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.
Greetings, fellow readers.
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.
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.
Not sure where I heard it, but the perfect completed anime to favourite anime ratio is a clean-cut 10:1: meaning that now that I’ve completed over 200 anime in total (according to MAL at least), I get to update my favourite anime to a list of 20. And that’s good news and bad news.
Spielekonzerte (German for ‘game concerts’) certainly doesn’t sound like a new and flashy concept in the west, until you have the context to realise that it didn’t find its international attention until 2003 rolled over. Which was decades after the very first game concert ever held in 1987, led by the famed Dragon Quest composer Koichi Sugiyama at the Suntory Hall in Tokyo.
My year 10 science teacher was a charming old man, with a voice that’s so booming loud, me and my classmates theorized that he swallowed an always-on microphone somewhere along his eventful life.
And to think I don’t have to write any more words about film music for the rest of my life…”You’ve written more than enough“, some might say.
Like I always say, there’s something inherently magical about film music. I wouldn’t miss it for all the unoriginality (I prefer the word ‘homage’) that it so proudly displays at every glorious turn or twist. So. Let us have our 7 minutes and 38 seconds of pure bliss, away from the politics, away from 2017. Let’s go back to 2016 for just another few moments.
(Yes. You can pretty much guess my winners from just reading the above paragraph.)
Note: Spoilers for both Grimgar and Re:Zero are aplenty.
I appreciated Grimgar Of Fantasy and Ash after watching it to completion recently as a semi-marathon. For the most part, its character studies and the evident focus on atmosphere and a sense of place; rather than the much more often tread adventure fantasy with a clearly defined end goal of saving the world, has given the series a muted presence that ironically made its voice project louder amongst all the background noise. Similar things can be said about Re:Zero, now that it has finished its prolific rampage across the fandom’s collective stream of consciousness…though the reasons behind its highly resonant dual-season run were in complete contrast to Grimgar, as it projects its agenda of social commentary with unrelenting shamelessness and sincerity. In the end, while both series has no doubt invited significant viewership, and inevitable controversy on their respective handling of narrative delivery, I found myself once again standing right in the middle of the crossfire: appreciating what both shows have so admirably achieved, while also contemplating about their various failings.
A Year With a Lot of Reawakenings
Allow me to temporarily defect to the West once more, as I look over how 2015 has treated my other passion: film music.