(Page numbers are below the ‘related articles’ section. Please excuse its odd placing, as WordPress doesn’t allow me to alter its position.)
Note: this publication is a highly extensive and lengthy endeavour that invite readers to refer back to for analytical ideas. In other words, it is written with a sea of wiki-style links to additional readings, clips and videos, endless subject matters, tangents and covers a lot of ideas. I recommend that you bookmark this page for future reference, whenever you feel the need for some creative writing ideas, or just some music-based observations you find difficulty in analysing or putting your ideas into words. I hope my efforts help you in that regard.
A few months ago, I went on a tweeting rampage:
Been watching a few game music concert streams on YouTube…sometimes I wonder about how scoring games is diff from scoring films.
To properly articulate translation, is to essentially define it as a genre of artistry.
‘Artistry’ implies subjectivity. It confirms uncertainty, the lack of objectivity and exact science in translation as a craft and process. But translation as a craft also evokes a desire to understand; to render the unfamiliar so it may become familiar, if one were to paraphrase Hayden White (1978). This relationship of translation certainly reads like a process of linkage; a transportation railway that delivers meaning from one isolated frame of context (could be as vast as a country, or as mundane as an imperial/metric system transfer) to another. However, as I will be discussing here, such a reading on the art of translation would utterly erase the accents of such processes which give the newly translated entity its unique existence. Nothing exists as merely a ‘substitute’ for another.
Kensuke Ushio is on the verge of becoming a household name in the western anime fandom, thanks to his exhilarating and sensitive contributions to numerous modern anime classics’ original soundtracks, namely Space Dandy (as part of LAMA), Ping Pong, A Silent Voice and the recently released Devilman: Crybaby.
However, Ushio already had a decade-old alter ego of sorts in his stage name agraph, which he adorns when producing and releasing his own solo albums, exploring the pure, unadulterated creative impulse within him. ‘the shader‘ is his third solo electronica album release.
The following is a translation of the interview conducted with the artist by Natalie Music.
You know…I went into starting this post with snippets of ideas for the intro: something snappy, a humorously depressing comment on 2017, and end it with a cheesy flavour of hope. But instead…I ended up with this.
I think I’ve sampled more albums than I ever did in 2017: more varieties of artists both old favourites and new discoveries, an increasingly diverse set of classical repertoires, genres and origins. That comes with good news and bad news, and I think the good news is kinda obvious already. But the bad news: I’ve listened to less albums COMPLETELY than the past two years, since there’s always something I want to jump onto prematurely.
I want to start by talking about a single shot in Violet Evergarden’s debuting episode.
Violet’s reflection in the clock implies two things: her current state of mind, as well as certain potential, if one takes into account Violet’s first real display of agency in this scene.
A clock as a tool for telling time is mechanical and rigid by nature, its function defined by a single need. Violet was a child soldier who has known nothing but to take orders and acting on them: her function defines her, encroaching her behind a transparent cage.
The fall season kinda fell right on top of uni finals, hence the lack of a first impressions. But now that’s over and done with, I can finally talk a bit more about this season’s incredibly diverse offering: no individual standouts, just a WHOLE slew of solid ideas, explored in…various degrees of clarity.
Princess Principal was an action-adventure highlight of Summer 2017, and a big part of this resonance with the fandom was undoubtedly the high-octane musical identities afforded to the production by its arranger/composer duo of rising star Ryo Takahashi (ACCA: 13-ku Kansatsu-ka, Classroom of the Elite), and prolific veteran Yuki Kajiura (Kara no Kyoukai, Fate/Zero, Sword Art Online, ERASED).
The following is a translation of the interview conducted with the two composers by Natalie Music.
Like it or not, trailers are an art form. And like any art form, the contested validity of their societal worth is often the only framework of discussion that floats among the mainstream. Contemporary culture’s love for ‘what comes next’, makes for a very horrible environment for any sort of expressive ‘fad’ to gain recognition, especially when such a culture is sandwiched with the famed slots of the ‘timeless few’, which have already been filled with the likes of Star Wars, Sherlock Holmes, Harry Potter and Tolkien.
Just a quick note, in regards to this new development. 2017 was a relatively spotty year for this blog: while my upload frequency has somewhat dropped, the quality and diversity of coverage I was able to afford has expanded. I’ve published and co-commissioned interviews and transcripts, extended essays, in addition to my usual collection of thought pieces, summaries and capsule reviews.
In considering the ever-changing landscape of the multi-medium phenomenon that is Media, it is imperative that an overarching, theoretical concept, can strike a delicate balance between concrete, set-in-stone statements that roots all sub-concepts, and a malleable nature that allows new modern concepts to be safely slotted in and expand along with time, without much friction with the universal personality of the overarching theories; theories and concepts that concerns themselves with explaining the media and its relationship with human society. In this essay, I analyse Nicolas Couldry’s concept of ‘media rituals’, and consider what it achieves in explaining media’s role in society, how it performs in contemporary society and what has being done in refining this concept.Read More »
Ambient storytelling is brought up constantly when one talks about the affect of mythos and world-building in fiction. For a narrative to be immersive, the storied vision requires layering and textured detailing of the seemingly irrelevant, so the illusion of malleable reality can be made more effective.
A short greetings, readers! This is not a blog post written by yours truly, unfortunately, but I did sorta have a hand in making this interview translation happen, and it deals with a subject that I’m evidently passionate about, as well as being shamefully underappreciated by fans (AND a fair share of creators/producers if I dare say so) of film & animation.
In addition to co-funding the translation by the ever so reliable karice, I was happy to lend my help on a few technical translations of musical terms.
You can support the translators who you see on WMC by pledging on Patreon!
Lupin III: The Woman Called Fujiko Mine
has attracted lots of attention as the first Lupin III TV series in 27 years. The individual responsible for its soundtrack is Naruyoshi Kikuchi. Though this is a spinoff with Fujiko Mine as the heroine and protagonist, it is precisely because the maestros
gave birth to “Lupin Jazz” that we are now keen to find out about the new blood that Kikuchi, the maverick of the Jazz world, has poured into the mix. And on the other hand, we have series director Sayo Yamamoto. Tag-teaming with…
After taking a year off this format while I readjusted to the fandom and determined how I should follow seasonal shows, the seasonal first impressions is back, and it is now a much more casual setting: no more ratings, staff/genre run downs and a shorter length.