Vivy made me wonder whether great art, exhilarating fight sequences, catchy songs and fun costume changes with engaging characters were enough for me to say yep, 5 stars – even in spite of some disappointment with the plot.
Vivy: Fluorite Eye’s Song (2021)
(In the end, it doesn’t matter whether I finish the review with a 4 or 5 star rating, or any other number, but apparently I enjoy overthinking and so I’m still not sure about a score :D)
Anyway, getting back to Vivy itself– if you’ve been craving time-travel science fiction and action that looks great (with an interesting compression of a 100-year timeline) then there should be more than enough to keep you watching.
And there was for me – I looked forward to each new episode and in addition, it was really fun to see the show via Karandi’s posts too.
Occasionally, I felt some of the jumps in time were a bit sharp and Matsumoto can be hard work to listen to, though those were minor issues for me. Again, I personally find it easy enough to overlook aspects I didn’t enjoy when the visuals are great and WIT studio lives up to their reputation here, I reckon.
While there are a few threads / mini arcs that I preferred over others, I think I’ll quickly mention some fav scenes or smaller aspects instead:
The robot welcome in the factory stood out, nice way to humanise them and also kinda manipulate the audience
The ‘falling’ fight scene in episode 9 is pretty ace
Gradual thawing of Vivy’s personality works really well
OP is a cool song
I also enjoyed the little bit of exploration around possible rights/privileges of non-humans (robot marriage etc)
Without spoilers, there was a particular point toward the end where the choices of characters (and connected time-travel difficulties) gave me fair pause, and some disappointment there did impact the finale for me.
And in spite of the issues I had with the last few episodes I liked that time-travel wasn’t something that solved everything neatly, often when Vivy and Matsumoto took action, they found changes harder to make than planned.
In the end, Vivy: Fluorite Eye’s Song is definitely a show I’d like to add to my collection one day, no doubt about it.
Here’s the fifth in this set of themed posts – returning finally after missing the previous six months!
Today I’ve got two pieces from the same anime and also the same artist – multi-instrumentalist mabanua, and some of his work from Megalobox 2: Nomad (which is probably going to end up my fav series from this year).
“The Theme of the Nomad” by mabanua (Nomad, 2021)
(I won’t say much this time around because I’m a bit under the weather, but I still wanted to get a post out today and thought a music one would be nice.)
Boy, does this opening work on so many levels for me!
Instantly evoking tone and setting while at the same time building anticipation with the rhythm section and eventually, when guitar picks up and then the vocals kick in, it all hits a crescendo and you’re ready for the episode!
“El Canto Del Colibri” by mabanua (Nomad, 2021)
To contrast with the opener, and to help ‘come down’ after each episode, the ending theme is just as great, I never skipped either.
Just voice and acoustic guitar, it’s a calming but still mournful theme – which again, suits the tone of Nomad so well, since the sequel is as much about redemption and reflection as being an ‘underdog hero story’ this time around.
Okay, there’s an OP and an ED – next time, perhaps, finally, the metal themed post 🙂
Fourth in this series – I’m nearly running out of days in the month this time 😀
(Changed my mind re: metal and anime, but perhaps that style in Jan instead)
“Kyoumen no Nami” by YURiKA (Land of the Lustrous, 2017)
Very quickly now – I really like the almost stop/start structure, which still builds quickly to a catchy song. The OP almost has a delicate sound too, and not just via the vocal, which feels pretty apt considering what the poor gems go through!
“Akaneiro ga Moeru Toki” by Scoobie Do(Gungrave, 2003)
Something upbeat for the end of the year 🙂
I like the high contrast between the tone of the show and this song – it can be nice to have that at the end of an episode. (This method doesn’t always work for me, I guess – but I like it here :D).
It also feels a little rarer to have violin in a rock/pop song, which gives things another dimension I reckon.
So, more music in Jan but for now, fingers crossed 2021 starts to turn the tide against the virus.
Third in this little regular post – you can jump back to September where the first post can be found, but this time around it’s a couple of older songs that I’ll quickly share:
“Shell” by Bana (Witch Hunter Robin, 2002)
Suits the tone of the series really well – and it’s got an interesting mix of early 2000s hard rock and power-ballad going on too.
“See you Space Cowboy” by Yoko Kanno/Seatbelts feating Mai Yamane(Cwoboy Bebop, 1998)
This is a perhaps an even more sombre version of the regular ending theme, and maybe hits harder due to where it appears in the series.
But I love this alternate version from the tweak on mood to the vibraphone and the way it still packs a bit of a punch even as it’s more restrained. If you like city-pop you might also recognise Mai Yamane’s distinctive voice from her solo career too.
Okay, next time in December… going for metal perhaps, we’ll see what I can come up with!
Number two! The first post for my OP-ED monthly thing can be found here, but I want to jump right into things tonight with these two, both a little newer than last time around:
‘Kaen’ by Queen Bee (Dororo, 2019)
I really enjoyed the range in Kaen. And the singer’s falsetto surprised me (in a good way), as I wasn’t expecting it at first. The pensive beginning has a great shift to an almost EDM feel, but almost before you know it but there’s another shift AND third one, as the song moves smoothly through the genres and moods.
“Fantasy” by LAMA(Un-Go, 2011)
This one struck me first because piano takes the lead, but the song isn’t a ballad nor a jazz piece. It’s also got an ethereal yet snappy feel at the same time. Finally, I really enjoyed the way the song built a little with the alternating vocals that eventually come together for the ending (fits the tone of the anime perfectly too).
Okay! The second Anime OP-ED post is complete – next time I want to go ‘back in time’ a little with the songs, but I’ll save that until November.
For a while there I was on a real supernatural binge but I soon shifted to quite the nostalgia trip, hurling myself down memory lane.
So far, that has involved watching a lot of 80s and 90s anime but more specifically, a lot of coming of age things. Last month that included Kidson the Slope and Almost Famous and more recently, I’ve finished Beck (Mongolian Chop Squad).
Here’s the premise from wikipedia:
[Beck] tells the story of a group of teenagers who form a rock band and their struggle to fame, focusing on 14-year-old Yukio “Koyuki” Tanaka, who until meeting guitar prodigy Ryusuke Minami was an average teen with a boring life.
And things for Koyuki definitely do get more interesting – he goes through all the classic coming-of-age storytelling markers; love, betrayal, doubt, loss, jobs and success. And because he’s a nice kid, the significant musical success he achieves doesn’t leave him with a monstrous ego. (There are also plenty of scenes showing Koyuki and the band putting the work in, which is great).
Beck uses a fair amount of serial storytelling, but it is all leading to something big – it’s more the sub-plots which have that feel. And there’s a good share of school drama on hand but the music and interpersonal relationships within the band take more of a front seat. Secondary, is probably the stop-start, romantic sub-plot, between Koyuki and Maho.
[Minor spoilers from here on in]: The episodes build really well to the big festival, where one of the more feel-good scenes happen, and it was interesting to see that uplifting conclusion undercut by the ‘break up’. Of course, there was time for another shift in the storyline but because I’d grown to care for the characters, I wished that the tour had been more ‘on screen’ rather than shown in montage, but I can see, since the anime only had one season, that the tour had to be compressed.
Time to switch to dot points:
I’ve seen a few complaints about the character design in my reading up on the series, but I think they’re distinctive, even if the animation doesn’t appear as seamless as in other shows.
Pretty much everything about the band feels spot on – players moving in and out of the group as ‘real life’ pressures kill dreams, the rivalry with other groups, the small steps with first gigs, the hard work that has to happen, it’s all there!
For those of you who dislike love triangles, Beck almost has one, but it’s more of a bittersweet realisation of change, and it gets ‘solved’ in a sensible way, which I liked.
Saitou provides most of the comedic moments – he’s hyperbolic and at times a bit ‘off’, but has more than one dimension at least.
Since Sakuishi’s manga started in 1999 you’ll probably note a lot of references to 1990s rock and metal music throughout, and RATM fans will see more thanone clear homage too, all of which was fun to pick up on.
Koyuki might seem a little meek in some ways… and yet, he’s really not, especially if you consider the swimming pool and the Dying Breed gig for just two examples.
In terms of the sub vs dub, I think most folks will enjoy the songs more in the dub.
Related to this, I like the way that some of the English that Maho and her friends use (and her brother at times) isn’t always given subtitles in the sub. That way, if you don’t speak fluent English, just like Koyuki, then you’ll experience the same uncertainty he does, which is an important part of the romantic sub-plot.
While Leon is supposedly the film’s primary antagonist, I think the real villain just might be Ryusuke, whose secrets and tantrums often threaten band and even the lives of his friends. Seriously, he has redeeming qualities but oh boy.
And yeah, part of that last one is me wanting teens to act like well-adjusted adults, when it’s never that simple when you’re growing up; it’s hard work, and more, the mistakes the characters make fuel the story and the drama after all 🙂
Okay, I’ve likely missed some things I wanted to mention but I think that’s enough for now.
Ultimately, I doubt I can fully separate my memories and associated feelings around being young and playing in bands with the show itself – but even if you’ve never joined a rock band, Beck will probably still satisfy so long as you enjoy coming of age/teen dramas (and hard rock and certain metal sub-genres in general).
Thanks to Curtis for the reminder about this series too!
Review Count: 147(I thought I might mark my 150th review, so I’m counting down at the moment).
Trying to do a new ‘monthly’ thing here at the heap, but knowing me, it might not work out exactly that way based on my posting ‘schedule’ – and me using that word is quite optimistic 😀
Still, hopefully once a month I can share an opening theme song and also an ending one too.
Ideally, I’d include a little paragraph (or less) which each song. Maybe trivia, maybe what I liked, and incredibly rarely, perhaps a bit of analysis. And first up I’m going to kinda cheat – and use the same show for both songs, since I’ve been a little busy of late.
And yep, it will appear that today at least, this post is also a poorly veiled excuse for me to talk about Ergo Proxy.
‘Kiri’ by MONORAL (Ergo Proxy, 2006)
I do love the grunge-soaked opening to Egro Proxy but this is an ace song by itself, separate to the visuals. I like how it’s almost a power ballad too – but of course, the downbeat feel that suits the anime perfectly too.
‘Paranoid Andriod’ by Radiohead (Ergo Proxy, 2006)
I remember sitting up a little when I first heard this, it was a fun surprise.
Of course, it’s not the first time that a UK or US band has licensed a song to an anime but I didn’t think that Radiohead would bite when it came to any such offer – and at first, it seems they didn’t (but after being shown a preview they were on board.) I wish I could find a little more about their reaction, but so far I haven’t been able to find much. (Trivia note – My band in high school wanted us to cover this and I was the ‘singer’ at the time… and basically, well, let’s bring out the word optimistic again, in relation to the possibility of me even being able to come close to doing such a thing).
And there we go, the first Anime OP-ED post complete! Next time I’ll actually use different shows for a bit of extra variety though.
No preamble here, just two (and a half) reasons on why this short series joined my top ten the other month.
Kids on the Slope is a great romance with very few instances of manufactured drama, which is really nice in a genre that sometimes suffers from such contrivances. In a way, the series is almost about the cruelty of youth, where the sweeter, coming-of-age elements are contrasted with the mistakes that are all too easy to make when you’re trying to figure things out.
I found myself quickly invested in the lives of Kaoru, Sentaro and Ritsuko, and I wanted them all to end up happy. (I was even able to almost remember how it felt to be that young and unsure).
The second reason will probably be no surprise: the music – both literally, and the way it forms part of the storyline and a bond between characters. If you enjoy jazz, especially (but not only) Hard Bop or the Cool sub-genres, along with the piano of Bill Evans, this will definitely appeal. And yep, Kids on the Slope is another collaboration between Shinchiro Watanabe and Yoko Kanno, but the OST isn’t as eclectic as say, their work on Cowboy Bebop.
Instead, I think Yoko Kanno looks after most of the incidental music and motifs, whereas a pair of young (certainly back in 2012) musicians perform the jams and standards. And the rotoscoping really shows fantastic fluidity in the performances – I’ll share one of the highlights at the end, but maybe if you want to see this series skip the youtube clip because it’s far better in context. (Elsewhere, the story really captures what it’s like to play in a group, another memory the anime managed to activate for me.)
And finally the ‘half’ reason!
Most of what I’ve talked about seems to be nostalgia, but it’s not just my own I guess – Kids on the Slope takes in a historical setting: sea-side Japan in the 1960s, and is fairly dripping with a nostalgia that I obviously cannot truly experience, but which seems to be captured so well in the settings.
For me, this is the greatest soundtrack of any animated series – no hyperbole at all there, right? 😀
Seatbelts,Cowboy Bebop (1998)
Case in point is probably the theme Tank! – where the hard bop just leaps out of the gates with its Latin percussion and Masato Honda’s wild alto solo that I never get tired of hearing, not to mention Rush or Too Good Too Bad… and I could go on.
As a jazz fan I guess I’m pretty biased (and I really like progressive big band too so that’s another tick) but the Seatbelts are such versatile players that this OST is never boring. They cover a lot of ground here; the Latin-influenced hard bop, the space-like saxophone ballads or sparser songs like ‘Waltz for Zizi’ which is both bittersweet and relaxing.
Most fans of the anime will know that Yoko Kanno (composer, piano) is behind the incredible breadth of music in Cowboy Bebop and while some of the other soundtracks from the TV series feature heaps of real standouts (like Elm or Call Me, Call Me) that are missing here, the self-titled OST is the more jazz-focused of them all and I reckon even ‘general’ jazz fans would find a lot to enjoy.
Usually the CD import has a fairly steep price-tag attached and I’m not sure re: streaming, but if you like Jazz you’ll probably like this.