbu.

Saniwa
Since the saniwa in the original game canon is a non-appearing, identityless, dialogueless, characterization-free non-entity/blank slate/concept rather than an actual character, killing a Sue/Stu holding the saniwa title in most cases doesn't count as killing a canon character.

Agents specialized in this continuum
Agents Kaguya Hazama and Momoka Shigisawa (DMS - Video Games)
 * Of Reader-Inserts and Space Travel
 * Of Misandry and Falling Dividers
 * Of Jumbled Storytelling Orders and Historical Aberrations, part 1 part 2 part 3 part 4