1969: μ’s Music Start

I’ve been continuing to watch Love Live! and it’s become something of a favourite, particularly now I’m in to the second season which, for my money, is considerably stronger than its entertaining but rather slow-paced debut.

A while back I wrote about how the show is unabashedly nice about everything, and keeps a positive spirit pretty much all of the time without resorting to overblown, melodramatic conflict between characters. The second season has definitely had more in the way of conflict and drama, but it’s been kept sensible and believable for the most part, and primarily used as an opportunity to develop the characters and their relationships with one another further.

One thing that is particularly charming about the show is how it subtly splits the main cast of nine down into smaller subgroups and pairings. We see the development of these individual small groups and couples as well as the group as a whole, and it’s rather touching to see — particularly as in many cases, things aren’t made particularly explicit, but it’s extremely obvious to see, for example, the genuine affection that Maki and Nico have for one another.

It’s funny, too. This scene was a particular standout moment for me:

And there’s plenty of other great moments. I particularly like how the characters all have a few surprising elements to go alongside the trope their “facade” appears to be based around. Nico, for example, acts like a cheerful and energetic young girl when she’s on stage and performing, but becomes one hell of a tsundere when she’s in private. Nozomi, meanwhile, initially appears to be softly-spoken and refined, but occasionally reveals some surprisingly lecherous tendencies towards her bandmates.

Umi’s a particular highlight for me. Initially positioned as the conventional “class representative” type — long dark hair, stern expression, takes everything much too seriously — she occasionally reveals that she has a fun side underneath her mature exterior, which she primarily maintains in order to keep the rather childish and impetuous Honoka in check. Umi has some wonderfully deadpan lines, and despite the “class rep” type of character usually being fairly expressionless (or limited to one emotion — usually anger and frustration at everyone else’s incompetence), Umi is actually one of the more expressive characters in the show; her calm and refined demeanour for the majority of the time makes it all the more impactful when she does genuinely get mad or sad.

In short, then, I can well and truly understand why this show is so beloved by its fans, even as it’s surrounded by hundreds of other shows that may seem conceptually, thematically or aesthetically similar. Love Live! stands above your average slice-of-life with its loveable characters, catchy songs and sense that it’s a show with some genuine heart and soul behind it.

I’m looking forward to watching the rest, and will be intrigued to check out the movie when it eventually arrives.

1968: Another Week, Another Pound

Weigh-in night tonight, as it is every Wednesday, and I’m pleased to report that I’ve shed another pound this week. This is less than I’ve lost in some weeks, but I’m just pleased that it’s continuing to go in a downwards direction almost every week. In the however-many-weeks it is since I joined Slimming World, I think I’ve only had one week where I put on weight, and in that instance it was only a pound. (And an entirely justified pound, given the amount of meat I consumed during my birthday celebrations.)

I’m still feeling positive about the whole thing, and I’m glad; one of the things that put me off any sort of dieting before was the fact that I’d get so utterly bored of it by a few days in, start “treating” myself to something because it couldn’t hurt, and then end up right back where I started again. Or, in some instances, the diet would prove to be detrimental to my health; I recall I experimented with Atkins on one occasion and promptly spent most of that week suffering from some of the worst headaches I’ve ever had in my life. I didn’t try that again.

But Slimming World allows me the flexibility to enjoy food — and food I like too. I’d probably get faster weight loss if I had a few more salads and few less bacon sandwiches of a morning, but I like bacon sandwiches and salads are rubbish, so since I’m still losing weight even when I have bacon sandwiches in the morning, I think I will stick with the bacon sandwiches, thank you very much.

I think the key to the whole thing, which is what I didn’t seem to work out and/or stick with on any previous occasion where I’ve tried dieting, is to find “acceptable” substitutes for the things I like. My biggest weakness was always sweet things — sweets, chocolate, fizzy drinks, cakes, pastries, that sort of thing. The most significant change I’ve made to my eating and drinking since I started Slimming World is swapping out highly calorific sweet things for things that still satisfy that craving for something sweet but which don’t cause me to pile weight on.

Muller Light yoghurt, for example, is “free” on Slimming World, meaning that you can have as much of it as you like in a day. I’ve found a bunch of flavours that I like very much (Vanilla with chocolate sprinkles, orange with chocolate sprinkles, coconut with chocolate sprinkles, cherry and the cappuccino one they don’t seem to make any more) and will now reach for one of those rather than a chocolate bar.

Of course, the “syns” system on Slimming World means that I do have the flexibility to have a biscuit or a piece of chocolate now and again, so long as I don’t go completely out of control with it. I can even enjoy an Indian takeaway within my allowance — turns out my favourite curry (dansak) is the lowest-syn curry there is, so I call that a win and a half. (Other favourites Chinese and pizza, however, are pretty much out of the window, sadly, though I’m surprised how little I’ve missed them.)

I have set myself a “target” weight that is still a fair distance away, and depending on how long it takes to get there and how I look and feel when I get there, I may consider attempting to lose even more on top of that. But I no longer feel as I once did — that the weight I had put on was never coming off, ever — and I feel hopeful and confident that, even if it takes months or years, I’ll eventually be able to get to where I want to be. Seeing one member of the group tonight picking up his award for having lost a total of six stone since he joined was inspiring; I’m already over halfway to where he is after a relatively short period of time, so I’m looking forward to what the future holds, particularly as I’m already starting to feel better about myself when I see myself in a mirror or look down at my still-flabby-but-not-quite-as-much-as-before gut.

The journey will be long, then, but I’m still very much on the right road. I’m glad I took that difficult first step.

1962: Great Title Sequences (From My Living Memory)

Re-watching Star Trek: The Next Generation and Deep Space Nine recently has made me more conscious of something that had been on my mind for a while: the fact that TV doesn’t really seem to do lengthy credits sequences any more.

This isn’t necessarily a bad thing, as in the case of Star Trek you’re sitting there for a good few minutes watching swirly space and Patrick Stewart as Capt. Jean-Luc Picard and Avery Brooks as Commander Sisko (still in season one at the moment) and, consequently, without a credits sequence the show itself has a few more minutes to play with. But does that few minutes really make a difference? Perhaps when the show is a short 20-minute affair, but when it’s 45 minutes or more there’s a strong argument for saying the writers should maybe look at where a few bits can be snipped.

But anyway. Whether or not credits sequences are a good thing isn’t really what I want to talk about today, since that would be a short discussion — yes, they are — but what I did want to talk about is the ones that have stuck in my head over the years. A good credits sequence is strongly iconic and does a good job of summing up what the show’s all about — either literally, by introducing characters, or sometimes in a more abstract sense by using representative imagery.

These are in no particular order. Given how I’m attempting to call them up from my living memory, they’ll probably in roughly chronological order, but I am making no promises. I’m simply going to provide them for your delectation, with a few words about why I like them, why they’re important to me or why I simply find them memorable.

Henry’s Cat

I hadn’t thought about Henry’s Cat for the longest time, but a brief Twitter discussion with the fine Mr Alex Connolly the other day reminded me of both its existence and its terrible but strongly iconic credits sequence.

I honestly don’t remember much about Henry’s Cat beyond the title sequence and the little bit of an episode I watched out of curiosity on YouTube the other day. But I do suspect it’s rather a product of its time, and not the sort of thing that kids are watching on TV these days.

Count Duckula

Whoever uploaded this gets bonus points for including the “Thames” logo at the beginning. Ahem. Anyway. Count Duckula was brilliant. And I’ve watched a few episodes recently and it’s still genuinely quite amusing thanks to some wonderful voice work and characterisation… not to mention its baffling premise of a vegetarian vampire duck voiced by David Jason.

Unlike Henry’s Cat, the Count Duckula theme and intro has stuck with me all these years. However, I did not know until two minutes ago when I looked at Wikipedia (to make sure it really was David Jason who voiced Duckula) that Count Duckula was actually a Danger Mouse spinoff series. TIL, and all that.

Star Trek: The Next Generation

You can’t really get more iconic that Star Trek when it comes to title sequences, and there’s really not much more that needs to be said about The Next Generation — aside, perhaps, from the fact that when you look at it, it’s actually rather basic. Once the credits themselves start rolling, it’s little more than text and the Enterprise occasionally hurling itself at the screen.

Star Trek: Deep Space Nine

I didn’t like Deep Space Nine all that much when I was younger; its relatively “static” nature of being set on a space station rather than on an exploratory starship made it feel a bit more “boring” to the young me. Revisiting it recently has made me realise (or remember?) that it’s actually really rather good — and certainly a lot more consistent than The Next Generation was in its early seasons.

I like the theme very much. It’s one of those pieces of music that just sounds satisfying. What I did find interesting, though, was when they changed it very subtly starting in the fourth season:

It becomes faster, I think it’s in a different key, the orchestration is different and the accompaniment is less “bare”. It accurately reflects the show’s noticeable change in direction from the fourth season onwards, not to mention the changes in the cast: Commander Sisko becomes Captain Sisko, The Next Generation’s Worf joins the crew and Shit officially Starts Getting Real with regard to interstellar conflicts.

Friends

Friends was everywhere when I was a teenager, and I didn’t mind because I enjoyed it a whole lot. The credits sequence was simple and straightforward, accurately summing up each character with a selection of season-unique snippets of their most iconic moments. It was fun to try and identify which episode each of the snippets had come from… you know, if there wasn’t anything better to do.

Angel

Ah, Angel. Probably one of my favourite TV shows of all time, next to its companion piece Buffy the Vampire Slayer (which is also one of my favourite TV shows of all time, but whose credits sequence I never really rated all that much). Angel’s intro was great in that it reflected the dark, brooding nature of its title character, but it also allowed the show to pull off one of its best features: the unexpected and surprising fact that while it wasn’t afraid to deal with some seriously dark themes, it was very happy to poke fun at itself and show the silly side of the supernatural as well as the scary. The intro helped with this in that it set the expectation for a very “serious” and dark story, then in true Whedon fashion, it often subverted these expectations with the actual content of the episode.

Yuru Yuri

(This was the best video of the intro I could find that hadn’t been snagged by YouTube’s copyright laws. You’ll just have to deal with the Spanish subtitles.)

I love Yuru Yuri. It’s such a delightfully mundane and silly anime; very little actually happens in it, but by the end you have such a wonderful understanding of these loveable characters that it doesn’t matter that they haven’t done anything of note. The opening titles complement it perfectly, introducing the characters visually and setting the energetic, joyful tone for the rest of the show.

Love Live!

You’d hope a show about music would have a catchy theme tune, and Love Live! doesn’t disappoint. This video (which repeats several times; you’re not going mad) is from the first season and, like any good opening sequence, neatly summarises the show and its characters without them actually “saying” anything (although one could argue the lyrics of the song have a certain degree of meaning). Also it’s just plain catchy.

Akiba’s Trip

One thing I really like about Japanese games is that they treat them the same as anime — and that means that a big deal is made out of the opening credits, with music that is often released as a single in its own right. Akiba’s Trip had a particularly strong opening with a catchy theme song, a good introduction of all the characters and, again, a summary of what to expect from the next few hours of your life.

Hyperdimension Neptunia Victory

The Neptunia series has some excellent songs throughout, but the opening theme for third game Victory is one of the stronger ones. It does a great job of capturing the games’ energetic, joyful spirit and acknowledges their origins as a parody of the video games industry at large through heavy use of electronic effects and synthesised sounds. It also makes a point of demonstrating the extremely strong friendship between the core cast members — they may not see eye-to-eye about everything (or anything) but they stick together and help one another out.

Omega Quintet

Last one for now, otherwise I’ll be here all night and I quite want to go to bed. I wrote a few days ago about how I like the fact Omega Quintet treats its episodic story just like an anime series, complete with opening and ending credits sequences. Here’s the opening sequence, which you see not just at the beginning of the game, but at the start of every chapter. It’s as delightful as the game itself.

1959: High School DxD is Exactly What I Want From an Anime

For a while now I’ve been seeing numerous images from the anime High School DxD that were, shall we say, somewhat on the titillating side. I follow a lot of anime and Japanese gaming fans on Twitter; a number of them are fans of this show and rather fond of posting pictures of it. And with good reason: it’s a very “photogenic” show. Particularly if you like pretty ladies.

Despite the numerous sexy pictures that had been shared, though, one thing was clear: the people who enjoy this show regard it with genuine affection and enthusiasm rather than treating it as the softcore pornography that so many people outside of the various otaku fanbases tend to write Japanese popular media off as. And so I was curious, for several reasons: first of all, who was the intoxicating redhead who seemed to dominate so many of the pictures; and secondly, what exactly was this show all about?

I’d been meaning to check the show out for some time but it’s only in the last couple of days that I’ve finally started investigating it. And, what do you know? Within just three episodes, it’s already abundantly clear to me that this is exactly what I want from an anime — and I already understand why those people who are fans of the show are quite so passionately invested in it.

The basic setup runs thus: Issei is a particularly obnoxious horny teenage protagonist who is obsessed with breasts, but, as is usually the case with this sort of character, finds himself unable to convince any self-respecting young ladies to show theirs to him. Everything changes for him when he meets a girl on the way home from school, though; she claims to have been watching him, and desperately wants to be together with him. The two begin dating and all appears to be going well for a while — Issei even manages to rein in his baser urges for long enough to appear almost respectable.

Then the shit well and truly hits the fan for our Issei. After a thoroughly enjoyable date, his new girlfriend kills him by stabbing him through the chest with a spear of light, and leaves him to die in the park. It transpires that she was a fallen angel, and that Issei has a mysterious power within him called “Sacred Gear” that the fallen angels very much wanted to dispose of — and for a moment it looks as if they were successful.

Given that all this happens in the first episode, though, that would make for a very short series, and as such it will probably not surprise you to hear that Issei is rescued from his plight by red-haired beauty Rias Gremory, a young woman held in high esteem by everyone at the school they both attend, and president of the school’s Occult Research Club.

The Occult Research Club is a not-terribly-subtle front for the fact that Rias and the other members are actually devils, and in allowing Issei “rebirth” from his murder they turn him into one, too — specifically, a servant devil of Rias. From there, Issei gets drawn into a situation that is clearly well beyond his understanding — at least in the early stages of the series — as a three-way holy war unfolds between the forces of Heaven, the devils of Hell and the fallen angels attempting to usurp the devils from Hell to claim it as their own.

What’s interesting about High School DxD is that it presents the devils — typically depicted as evil, monstrous creatures prone to the most dreadful acts of depravity in anime — as the most sympathetic, relatable of the characters. Rias and her companions are for the most part very “human” in terms of their attitude towards their situation and towards Issei, with a few exceptions; Issei, for example, is extremely surprised to wake up from his initial ordeal with a naked Rias in his bed next to him, with her seemingly completely unperturbed by the fact that they are both nude. Rias is absolutely in control of herself and clearly takes pride in her appearance — and this sort of overt sexuality is not at all uncommon in numerous mythological depictions of devils. Rias isn’t a succubus or anything — I don’t think, anyway; I may stand corrected after a few more episodes! — but it’s clear that, for her, she has transcended such petty human concerns as being embarrassed about being in the nude, or being seen by someone with whom she doesn’t have an “intimate” relationship.

By contrast, the fallen angels and the representatives of Heaven have so far been thoroughly horrible pieces of work, with an exorcist priest in the third episode even going so far as to sadistically murder someone who had attempted to make a pact with one of Rias’ household of devils and then threaten to rape his own assistant, herself also a member of the clergy, all because she had met Issei earlier in the episode and believed him to be a “good person” despite being a devil.

There seems to be a pretty strong anti-religion sentiment underpinning the series — or, to be more specific, an anti-fundamentalist sentiment. The fallen angels and the forces of Heaven — with the exception of Asia, the aforementioned exorcist’s assistant — have so far been pretty much psychopathic in how devoutly they follow the tenets of their faith, while the devils themselves are more philosophical and deliberate in the way they go about handling things.

There’s a strong amount of chess imagery used throughout the series, too, with it being explicitly lampshaded and spelled out for the viewer in the third episode. Rias is the “king” of her little group of devils, and her companions fulfil the roles of the knight, queen and rook. (Even odds that Asia shows up again later to fulfil the “bishop” role.) Issei is dismayed but unsurprised to discover that even with his mysterious Sacred Gear power, he is no more than a lowly pawn who has yet to prove himself — but even with his low status, it’s clear that Rias wants to protect him and help him grow stronger. Whether this is due to her own self-interest — his Sacred Gear would clearly be a potent weapon in the holy war — or whether she actually cares for him remains to be seen, but it’s certainly an interesting setup.

And my God — no pun intended — is it ever a beautiful-looking anime. Gorgeous women doing sexy things aside — and there’s plenty of that — the animation and design is spectacular, with some gobsmacking battle scenes in just the first few episodes. The more monstrous foes Rias and the gang face are truly hideous to behold, but even in its more mundane moments the show simply oozes style.

Wonderful use of colour helps give cues to the viewer as to what is going on, with each of the main factions involved in the holy war seemingly having their own colours associated with them. Most things the devils get up to seem to be bathed in red light, for example, while the fallen angels tend to bring an ominous, sinister, high-contrast purple light with deep shadows in their wake.

This beautiful visual design is perfectly complemented by a Gothic-cum-rock soundtrack — it may be a cliche by now for this sort of “good versus evil” affair (particularly if you’re a Castlevania fan) but it really works wonderfully, giving the show a fantastic sense of energy and a feeling that it’s had some real love, care and attention poured into it.

Yes, it’s dripping in fanservice and I’m disappointed to admit that I know all too many people out there who will write this show off purely on these grounds regardless of whether or not it’s actually any good. But there’s a strong argument for the heavily overt sexuality of the show to very much be part of its overall aesthetic, with it being used both to reflect Issei’s forever sexually frustrated teenage desires — which are still very much intact even after becoming a devil — and the common depiction of devils as something erotic, exciting, tantalising and well and truly off-limits to the “normal” people.

So why do I say it’s exactly what I want from an anime? Well, it has all the things I enjoy: light-hearted slice-of-life character interactions (yes, there’s time for that between all the Good Versus Evil Versus A Bit of Both shenanigans), thrilling action sequences with kick-ass soundtracks, memorable characters and a whole lot of sexiness. My dream anime, in other words.

I’m really intrigued to see where the show goes from here. After just three episodes, it’s already a favourite, and I’m absolutely in it for the long run.

Rias is love, as they say.

1953: Still Picking Up Girls in a Dungeon

The anime Is it Wrong to Try to Pick Up Girls in a Dungeon?, better known as DanMachi (because Is it Wrong to Try to Pick Up Girls in a Dungeon? is a stupid title that doesn’t really reflect what the show is all about) has been continuing to entertain me with each new installment, and I’m glad that so far it seems to be widely well-received for the most part.

What I’ve been pleased to see as the show has developed is that it’s a lot more than the straightforward harem show its official English title would appear to suggest it is. Sure, there are a lot of female characters, and sure, most of them appear to want to throw themselves at wet-lettuce protagonist Bell for their own mysterious reasons, but with each new episode, we see interesting new developments in the characters — and, this week, particularly in Bell himself.

Bell ran the risk of being a relatively generic anime protagonist character, albeit one with white hair rather than the usual floppy dark brown. He was clearly designed to be somewhat relatable to the audience — socially awkward, not quite sure what to do with himself, lacking in confidence and generally a bit clumsy. But over time, his Badass Quotient has been increasing rapidly, though not in the somewhat overpowered way that Kirito became incredibly tough in Sword Art Online. Rather, as Bell grows in strength — both physical and mental — we start to see him change from a naive boy into a determined young man as he starts to come to terms with his own personal adventure.

The highlight of this week’s episode was an unusually violent fight scene between Bell and a minotaur. A minotaur overpowered Bell in the first episode, brought him into contact with the mysterious blonde-haired beauty Aiz Wallenstein and filled him with shame and regret for what he perceived as his own incompetence (rather than simply not being ready for a challenge considerably too tough for him). His battle against the minotaur in this episode showed how far he had come, and indeed during the fight scene, as he strikes back at his foe, determined to knock him down using everything he’s learned from his experiences and his time training with Aiz, he’s barely recognisable. Covered in blood and obviously using every last ounce of both his physical and mental strength to battle his opponent, Bell clearly reaches a turning point in this episode — and, judging by some of the other things that happened, it was an important moment for the overall narrative, too. Most intriguing!

I’m very much looking forward to seeing what happens next. The show has wisely not focused too heavily on the relationship between Bell and Hestia, despite Hestia clearly being the “poster girl” for the series. Instead, it’s very much Bell’s story of personal growth and his quest to redeem himself against his own lofty — some might argue too lofty — expectations. And along the way, he comes into contact with a lot of interesting and memorable characters, several of whom, I feel, will have important roles to play in how everything eventually turns out.

So I’m well and truly “in” on DanMachi until the end, then. Hopefully it keeps up the quality of this week’s episode, and hopefully we’ll see more in the future when this series is over, too.

1949: My Continuing Mission

As I tick ever-closer to 2,000 daily posts (this blog crossed the 2,000 posts in total mark a few days ago, incidentally) I find myself once again contemplating the meaning of this little exercise and how it has changed over the last few years.

Initially, as those who have been following since the beginning will know, it was a community effort. The #oneaday hashtag on Twitter brought together a small group of people of varying levels of commitment who decided to try and post something every day without worrying too much about “quality” — instead, simply helping to flex the creative muscles a bit by getting in the habit of writing every day, even if it was complete tosh or stream-of-consciousness nonsense.

As more and more people dropped out — the person I originally saw the hashtag via dropped out after less than a month, as I recall — it became a matter of pride for those of us still going to make it to the full year. Some of us decided to continue beyond that point, others didn’t. I helped to get together a group of people who were interested in participating to form the One A Day Project, a somewhat more organised collective of bloggers with slightly relaxed “rules”: participants didn’t necessarily have to commit to daily posts — though many did — they simply had to commit to posting regularly, and at least attempt to make it through the whole year. (Professional floppy-haired twat Matt Lees took great umbrage to this clause and posted a lengthy rant expressing his disapproval about how it diluted the original meaning of #oneaday, but then he didn’t stick it out for very long in its first year, so he wasn’t really in a position to complain. Said rant has, however, seemingly been deleted since. What a pity.) There was also a charitable component; we invited people to sponsor us to motivate our efforts. We made a bit of money — not a huge amount, but some, at least — so we did some good in the process.

This particular year was quite interesting, as it exposed me to a wide range of people, many of whom I probably wouldn’t have come across otherwise. Some I’ve stayed in touch with, others I haven’t, but I was happy to have encountered them, even if it was only briefly, and interested to read their perspectives on their life, loves and passions, which ranged from arts and crafts to amateur radio via archery. (And some other things that didn’t begin with “A”.) It was an interesting and enjoyable experiment, all told, but it was a surprising amount of work that I’m somewhat inclined to believe was a little more trouble than it was worth — particularly as other people were somewhat reluctant to step forward and help me with some of the responsibilities and expectations I’d set in the beginning. I didn’t mind, though; it just might have been able to go on a little longer and be a little more successful, high profile and beneficial to the charities if there were a few more people willing to work behind the scenes. But oh well.

After that petered out, I continued to write on here every day. Why? Difficult to say; I think it’s largely just become habit now, more than anything. Plus, I’ve always found it helpful and cathartic; in the early days, this proved particularly helpful as I was going through my separation from my first wife, one of the most traumatic experiences I have ever suffered though. Much like writing a diary allows you to empty your head of wayward thoughts and express things you might not have anyone to talk to about, so too has this blog performed that function for me.

The only difference, of course, is the fact that this blog is public and therefore open for people to look at and comment upon. Sometimes, when I have written on controversial topics that I have strong feelings about, this has attracted the ire of people who want to lay into me for my opinions — though this has only really happened on a couple of occasions, and I’ve only ever had to close comments on a post completely once. It’s easy to focus on this negative side of publishing your thoughts online, though; it’s much more beneficial to focus on the more important, positive and almost infinitely more frequent occurrence of people coming along, finding my blog, discovering a like-minded individual and striking up a conversation or even a friendship over something I’ve written.

None of that is my priority, I have to say; the original point of #oneaday was not to write “for” anyone but yourself, and I’ve continued with that credo since day one. This blog has always been and always will be a completely honest, open and (mostly) unashamed look at the real person I am inside; the person who may not always be entirely comfortable expressing himself in person, but the person who is there nonetheless. Ultimately you, the reader, can take or leave me based on that, but it’s the person I truly am.

As the number at the top of these posts advances towards 2,000 — a significant milestone by anyone’s calculations — I find myself contemplating what the future holds, too. Will I continue after 2,000? Highly likely. Will this blog still continue to look the way it does today? Probably not; I revamped the “look” at post 1,000 and will probably do so again at 2,000. Will I continue to post occasionally coherent ramblings about everything from video games to music to pretty anime girls to board games to how people should really stop being such shitheads to one another? Almost definitely.

It’s been a long and sometimes difficult ride. And I don’t think I’m ready to get off any time soon.

1947: Some Great Anime Soundtracks

Writing in the comments of yesterday’s post, Mr Heaslip reminded me that I’ve been continually impressed with the quality of soundtracks in modern anime.

I tend to listen to a lot of soundtracks when I’m doing other things — particularly when I’m doing work of some description. I prefer soundtracks in this context because lyrics can be distracting — particularly if you’re trying to write something — plus, given the right one, they can lend a certain air of drama to proceedings. And it doesn’t have to be work, either; there’s nothing that livens up a tedious motorway drive like a storming, over-the-top soundtrack.

The majority of my soundtracks come from games, unsurprisingly, but since I started really getting into anime a year or two ago, I’ve begun tracking down soundtracks for various anime series, too. So I thought I’d share a few favourites today.

This is Swordland from Sword Art Online, the “trapped in an MMO” show that was popular but somewhat divisive. I enjoyed it a great deal — at least partly because it reminded me of .hack, a series of games and anime that I love the idea of but am yet to actually work my way through — but I will acknowledge the arguments that it was cheesy as hell and moved way too fast for its own good. Those things didn’t put me off as much as some other people, but as I think we’ve established over the course of the last 1947 days, I have a much higher tolerance for bullshit than many other people.

Anyway, I’m a fan of this piece because it sounds authentically “gamey” — plus, for all the series’ faults, it knew exactly how to give a sense of drama to a big fight scene, and that included having a suitably epic soundtrack.

Contrasting completely with the above, this music is… well, I don’t know what it’s called as my Japanese reading comprehension isn’t quite up to the task, but it’s the music that plays during the “Previously on Love Live!” bit at the beginning of each Love Live! episode.

Not a lot to say about it really, other than the fact that it nicely captures the feeling of sheer joy that Love Live! encapsulates; it’s happy, cheerful, summery, uplifting and heartwarming, just like the show as a whole.

KissXSis was pretty dumb all round — it was thinly-veiled… no, completely unveiled fanservice for the most part, but it had some entertaining moments and some fun characters. The two titular sisters were an enjoyable study in contrasts, and the supporting cast made for an enjoyable ensemble to spend some time with.

The thing that stuck with me long after finishing watching the show, though, was the ending theme — and this adorable dance animation that was shown in partial form during the closing credits, and which was rendered in its full glory for, I believe, the Blu-Ray release.

Yuru Yuri was an odd show in which pretty much nothing happened for its entire run, but it was immensely endearing purely for its characters. It was one of those shows where you feel like you’re “friends” with the cast by the end of it, and for that I’ll always think of it rather fondly.

I can’t actually remember the context of this song in the series — or indeed if it actually appeared in the series at all, or if it’s just a character song from a soundtrack album — but either way, it’s a nice little song that I like a lot.

DanMachi, also known as Is It Wrong to Try to Pick Up Girls in a Dungeon? thanks to questionable transliteration, is the current hotness in anime, with many calling it this year’s Sword Art Online. It seems to be overall a bit more consistently well-received than Sword Art Online, however, thanks in part to its main heroine Hestia being a much more interesting and fun character than SAO’s Asuna.

Like Sword Art Online, DanMachi has a gorgeous incidental soundtrack accompanying the action. There are some awesome battle themes, but in the interest of a bit of variety, here’s a lovely, more pensive piece reflecting the affection between Hestia and protagonist Bell.

To Love-Ru is another show that was pretty dumb and mostly fanservice, but I still really enjoyed my time with it. I found it particularly interesting in that it changed format significantly over the course of its three distinct seasons, with the main heroine from the first season being largely relegated to occasional background roles by the third. (I wasn’t super-happy about this, as I adored Lala, but the new “main” characters made up for her relative absence somewhat.)

To Love-Ru was another of those shows that was unrelentingly cheerful throughout. It knew exactly what it was — silly, lightweight, occasionally (all right, frequently) pervy fun that had no intention of making you think too hard. This particular track, known just as “Good Morning!” reflects the show’s character pretty nicely.

Welcome to the NHK was an awesome show with a wonderful streak of honesty and bitterness at its core. Contrasting starkly with the relative darkness of the protagonist’s hikikomori lifestyle was the fictional anime show many of the characters were obsessed with, whose theme tune ran something like this.

Purupurupururin…

Oh, Lord, Clannad. So many feels. Anyone who’s seen the show probably doesn’t need any further words when they hear this piece of music. And if you haven’t seen the show, rectify that right now. Bring tissues. Not for that. For all the crying. Because there will be lots of crying.

1946: Hey, Hey, Hey Start-Dash

I feel I should probably address something before continuing onwards in my life: I started watching Love Live! School Idol Project a little while back having left it stewing in my Crunchyroll queue for months, and I’m having an absolute blast watching it.

For the unfamiliar, Love Live! is a show about a group of girls who decide to form a “school idol” group in order to raise the profile of the school they love so much and save it from closure. In many ways, Love Live! is essentially K-On!: The Next Generation, in that it features an all-female cast with a broad spectrum of personality types, has music as its main theme and centres around a low-key but nonetheless meaningful “conflict” — in K-On!’s case, this was the disbanding of the school’s light music club; in Love Live!’s case, it’s the closure of the whole school.

Love Live! also possesses the same sort of heartwarming but occasionally manic energy that K-On! did, with very little in the way of conflict between the core cast members. There’s a little as the cast is gradually assembled over the course of the first seven or eight episodes, but this is generally quickly resolved in favour of more light-hearted banter, inspirational training montages and the occasional boob-squishing when Nozomi is around and wants something.

Love Live! is an unashamedly happy, positive, colourful and cheerful show, then, and it is by no means particularly deep or thought-provoking. Despite having the opportunity to critique idol culture, too, it doesn’t appear to particularly run with this, instead presenting a somewhat more idealised (or should that be idolised?) view of the girls’ journey to stardom. That said, it doesn’t skimp on representing the fact that the girls work hard to achieve their dream, and acknowledges the fact that different people come at this sort of thing in different ways — and in order to work well as part of a team, you sometimes have to make compromises or take on challenges you might not otherwise have done by yourself.

It’s an appealing cast of characters all round, though since I’m partway through the series I am hesitant to declare anyone “best girl” and potentially call down the wrath of the Internet on me for picking the “wrong” one.

Honoka makes for a good “protagonist” of sorts, though really this is a show about the ensemble cast rather than a single protagonist as such. She’s ditzy, silly, cute and fun, and she complements her permanent companions Kotori and Umi nicely.

Kotori is certainly a highlight for me — primarily for Umi-chan… onegai! — while Umi represents the rather sensible “class rep” type that I find rather appealing. Elsewhere in the cast, Nico is endearingly chaotic and rather tsun, and is wonderfully set off against her fellow third-year, school council president Eli. Nozomi, meanwhile, is an enjoyable study in contrasts, initially appearing to be the demure, quiet, shy “shrine maiden” type, but occasionally letting this facade slip somewhat as she goes full-on Katsuragi and starts feeling up her bandmates. Maki is super-cute — I have a thing for redheads, as many of you know — and arguably the character I find most appealing on a shallow, superficial level — plus she plays the piano, which is cool.

Of all the cast, I feel like I know the least about Hanayo and Rin — though Rin’s “-nya”-ing at the end of sentences is a character trait I find adorable whenever any character does it — but since, as previously mentioned, I’m only partway through the complete run so far, there’s still scope to find out a bit more about them.

I’m enjoying it, then. And I’m pleased that I’m finally in a position where I understand what’s going on when people go “Nico-Nico-Ni!” — although your own feelings on that matter may vary, of course.

1943: Meat, Meat, Meat

Went out for dinner this evening as part of my continuing combined stag and birthday celebrations. We went to a Brazilian place in Southampton that I neglected to remember the name of, but which a quick Google reveals is called Fogo Gaucho.

Fogo Gaucho is a place that I’ve been curious to try for a while, as it sounded like an intriguing dining experience. It’s a place where you pay a flat rate for your meal (plus drinks) and then simply sit at your table while you have lots of different bits of meat brought to you. In between said carnivorousness, you have the opportunity to visit a buffet and fill up your plate with some other bits and pieces like veggies, potatoes, rice and Brazilian stew, but the highlight of the experience is undoubtedly the meat.

And it was a fine selection of meat, too, running the gamut from spicy chicken thighs to some wonderful cuts of beef steak and lamb. At the start of the evening, the serving staff ask how you prefer your meat (rare, medium and so forth) and remember it, cutting pieces of meat from giant, majestic skewers that are according to your liking and then inviting you to pull them off the skewer with a pair of thoughtfully provided tongs.

The meat was delicious. It was all seasoned in various ways — pork ribs had a tasty, sweet coating, for example, while one of the cuts of lamb had a garlicky flavour to it. The spicy chicken thighs, meanwhile, were, well, spicy, and the beef steak cuts were wonderful, with the varied cuts provided really allowing you to appreciate the difference between different types.

The most common criticism of the place is that the meat is all a bit salty, and I’d concur with that; I don’t know if that’s a hallmark of Brazilian-style cooking or if it’s a deliberate choice intended to get you having more drinks — drinks cost extra, remember — but either way, it didn’t bother me too much. It was a great meal — and great value if you make sure to go when you’re really hungry — and I’m pleased to have discovered this place. Now I have somewhere fun to take people who come to visit!

Now I’m very tired, so I will call it a night there. More games tomorrow!

1940: An Open Letter to Paul Glass, Slimming World Consultant, Upper Shirley

Hi Paul,

I was saddened to hear this evening of your impending departure from the Upper Shirley Slimming World groups, but completely understand your reasoning behind it and would like to thank you for your openness and honesty with the group. I’m sure everyone you’ve helped to date is very happy to support your decision, and will keep you in our hearts even after you start your new life supporting your new family.

I’m writing this as an open letter online for a few reasons. Firstly, and most selfishly, for vanity purposes: it’s a means of me celebrating my own achievements with Slimming World — something that would not have been possible without you, which I’ll talk more about in a moment. Secondly, I hope it might potentially provide inspiration to anyone who happens to be reading who has struggled with similar issues to me. Thirdly, it provides the opportunity for others to be able to chime in and voice their support and gratitude for what you have done for each and every one of us. Fourthly and finally, I’m not that good with saying this sort of thing out loud due to a certain degree of social anxiety; I am, however, and not to sound like I’m blowing my own trumpet too much, somewhat more skilled with the written word, so this seemed like the most appropriate medium through which to deliver this important message.

I have lost nearly three and a half stone since joining the group about four months ago. Those four months have flown by; in the meantime, I lost my job under fairly personally traumatic circumstances, have had to secure new work for myself, begin to establish myself as a local music teacher and figure out what on earth to do with my life — something that, at thirty-four years of age, I still don’t have a definitive answer for. Alongside that, I’m dealing with wedding preparation, other personal commitments, a friend who attempted suicide once and has threatened to do it again, and supporting my bride-to-be through a period of ill health. It has, in short, been a stressful, depressing and anxiety-inducing time.

In the past, my main means of coping with such a situation would have been to “treat myself” to something delicious, “because I deserved it” for dealing with difficult times. Unfortunately, as someone who suffers with depression and anxiety — conditions that I have recently started undergoing treatment for — I found myself relying on this means of emotional support more and more, which meant I piled the weight on and on, got bigger and bigger and heavier and heavier.

It had got to the point where I was embarrassed to look at older pictures of myself, because although I’ve been a fairly big fella for much of my adult life, I was conscious that I was far bigger than I’d ever been. It was starting to be physically uncomfortable. It was starting to affect my life, in that I was becoming increasingly conscious of silly little things like the fact that I was over the maximum recommended weight for a stepladder we have, that I was too fat to ride some of the rides at Alton Towers — one of the most humiliating experiences of my life — and that I was unable to participate in part of a friend’s stag weekend activities because I was too heavy for Segways and treetop “Go Ape” activities. I was disgusted to look at myself in the mirror, and I worried that my appearance disgusted others, too — though the only people who ever commented on it were random strangers who occasionally made hurtful comments as I passed by them in public, and thankfully this was a rare occurrence, perhaps largely due to the fact that I generally prefer to stay indoors!

I was starting to despair over it. I felt that, whatever I did, I couldn’t turn back this weight gain. I felt that I was doomed to continue gaining weight forever, and it’s not an exaggeration to say that I thought — knew? — it would eventually be the premature death of me. I tried various things. I tried fad diets on several occasions. I tried exercising on several occasions. I tried eating “better”, as I saw it. But nothing seemed to work; still the weight piled on, because still I had my weakness: my means of coping with difficult situations, and a life that seemed to attract said difficult situations.

I turned to Slimming World as a last resort. This was to be my last final push, my last attempt to do something about my weight, and if it didn’t work, I was going to do my very best to try and at least accept myself the way I was if I couldn’t change it. I chose Slimming World because my fiancee’s sister has had some noticeable success with it since she joined, and because the programme, as described online, sounded like it was both appealing and practical to fit in to my life as it is today. So I bit the bullet, took that step and showed up to the 7:30 Upper Shirley group for the first time. And, while there are many things in my life that I regret, taking that step over the threshold and joining the group for the first time will never be one of them.

Why? Because you helped me achieve something that I had started to believe was impossible for me. You inspired me to try my best, but to take my journey at my own pace without pressure. You even helped me to enjoy food again; food had become something that “just happened”, and it was pretty rare I found myself genuinely enjoying something, because it was often followed by guilt over whether I should have picked something “better” for me, or just passed altogether.

The wonderful support of the 7:30 Upper Shirley group counts for something, too, of course, as I’m sure you’d be the first to say. But your contribution to how much better I feel — both physically and emotionally — cannot be understated, and I will be forever grateful for you starting me on this path, as I’m sure I will be grateful for P’s support as she helps us all continue on our journeys towards becoming the people we want to be.

My journey may have been proceeding faster than I ever dreamed possible, but I still have a long way to go. Rather than this being a scary, demoralising concept, however, you have helped me rise to the challenge and feel confident that, with time, dedication, effort and the support of everyone around me, that I really can achieve anything.

Thank you, Paul, from the bottom of my heart, and I wish you the very best of luck in your future endeavours. The Upper Shirley groups will miss you greatly.

Pete Davison