#truly a return to form of season 1 but with less despair and more hope which i appreciate :')

[spacedlexi]

it honestly frustrates me when i see people reduce the ericsons cast down to "just some teens in the woods" acting like theyre no different than any other group of lone teenagers from other existing properties and treating them like an overused trope

it is sooo important to acknowledge the "troubled youth" aspect of the whole equation. theyre not just some random teens in the woods clem stumbles across. these kids were abandoned by their families for their various "difficulties" and fucked up by The System before the outbreak even began. and then once zombies started roaming the streets their familes never came back for them and the adults that were in charge of taking care of them just left them there to rot in that old boarding school (except for ms martin who was like their lee 🥺 the only person who ever saw them as the scared traumatized kids they were and died protecting them)

the whole aspect of them already being fucked up by the adults that controlled their lives is like.....kind of important when discussing the whole "delta is stealing kids to force them to fight in a war they have no real part in and want nothing to do with" aspect of the season. and its important when comparing them to clem and her journey of also suffering at the hands of the adults around her forcing her to become self reliant. AND its important when discussing the "just trying to build a safe home (and future) worth fighting for in this world that wants them dead" aspect of the season as well

these kids were forced to come together to survive. and a Lot of them didnt... theyre the only family they have left and you can tell that even when they argue with each other theyre still a close knit group who looks out for each other. theyre a Real family before clem even gets there (and its why what really happened with the twins and brody and marlon hits them all so especially hard)

all of this is what REALLY makes ericsons such a perfect home for clem. its a Real community of her True peers. theyre not Just teens. they mightve had a layer of safety clem never had by at least having walls to keep them safe. and having the benefit of the school being hard to find. its the only reason theyre still alive when clem shows up. but theyre also some of the only people who can Truly understand where clem and aj are coming from. and its why it hurts so much when they vote to kick them out. but its also partially why she merges back into the fold so easily when she returns. plus the fact that shes Really the only one who has any idea what shes doing. shes their rock and she makes them feel safe because underneath it all theyre still just those scared traumatized kids ("EVERYONE is scared, clem..." vi was Definitely including herself in that 'everyone'), and on some level, so is clem

they saved clementines life. and she saved theirs. "the school was supposed to help them with their trauma, now they help each other" its about the LOVE the COMMUNITY the SUPPORT!!!! and thats the shit that makes good zombie media honestly 👌

[blindrapture]

a union-mandated break post

(okay, let’s see if I can type this all over again after losing the post. gotta remember how it all went.)

Hey there, the few mutuals who Like all of my posts, the lurkers who occasionally make their presence known, the lurkers who I also hope are there, and all you folks who come across this post naturally before scrolling on (that’s fine too, please have a nice day! remember to take a deep breath and unclench!). I wanted to make a post giving a casual update.

Things have been going. You know how it is. Time proceeds onwards at a pace that is a crawl to some and fleeting to others, depending on relative perspective. The average of all these observations may be Objective Truth, a hazy mythical and abstract prospect which to this day no living human has ever known (due to the nature of perspective). We still try to know it for some reason, an endeavour which may be “a good thing” or “a condemnation of our species,” but that’s relative too. See above. Still, it is possible to take an approximation of what we figure this average to be and find ourselves (mis)balanced on a knife-edge in between all perspectives. This narrow path, the knife-edge between fast and slow, between good and bad, between ecstasy and despair, seems precarious at times, yet at other times is like a garden, wide and spacious enough to sit awhile. Our perspectives cover this garden from us with the shrubbery of Can’ts and Shouldn’ts, and the way to the garden is fraught with the misty cloud of Look-Like. And yet, ultimately, these shrubs and mists are but prismatic scenery colouring our time on this Earth, a perspective which is easy to see from within the garden. The Earth is brown and grey and immortal, though wearing an impermanent coat of blue and green. One day, we will slip out of our perspectives and return to the Earth, join her mounding’s mass, and that will be death.

So that’s the weather. Sometimes cold, sometimes mild, sometimes wet, sometimes dry, sometimes bothersome and sometimes the only backdrop I could ever want. I’ve been up to the usual, cycling between interests like a bat between haunts.

- The other day I got around to playing Smile For Me, an experience which took me about three hours to more-or-less complete 100%. Really cute game, I fell in love with all the characters, and the budding horror elements made me excited to see where it’d go.

- Currently I’m playing A Monster’s Expedition Through Puzzling Exhibitions, a game often cited in the same breath as Baba Is You and Stephen’s Sausage Roll. I think those two games are puzzle masterpieces, and A Monster’s Expedition is hitting me in the right spot. It frequently fills me with awe, which is impressive considering the game is just a long series of oblong block-pushing puzzles. It has scope, though, and it has the guts to hide that scope from you until you’re able to discover it for yourself. I’ve played for about 10 hours so far, beaten over 200 islands, and yet I feel I’m only getting further away from the end goal. Hard to describe. It’s a good game.

- When I’m done with that game, next I’ll be checking out Spelunky 2. I’ve wanted to try the original for a long time but never got around to it; I picked up the sequel. I know very little about the games (with a rough idea of what gameplay is like), and I intend to keep it that way for as long as I can. I like games that rely on discovery.

- Book-wise, I’m, y’know, reading Finnegans Wake as I fall asleep, occasionally inching through other books too, but my main reading focus at the moment is The Familiar. I went and picked up a new copy of Volume 5, and I found the Volume 3 I had kinda lost for a while, so now I have the full Season 1 again. And it’s been long enough since I read any of them that it’s finally time to reread them. As a unit this time. I am... so happy to be in their headspace. I’m currently in the second act of Volume 1, taking in a lot more details this time (and I do still remember a sense of where the whole plot goes), really cherishing the commitment to physicality and aesthetic. There’s not many authors out there like Danielewski. House of Leaves kickstarted my book obsession, y’know. And The Familiar is about as grand as a project can be. It’s supposed to be 27 volumes, each one 900 pages long, and the design of these books is goddamn sublime. The publisher only let him do the first 5 volumes, which is sad, but luckily those 5 volumes make up a “Season,” so they’re still a whole thing, a complete story arc for each of the nine protagonists, and plenty of secrets and details that give a good sense of the true scope. And did I mention the series is fucking scary? Profoundly so, each new volume weaving you deeper into its conspiratorial web of eldritch coincidences and patterns. The story is full of cats, immortal cats, God-cats. There’s a scientist who keeps a freaky magic orb and is known as Wizard. There’s an Armenian taxi driver who’s one of my favourite characters. And you can probably get all the volumes Used for fairly cheap on Amazon now. ........please, somebody join me in loving this series.

- Creative-wise, I’m working on music as always, putting notes next to each other until I get a result I can do something with. There is one piece that’s definitely done, a collaboration between Lindsay and I, but it’s going into Nine Is God so you won’t hear it just yet. Speaking of, that’s coming along. I haven’t even started making any codes or cool connections yet; I want to finish the... Core of this update first. Let’s be deceptive and call it the Main Blog. I have proven to myself that I definitely can do this; I keep stumbling on new mechanisms I can add, and I have a pretty vivid idea of what the whole thing will look like. It’s gonna be maybe a decent size for a Blog, all told, but it’s the form of the thing that mandates a lot of care. Luckily I have made Viceking’s Graab, so this isn’t the first time I’ve done something this mechanically ambitious. ...look, just. Of course I’m excited to Actually Talk about this thing, but like with the Graab, its nature requires me to keep it secret until players finally discover it for themselves. I like making that kind of thing, I want the sense of discovery, of climbing up a hill only to reach the summit and see an even bigger mountain looming over you that you hadn’t realized was there. Like Frog Fractions, or its sequel, even if you know there will be more than meets the eye you still get surprised and filled with delight. This concept fits neatly into an ARG format.

- Oh, also, I’m super excited for the Braid remake. It’s gonna have a comically thorough amount of developer commentary, and that’s all I want from this world. It’s even coming to Switch!

Media can be used as a tool to assist with the experience of life, and that is the way I want to approach things. I have spent time adapting myself to feel comfortable in these boring aesthetics (of understated puzzle games, thoughtful pretty books, blogs as art) because this means I am less susceptible to getting burned out during contemplation and self-examination. It may seem like a matter of taste, but taste is relative too; it’s not hard-wired, it can be adjusted, it does adjust all the time under the hood. ...I don’t know where to go with this one, other than that I should be careful not to condescend. I am not above anyone, I am confused too. I just.. like confusion and mazes, and I try to speak these aesthetics in an approximation of how I see others talk about theirs.

Right. I think that’s the bulk of it, that’s what I wanted to say today. I hope you are holding on, reader. It’s a wild and lonely world out there, and it’s our world; it’s yours just as much as it’s anyone else’s. You are important to it.

I leave you, mysteriously, with an old Genesis song. It’s called “Can-Utility and the Coastliners,” which is a silly way of saying it’s a song about the myth of King Canute. Sick of flatterers claiming he was equal to God, he went to the sea shore and said “If I truly am equal to God, then let the waves halt at my feet!” They didn’t. An astute demonstration, but it just prompted his flatterers to praise his ingenuity. “But he forced a smile, even though his hopes lay dashed where offerings fell.” I’m not really sure how the story ends. But it’s a wonderful song, starts off very folks-y but quickly takes a left turn down Mystery and Beauty. And it’s freaking Genesis.

See ya.

[joannevixxon]

Love Comes At A Cost

An Elsamaren fanfic by JoanneVixxon on AO3

Summary:

The Fifth Spirit is one of many myths that came to life. And, not all myths are meant to be saviours in times of woe.

Just as Arendelle welcomes Queen Anna into her reign, the Northuldra wade through their newfound freedom under Elsa’s protection. Unbeknownst to them, lurking behind shadows awaits a monster whose anger finds peace in the demise of innocent lives. 

[Chapter 1: Anna’s Astute Mind]

Preview: “How ever cold a fortitude of silence Elsa bore, it melted, came undone at the seams, shed its mask of immaculate armour, once Elsa leaned forwards to rest her elbows languidly against the railing, as if to ask for back rubs instead. Like a steed to its master, the Queen of Ice and Snow bowed her head ever so slightly to her Northuldra companion.”

[Chapter 2: This Warmth Has A Name] 

Preview: “This warmth. It has a name. Proclaimed at times most opportune. Sometimes it teeters at the edge of one’s lips— nothing more daunting than to have its existence brought center stage. It had always been there in Elsa’s life. Lurking behind curtains when Anna met her closed doors. Burning bright in her mother’s lullabies. It was Elsa’s oldest companion. The hot to her cold. The light to her dark. The quencher of her fears.”

/////////////////////////\\\\\\\\\\\\\\\\\\\\\

Chapter 2: This Warmth Has A Name

It all started three weeks before, when Elsa had just turned twenty-six. 

Along with Honeymaren, Ryder, Yelena and the others, Elsa celebrated her “sorta-quarter- of-a-century birthday”— as Anna proclaimed it at every seizable opportunity— in Arendelle. A full week and a half whizzed through before anyone could fully revel in Christmas celebrations and solstice festivals. For the first time in forever, Arendelle stood hand in hand with the Northuldra, to ring in the winter season with a Yule Bell that sat atop the castle’s facade. 

It flourished into a jubilant eleven days, complete with every variant of chocolate-drenched dessert imaginable— fruits with chocolate fondue, chocolate mousse, chocolate tiered cake, chocolate parfait, you could go on forever. The doors to the Great Hall were kept open for the citizens of Arendelle to dance, savour the taste of scrumptious treats and seek refuge from the crisp winter air. As per Queen Anna’s request, the castle kitchen stocked a hefty supply of lutefisk to keep Elsa’s cravings at bay for another week or two. 

Elsa honestly couldn’t have dreamt of a more perfect occasion for which she could spend time with her family and friends, Arendellian and Northuldra alike.

She returned to the Enchanted Forest at night, welcomed at last by the quiet noise of forest critters and sea breeze. Though her body was tangibly there, kissed by the smoke wafting from campfires, Elsa’s mind had remained to saunter through the hustle and bustle of Arendelle’s winter parties. That was, until she realised how pensive Honeymaren had been throughout their journey to Northuldra. 

The two had yet to reach the level of intimacy that Elsa and Anna shared. Despite the stark contrast in their characters, the two sisters could detect each other’s disquietude in as much time as it did a whiff of chocolate from the kitchens— in other words, immediately. Aside from a chilly draft whisking into the room, Elsa had the habit of pressing into her palm where her gloves used to cause an itch, arching shoulders, vacillating around any space you’d call a window or a balcony. Anna usually stammered her way into a blabber, biting her bottom lip, flailing her hands and pacing in a spot altogether.

But what about Honeymaren?

Elsa dawdled her way to Honeymaren, who sat quietly on one vacant bought at their usual spot around the campfire, petting the nape of a baby reindeer. 

“Is this seat taken?” asked Elsa out of courtesy.

Honeymaren lips curved into a weary smile as she shook her head. Hesitantly, Elsa plopped down beside her.

“Honeymaren,” said Elsa, trying not to sound like an overly concerned parent. She settled with a tone of affability, with just a hint of nonchalance. “Are you okay? You’ve been a bit quiet,”

Honeymaren paused to survey their camp. Young brothers and sisters were plagued with a fit of giggles as they chased one another down on winter-crusted soil. In the large, oddly extravagant shed of ice— courtesy of none other than Elsa— reindeer herders could be seen sharpening their spears and daggers. Nourishing the camp with youthful music were the elders, who were either blowing into fadno flutes or plucking zithers. The night was as lively as it was serene.

“I’m okay. Just tired,” said Honeymaren. “Thanks for asking, Elsa. I appreciate it,”

Elsa tensed at the curt response, as she gently petted the baby reindeer’s hind. Somewhere amidst the reindeer’s soft coos of bliss, she hoped to find a balm to her fluttering heart. “Was Arendelle... a bit too much?” asked Elsa, though her question aimed furtively to the droopy-eyed calf. “I understand if it’s too noisy and colourful and overwhelming—”

“What? N-No, no at all, Elsa,” stuttered Honeymaren. Quickly peering into Elsa’s eyes, she placed a hand on Elsa’s back. “I love coming to Arendelle. The things you do with lingonberries! Who knew they could be tastier than they already are? And those boxes that magically tell you the time—?”

“Clocks...?”

“Clocks! They’re amazing!” Honeymaren let out a chuckle.

Every tendril of muscle in Elsa’s body melted as Honeymaren rubbed her back. Any average citizen of Arendelle wouldn’t dare to come three feet into Elsa’s space, let alone rest a finger upon her cool skin. But, the Northuldra saw physical contact as a means of sharing one’s innermost sentiments, relaying passions upon the slightest brush of one’s shoulder, speaking louder than words, unvarnished and raw. 

“I’d go there everyday if I could...” said Honeymaren wistfully before looking away. There it was again. The look of apprehension shot to the ground, as if the hook of a piercing gaze could fish a fickle dream out from the barren soil. “I want to know everything there is about Arendelle... And the world beyond...”

This restless demeanor was anything but foreign to Elsa. She’d seen it countless times in the eyes of a young blonde, trapped on the other side of her mirror. The Forest to Honeymaren was perhaps what queendom was to Elsa in its dying months. A cage with its doors left ajar. A set of chains with its keys jangling by one’s feet. A trap, tattered, loose and unhinged. 

The prospect of breaking free from a prison that was once home, was becoming less and less an elaborate fantasy to Honeymaren and more an optional reality.

And it terrified her. 

The unknown. 

“I should bring you over more often,” said Elsa, before realising what had tumbled out of her lips. “I-I should introduce you to everyone. Give you a tour around the whole kingdom. See my favourite views, my favourite hiking trails...”

“Really?” Honeymaren’s eyes widened in disbelief. “You’d do that? For me?”

“Of course,” said Elsa in a daze. “Anywhere you want to go in Arendelle. I’m more than happy to bring you around,”

Honeymaren’s smile stretched from ear to ear. Just as Elsa opened her mouth to ask what had truly ruffled Honeymaren’s feathers, the brunette cradled the baby reindeer in her arms and rose to her feet, never leaving Elsa’s eyes unattended. “I want to show you something,” She cocked her head to the side and extended a hand.

Elsa stood, her hand fastening in Honeymaren’s. For someone who could triumph over her brawn of a brother in a spar, who could hang from a tree upside down, who could hold a baby reindeer then in the crook of one arm, Elsa never found Honeymaren’s hands any less delicate in her clasps. Elsa caressed her thumb over Honeymaren’s, making sure to come off as habitual than deliberate. Sure enough, her skin was just as soft as her touch.

“What is it?” asked Elsa, curiously.

Honeymaren bumped shoulders with Elsa and winked. “You’ll see,”

Fingers intertwined, Elsa let Honeymaren lead her to whatever it was she wanted Elsa to see, stealing glances to the back just in case her snowflakes had stalked them from above. 

Elsa was in control. For now. 

Into a small clearing, they entered, greeted by the soft amber light of a solitary campfire, on top of which perched a steaming pot of burbling stew. Several wooden shafts neatly lined the outskirts of the area, adjoined by several twines knotted in perfect bows. 

Had Yelena decided to bring a semblance of Arendelle’s lamp posts into the forest as decor? 

Once Honeymaren drew Elsa to the campfire, she jogged back to the tents to deposit the slumbering baby reindeer. It suddenly struck Elsa that Honeymaren had brought the reindeer along as an excuse to leave Elsa for a moment. 

Something was about to happen. Something special. Elsa sensed it. Hoped for it. Wished upon a thousand stars.

Out from the thick blanket of looming shadows, Honeymaren reappeared, with what seemed to be everyone else from the camp. Elsa fidgeted with loose strands of hair as the area flooded with family after family— little boys and girls, mothers and fathers, and elders. All eyes locked on her. With Elsa’s tension palpable from miles away, Honeymaren hastily returned by Elsa’s side with a reassuring smile, clasping one of Elsa’s hands with both of her own. For the first time since fleeing from her coronation ball, Elsa’s heart yearned to burst free from her rib cage. 

Could everyone see her tremble? Was she freezing the floor? Was that her snow?

Yelena finally stepped out, wearing the widest grin Elsa had seen from her. She took Elsa’s other hand, as did everyone else with each other’s shoulders, forming a human spiral.

“Elsa,” said Yelena, her deep voice stoic yet tender. “You and your sister have granted our people a freedom we have long abandoned in our prayers. For all the despair that has consumed us for the worst part of thirty-four dark years, you have kindled a flame of hope within our hearts, motivating our people to take steps in mending old wounds, to discover what lies beyond this sacred forest, to unite and thrive together as a community, and to live to our fullest potential. For your undying love to our families, we dedicate a vuelie to you, as a symbol of eternal gratitude,”

In an instant, the camp broke into song— into a vuelie that Elsa hadn’t heard before. 

Yet, its lilt was as foreign as it was familiar. Elsa’s magic pulsed through her veins to a rhythm not so different. Its cadence reverberated through Elsa’s bones, lulling her storm of thoughts to the peaceful voice she heard ringing in her ears. 

Her mother. Her siren. Her call. 

This was a vuelie, specially made for Elsa.

Elsa opened her eyes, to see the forest painted in a blue haze, by the ocean of fireflies buzzing behind barren trees, by the moonlit sky splashed a river of stars, by Bruni’s fire which blazed along the posts and their ropes. 

Elsa felt her entire body shrouded in warmth. This warmth. It has a name. Proclaimed at times most opportune. Sometimes it teeters at the edge of one’s lips— nothing more daunting than to have its existence brought center stage. It had always been there in Elsa’s life. Lurking behind curtains when Anna met her closed doors. Burning bright in her mother’s lullabies. It was Elsa’s oldest companion. The hot to her cold. The light to her dark. The quencher of her fears. 

Breathing life in as far as it echoed, the vuelie hushed too soon after it began and so did the soft buzz of forest critters. Elsa blinked into space, floating into reverie.

Yelena shot Honeymaren a glance, before turning to look at Elsa again. “Also,” continued Yelena with a smile. “Happy Birthday, Merry Christmas, and have a Happy New Year, Elsa,”

This warmth. It was Love. It swaddled her, as if to celebrate her own being— once Princess of Arendelle, once Queen, now Fifth Spirit, now Elsa in her truest element. Elsa felt loved. For all her beauty and flaws, she was loved.

Years of preserving queenly composure crumbled as tears rolled down Elsa’s cheeks. The entire camp stood dumbfounded in silence.

Yelena seemed like she contemplated a gesture of consolation— a squeeze on Elsa’s shoulder, perhaps. In the end, she simply coughed into a fist. “It was Honeymaren’s idea,”

“H-Hey—” stuttered Honeymaren, panicking as Elsa’s weeps turned to sobs. “Elsa, are you—”

Elsa pulled Honeymaren into a tight embrace, knocking the wind out of Honeymaren’s lungs as their chests collided. They had never been this close, whimpers seeping into Honeymaren’s ears, shoulders trembling against Honeymaren’s chin. 

Worrying others for her personal turmoil was a peeve of Elsa’s that stood the test of time. And yet, she prayed for all that she felt bellowing within the confines of her tightening chest to find its way to Honeymaren’s heart. To have the burden of inexplicable pain be carried in companionship, than in solitude. To be taken care of. To be shared. To be understood.

Careful arms wrapped around Elsa. First hesitant, then resolute, Honeymaren rubbed Elsa’s back in a way she knew best— with fondness. Slowly, Elsa’s hug grew limpid. Her sobs lulled to heavy breaths. The weight of her arms rested on Honeymaren’s shoulders. 

She felt at ease.

If Decadence made itself the crux of one’s love, it would’ve taken the form of a human being named Honeymaren. She was as sweet as her name suggests. As soothing a balm as honey. 

“Thank you, Honey,” mumbled Elsa into Honeymaren’s collar. “ I love… I loved it,”

Yelena snickered, ambling away from the two. “Told you,” she said to another elder in a loud whisper. “If it’s Elsa, ‘Maren’ is never going to be her nickname,”

Elsa pulled away an inch, blushing. “Honeymaren,” 

“Yes?” replied Honeymaren, eyes widening.

“I-I meant to say ‘Honeymaren’,” Elsa looked furtively to the crowd around them, voice still cracking. “I don’t know why I said ‘Honey’. Well, I-I mean I do know. I just thought about how sweet you— t-this— was. You can be sweet. You are sweet. Goodness gracious. I didn’t mean—”

“Elsa,” said Honeymaren softly, wiping the tears off of Elsa’s pink cheeks. “You can call me Honey,”

“Oh... Oh, okay,” Sniffling, Elsa threaded her fingers through her blonde hair. “Only... if you want me to...”

“I’d like that very much, Elsa,” Honeymaren stroked Elsa’s knuckles with a thumb, blotting out any certainty Elsa had in the furtiveness of her caresses just moments before. Honeymaren hugged Elsa again. This time tighter. Warmer. “I love… I’d love that very much,”

__________________

Turns out that pot at the centre of the camp had bidos simmering away. It was a Northuldra stew that Elsa took delight in but had mixed feelings for— what with the carrots, potatoes… and reindeer meat. The thought of eating Sven, or the dozens of baby reindeer she coddled every morning with warm hugs and icy fractals, had always hovered above her head when she ate bidos, too nebulous to be tucked away, too vile to be hidden and ignored. 

Herding reindeer for sustenance was just something that irked Elsa. Or, perhaps, it wasn’t reindeer herding, but the sad reality that furry creatures live in as both epitomes of cuteness and victims of slaughter. Would she feel the same way about whitefishes used for lutefisk or chickens used for roasts, had she lived this close to her food?

“Onto your second helping?” teased Honeymaren, sitting beside Elsa. She pretended to thoroughly inspect Elsa’s bowl of bidos. “How unlike you,”

Elsa daintily covered her mouth with her fingertips as she swallowed, snapping out of her ponderance. “I like it,” said Elsa with a simper. “I want to… relish in this moment,”

“Oh?” said Honeymaren, intrigued. “And what kind of moment is this for you?”

Elsa’s eyes fluttered closed as she attempted to immerse herself in her five senses. The past year of meditation practices had proved this to be second nature. “I can see everyone having fun, dancing in the moonlight, chatting around the campfire… I can hear the echoes of my vuelie ringing in my ears.... The waft of embers tickling my nose…”

Honeymaren rested her chin on Elsa’s shoulder at this point. Maybe it was sisterly instinct, or better yet, a jolt of courage bestowed by the gods of sympathy themselves. Either way, Elsa found herself stroking Honeymaren’s head. 

Elsa figured that fatigue had washed over the brunette, being the mastermind of Elsa’s surprise. Elsa herself had a hand in planning a surprise for Anna’s 19th birthday and that culminated with a snowgie-infested cold. 

Surprises were no easy feat.

Elsa felt grateful but guilty, indebted to Honeymaren’s acts of kindness, compelled to repay her with the same sweet type of affection. A strong compulsion then surged into her conscience, coaxing her to try something that she’d seen Anna do to Kristoff time and time again. Gulping, Elsa threaded her fingers through Honeymaren’s thick black hair, and slowly, gently, casually, massaged her scalp. 

Honeymaren was pleasantly warm to the touch, like blankets that had been soaked overnight in body heat, or carpet tassels lazed before hearths. As if Honeymaren’s own body had betrayed her adamancy to not respond— not through the weakest of whimpers or the softest of sighs— she grew warmer and languid as Elsa’s fingers leisurely ventured their way from her crown to the spot behind her ear, before finally adding pressure right where her head met her nape.

Her silence was stifling to Elsa. Perhaps, there would’ve been no harm in continuing with a description of this moment. Which human sense was this? Touch? Once a taboo to Elsa. Now, an unspoken language of Elsa’s deepest desires. “The feeling of… your hair… in my hand,”

Honeymaren chose that moment to flinch away, staring intensely at the crowd, whose backs were all that could be seen from their seats. Elsa figured her caresses had truly gone unnoticed this time. Did Honeymaren hate head massages? Did Elsa cross a line? She should’ve asked. She wasn’t thinking through…

“I-I’m sorry,” stammered Elsa, hoping to squeeze some wisdom out of her thick skull as she pinched the bridge of her nose. “I shouldn’t have— Not everyone— I’m sorry,”

Something tickled Elsa’s wrist. Looking between her fingers, Elsa found Honeymaren trying to clasp her hand. Her soft grip seemed to say “look at me” and “look away”, all at once.

“Sounds like four senses,” whispered Honeymaren, her hot breath tickling Elsa’s ear. “That leaves taste,”

Elsa’s shoulders arched. “O-Oh… Well... I can taste bidos... lingering on my tongue,”

Honeymaren peered downwards, paying no heed to Elsa’s awkwardness. “I haven’t had the chance to... have a taste,”

Elsa took a deep breath. 

One thing she’d learned from Anna and Kristoff was that couples spoke in code, like a cypher of romance. Just that, she didn’t know if Honeymaren had actually meant to use it. 

They were merely friends after all.

So, was Honeymaren flirting? Or… Was she asking for a bowl of bidos? Was Elsa supposed to lean forwards and kiss her? Or stand up… and… grab Honeymaren a bowl of bidos? 

Should she ask what Honeymaren meant? 

That would’ve been pathetic. 

An embarrassment.

Time stood still, arms crossed, as Elsa listened to the cacophony of her thousand bickering thoughts. Her silence reeked the scent of docility. It was tempting. Magnetising. 

As if their proximity wasn’t all too indicative, Honeymaren inched closer.

Not before long, a strong gust of wind suddenly meandered its way through the crowd, taunting them with a sweep of dust and leaves. 

“Mama!”

“Be careful of the fire, sweetheart!”

“What the...?”

“Is that—?”

“It’s winter! The last thing we need is wind!”

“Hush! Do not anger the spirits!”

In a heartbeat, the gust of wind halted before Elsa and Honeymaren, circling in a spot by their feet. Everyone spun around to trail the beast of a breeze, as Elsa and Honeymaren shifted away from each other, putting enough room to fit a reindeer between themselves. 

Honeymaren dipped her face into her palms.

“G-Gale?” called Elsa, acutely aware of everyone’s curious stare. The change in mood hit her like a whiplash. “Is that you?” 

Gale swivelled around Elsa’s wrist, yanking her by the arm. Stumbling forwards, Elsa found herself falling on all fours, palms digging into dirt.

“Gale? What’s wrong? What happened?” asked Elsa, flicking dirt away from her hands. She could tell how frightened the Wind Spirit was by its frantic whiffs.

The breezy spiral around her arm brought with it some dark liquid. As the embers of the campfire flickered across the soil, Elsa caught sight of a red tinge. 

It was blood.

“Water has memory…”

Holding her breath, Elsa blasted a small stream of ice, letting Gale reconstruct a scene they had witnessed. Building layers upon layers, the snow congealed into ice, and the ice crystallised into a sculpture of intricate detail. 

The crowd broke into murmurs of fright and confusion.

The sculpture took the form of a Nothuldra man with his back against a boulder. A dagger was unsheathed, perched atop unclenched fists. There was only so much that could be deciphered. But, that figure was as lifeless as it could have been for an ice sculpture. 

His hair was unkempt, nose wide, brows thick and chiseled.

Everyone made no mistake in thinking that it was Ryder.

Elsa didn’t dare turn to face Honeymaren. 

She shut her eyes and grimaced, bracing for a shriek, a swooning body, a clambering towards the sculpture, as she had done with Anna’s frozen form years ago. Instead, she found Honeymaren seemingly turned into a statue herself, speechless and riveted to the ground. 

Elsa felt as if her body was dunked into the depths of Ahtohallan.

“Honeymaren,” called Yelena, squeezing her way out from the crowd. She trotted to the two young women. “Honeymaren. What’s Ryder—“

“The reindeer,” stuttered Honeymaren, her voice suddenly small. “The herd… was missing one or two reindeer. He went to look for them where they were last grazing on lichen,”

Jumping to her feet, Elsa strode to a stream trickling down close by. “Nokk!” called Elsa, voice laced with panic. “Nokk, we have to go! Gale, lead the way,”

Amidst the yelps of awe and shock from the crowd, a vehement neigh echoed throughout the forest and a ferocious water horse emerged with a splash. Gale circling beneath her soles, Elsa mounted Nokk without an inkling of hesitation.

Elsa was about to click her heel when Honeymaren ran towards them with a staff in hand. “Lemme come with you,” said Honeymaren, as a statement rather than a request.

“Honey,” replied Elsa, her heart aching. “It might be dangerous. I—“

“No! Stop!” Honeymaren tugged Elsa by her knee. “He’s the only family I have left! If anything happened to him, I need to see it with my own two eyes. Please.”

Elsa paused as those very eyes filled with hot tears. She’d do the same for Anna. How obtuse must Elsa be to deny Honeymaren this right? 

“Okay,” said Elsa, extending a hand. Time was of the essence. “We do this together,”

[recentanimenews]

OPINION: The Best Moments from Attack on Titan's First 3 Seasons

*Be sure to catch up on Attack on Titan before the Final Season starts December 7th! All episodes are streaming here.*

There are so many unforgettable and visually impressive moments in Attack on Titan. The sheer enormity of the Titans themselves, along with the always dazzling aerial acrobatics of the protagonists who battle for survival, are both portrayed in ways that create a uniquely immersive atmosphere. WIT STUDIO, Inc. did an incredible job making you really feel like you’re submerged in Attack on Titan's despair-ridden world, as if you too are rippling through the sky at breakneck speed, full of both courage and paralyzing fear at the sight of a seemingly unstoppable enemy.

This is especially apparent during key Titan transformations, the many battle sequences, moments that emphasize Hiroyuki Sawano’s breathtaking OST, and more. In anticipation of Attack on Titan Final Season, I came up with a short list of some of the best eye-popping, heart-racing moments from the first three seasons. Let’s dive in!

**Please don’t forget: there are MASSIVE spoilers up ahead!**  

Category 1: BEST TITAN TRANSFORMATIONS

II. Annie transforms into a Titan within the walls, Season 1, Episode 24 – Mercy - Raid on Stohess District (2)  

Up to this point, viewers only knew that the woman Titan was a traitor operating within the Walls. The end of the episode prior — Episode 23 — made the big reveal that Annie was the woman Titan all along. There's a lot of twists and turns here, with Armin and co. luring Annie into a trap that ultimately fails. Annie's Titan transformation leads to a pivotal fight that also coincides with the first season's end. The emotional stakes feel significantly charged in this situation, since unlike any of the prior battles with Titans, here the protagonists are forced to duke it out with a friend.

  I. Eren in Season 2, Episode 31 – "Warrior"

  My favorite transformation comes at the end of Season 2, Episode 31 "Warrior." Eren discovers that two of his dearest comrades — Reiner and Bertholdt — are in fact the Armored and Colossal Titans, the very ones responsible for Wall Maria's breach and the subsequent death of thousands (including Eren's mother). It's a pretty shocking moment that forces viewers to revise their entire perspective on two beloved characters, and the episode does a wonderful job expressing Eren's emotional anguish through his facial gestures and an absolutely spine-chilling scream. 

  The emotional weight is visually matched by Eren's mid-fall transformation, which is possibly the most elaborately animated character metamorphosis in the series thus far. It's a gut-wrenching moment that deserves its rightful spot in the multitude of "TOP TEN ANIME BETRAYAL" lists (and memes) online.  

Category 2: BEST SAWANO DROP

Eren encounters the Colossal Titan – Season 1, Episode 4 – Night of the Graduation Ceremony - Humanity Rises Again (2)  

  Hiroyuki Sawano is a powerhouse of a composer. The man responsible for the stellar soundtracks in Kill La Kill and Promare is known for sonically accentuating already-thrilling battle sequences, with a technique now famously coined as the "Sawano Drop." The Sawano Drop is a section in any Sawano track when the music briefly pauses only to come back in full epic force.

  This moment in Attack on Titan Episode 4 is a prime example: the music cuts out at 0:21 — timed perfectly with the moment the Colossal Titan unexpectedly appears — and returns around 0:43, just as Eren fires off his OMD hooks and gets ready for battle. The sudden musical drop emphatically underscores the absolute shock of seeing the gigantic Titan literally pop up out of nowhere, and the musical return adds extra hype to a suddenly desperate situation. It's a riveting sequence that comes after Eren muses somewhat hopefully about the prospects of beating the Titans alongside his freshly graduated comrades (poor Eren gets his hopes squashed rather quickly). Sawano's expert timing and sound palette make this scene that much better.

  Category 3: BEST CHARACTER “SACRIFICE”  

Armin gets burned alive by Colossal Titan – Season 3, Episode 54 – Hero  

Of the three main protagonists in Attack on Titan, Armin is distinguished by his unwavering loyalty to friends and comrades, along with his tactical genius. Armin saves his friends and other Scout members on more than one occasion due to his intellectual prowess, and his willingness to stand brave — and remain kind — despite overwhelming fear makes him a truly admirable character. That’s what made this moment from Season 3 all the more horrifying to watch. 

Near the end of Season 3, Armin surrenders his commanding position to Jean in a sudden moment of self-doubt and despair, but eventually comes up with a last-minute plan to beat the Colossal Titan. The only catch? It meant Armin had to be scorched to a crisp by the humongous Titan, all so Eren could trick and defeat an unsuspecting Bertholdt. We were forced to see one of the show’s most lovable characters literally get set aflame, made even more crushing by Eren’s recollection of young Armin’s bravery and innocent desire to witness the distant sea. Miraculously, Armin survives this ordeal due to a last-minute change of heart in Levi, but it doesn’t make the experience any less impactful. Armin’s selfless gesture leads to the complete defeat of the Colossal Titan and marks a major narrative turning point: he gains Bertholdt’s power (after uh, eating him) and ostensibly becomes the new Colossal Titan. That makes this moment one of the most important sacrifices — albeit temporary — in a show riddled with, well, lots of sacrifices. Which leads us to yet another mind-blowing moment from the same episode ...

  Category 4: BEST TIME LEVI DID HIS OP POWER MOVE Levi Vs the Beast Titan – Episode 54, Hero  

  I know I’m not the only one that thinks Captain Levi is the absolute coolest. He quickly earned a top-tier spot for me in the pantheon of magnetic, effortlessly badass anime characters. Levi kept an even-temper during the most desperate situations, like when he managed to briefly fight Annie’s Titan form and survive, or during the victorious battle against Kenny and his minions. Even with those accomplishments, this has to be Levi’s crowning achievement: absolutely decimating the Beast Titan with his signature spinning attack. Erwin and the last remaining Scouts sacrifice themselves in a suicide run toward the Beast Titan to give Levi the time to sneak up and kill the animal-like monster. The Beast Giant murderously, and gleefully, annihilates most of the Scouts by casually throwing loads of stones — baseball-style — at our heroes. That’s why there’s no greater satisfaction than to see Levi avenge his fallen comrades by ruthlessly hacking up the Beast Titan. Even though Zeke manages to survive and escape, I still think Levi laying the smackdown here is the most gratifying battle sequence yet in Attack on Titan.  

Category 5: BEST TEAR JERKING MOMENT Mikasa and Eren, Season 2, Episode 37 – Scream  

Mikasa and Eren have so many great moments throughout Attack on Titan, but this one takes the cake for me. At the end of Season 2, Eren and the Scouts try to fight off both the Armored Titan and a slew of other Titans with almost no hope of success. Eren fails to transform into his Titan form and watches helplessly as the very smiling giant who killed his mother devours Hannes — a surrogate father figure who rescued young Eren and Mikasa years back. In a last-ditch effort, MIkasa tenderly reminds Eren of their connection and the many times Eren supported her (like when Eren saved her life and gave her the iconic red scarf she always wears). Mikasa usually interacts with Eren as a protective guardian, so it’s especially beautiful and cathartic to see her express care for him with such warmth and vulnerability. And Eren returns the sentiment, which is also a deviation from the norm since he generally seems frustrated with Mikasa’s overprotective tendencies. “I’ll wrap that around you as many times as you want” is hands down one of the best lines from the series, and a fitting summation of Mikasa and Eren’s loving attachment.

  Those are some of my favorite moments from the first three Attack on Titan seasons. What was left out? What would you have included? Let me know in the comments below!

  Do you love anime? Do you love writing? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Matt Fagaly

[scumerage]

The Story of One Punch Man Season 3

Aplogies to @gofancyninjaworld this reply was so late, was kinda distracted by the new chapter. Anyway, here is my second response, hope it finds you well!

@gofancyninjaworld (original comment to my original Season 3 post, which in turn was a response to their original Season 3 post) If you’re a punter who got into season 2 enough to fish $300 out of your pocket to own the series, what did you come for?  Garou, most probably. What’s going to happen to Garou if the story ends at chapter 108?  The first three-four episodes, he’s going to get the crap kicked out of him by monsters and left unconscious in a hole in the wall. Forever.  That’s it.  The interesting things the story will have hinted around limiters and explosive growth, no visible relevance to Garou.  You’re probably going to feel a little cheated.  Okay, maybe you’re into the other characters.  Well, Genos spends his time cleaning the apartment, Bang is wandering aimlessly through the Monster Association along with Fubuki and Bomb.  As is King, who you only saw briefly a couple of times at the beginning and then no more.  Suiryu? Oh go whistle – but you were going to have to do that anyway, it’s a shame how much real estate he took up last season. The kid is rescued and the other heroes are doing okay.   Tatsumaki is taking on the real big bad and is also doing okay. You’re arguing that seeing Saitama punch a monster that is posing no imminent threat to anyone, and whom he dismissed with less respect than he did Elder Centipede constitutes a profitable end.  One that will satisfy people enough to buy in and come back for more.  You must be kidding!   The storyline has effectively wandered off in the middle and says nothing and means nothing. It’s the other half of the story that starts to land the second shoe and to show WHY there’s a conflict worth following in the first place.  The concept of growth through near-death experiences, now it will make sense when we see Garou wake up, challenge Darkshine and complete the tantalizing hints we’ve been given since season 2. While giving us yet more to look forward to – can he truly crush both Hero Association and Monster Association? The carelessly-dismissed Orochi comes back in more fearful form.   You want to talk about hype?  Here we see the very first monster to survive one of Saitama’s killing blows.   The support heroes do more than standing around wondering what’s going on, and we get our appetites whetted by the longest-running mystery in OPM.  The other heroes we’ve been following stop cleaning or wandering around aimlessly and do something.   The S-Class heroes who had been so impressive until now are in deep shit that runs beyond their ability to do something, now the cleverness of the Monster Association mastermind becomes manifest. And Tatsumaki – why the Hero Association leans on her and how her existence has led directly to the strategic mistakes they’ve made to date will be really great to see.  There is literally a Tower of Despair that’s been dragged out of the ruins of what was City Z to counter the Tower of Justice built out of the ruins of what was City A.  [ If the production studio is really clever, they might do a little ‘preview’ of what’s coming next season with Metal Bat and the other hospitalised heroes coming out and little snippets of the battle to come.  Or they might not – it won’t matter.]

(A) The Second Rise of Garou

First off, to the claim that Garou will disappear after 3-4 episodes in a shorter Season 3 is complete baloney. The end of Volume 19 is 500 pages past Season 2… and from there to Saitama vs Orochi is 700 more pages. Somehow… a 12 episode Season 3 would cram 125 pages or more into the first 4 episodes… then spread the remaining 8 with 90 pages or less? Garou is making it to episode 5, period. Maybe only the first half, with the S-Class meeting covering the second half. So Garou will be the main character for 35-40% of the season.

Now to his relevance… what happens to Garou?

The offer of 3rd in command at the Monster Association and his mission to kill his first hero

Betrayal of the monsters and fights in defense of Tareo

Dr. Genus’ Limiter monologue during his fight specifically to hype him up as a potential second Saitama

A bloody warpath through the monsters ranks, only stopped by the monster executive

Gyoro Gyoro’s plan to make Garou the new monster King, culminating in a duel between Garou and Orochi himself.

That… that is all irrelevant? People will feel “cheated” by Garou leading his own personal assault on the Monster Association, being singled out by both man and monster as having unlimited potential, and growing far more than he ever did in Season 2? If that is “cheated”.... then adding 12 more episodes just for Garou vs Darkshine is grand larceny.

(B) Season 3 without Garou… who will be watching?

But yes, you do make a crucial point, similar but different to Season 2: Garou will be non-existant for the second half of Season 3 (while he dominated the first and last third of Season 2). So anyone who enjoys Season 3 must care about characters other than Garou, such as Saitama or the other heroes.

Saitama fans?

Many people were drawn to One Punch Man specifically for the revolutionary character of Saitama. Presumably why the Orochi “fight”, the refereeing of the Phoenix Man battle, and Flash and Baldy’s Bizarre Adventure were added at all. So it’s no small thing to end a season on Saitama (Boros/Orochi)…. As opposed to not Saitama (Psykorochi) or barely Saitama (Elder Centipede).

The Dine and Dash, Hotpot, Limiter, Phoenix Man, and Orochi far from reduce Saitama to a gimmick… but even if they did…. does adding 12 episodes, which includes the Flash teamup, magically fulfill his character or give Saitama meaning in the story? No. “Saitama ditching his tab on Blizzard, the source of his power, saving a child hero from despair, and killing the Monster King was quite disappointing.. but Flash and Saitama running around? Finally, the anime is saved!”

Saitama Gang fans?

Of course the Saitama group will be sidelined… no matter what. Even pulling 24 episodes would just give them one fight each. Nobody will ever, ever buy the entire Season 3 blu-ray for them alone. “Aw, sucks they do nothing but eat hotpot in the first 12 episodes… but hey, they get one fight each in the next 12! Worth it!” That individual is a fantasy.

Side Character/Worldbuilding fans?

Who will be enjoying either version of non-Garou Season 3, the Saitama group hardcore fans? After the hotpot, no (two fights < a second cour). The Saitama hardcore fans? Until the hotpot, sure, but after that it’s just Phoenix Man and Orochi (and Flash for 2 cour), solid, but not enough to carry the season. Only one groups is left: the people willing enjoy side characters, just as they did after Season 1.

Amai’s Mask reentering the story and war by force

the support team contrasting the S-Class

Flash’s duel of the fates

The battle for the soul of Child Emperor

Zombieman’s slasher flic

Atomic’s Pupils’ S-Class potential

Tornado’s first onscreen “fight”... against the monsters’ 2nd in command

Those are the Metal Bat/Suiryu/Blizzard/King of the next season. Anyone too narrowminded would have left after Saitama/Genos/Mumen/Tornado/Sonic took a heavy hit in screen time for Season 2.

(C) The Final Battle of Season 3

Now for the finale: Orochi is the second character in series after Boros to both “fight” Saitama… and instantly respect him as a god among men. The Monster King recognizes the bald hero as the world’s strongest hero, the victor over two of Orochi’s strongest warriors, and the mystery monster of City Z… sounds a lot like a certain alien finding Earth’s strongest warrior, the killer of his two generals, and the fulfillment of a prophecy? Yes, of course, Orochi dies in one normal punch, he is but a shadow of Boros… but that shadow is less respectful and threatening than one giant bug who has no character whatsoever? Also a reminder: Murata said he would redraw the fight, so presumably it would be a better finale in the second version.

Yes, I’m not kidding, that is best ending for a season of One Punch Man since Boros… and will be until the end of this saga. Even Elder Centipede or Psykorochi’s defeat are obvious stop gaps (unlike the fakeout ending of Orochi), ending simply after big battles in the middle of a still ongoing war. Is it an ideal ending? No, it’s a worse repeat of Season 1’s ending… but is actually is an ending. Want to know what isn’t an ending? Cutting off at the start of two character facing off…. While other characters are being dragged up in energy bubbles… and while the main character is digging rocks. And you argue that “constitutes a profitable end… One that will satisfy people enough to buy in and come back for more”? That is far closer to “effectively wandered off in the middle and says nothing and means nothing.” It’s not even a bad ending…. Because it’s not an ending.

(D) The Unnecessary Additions to Season 3… that don’t lead anywhere:

Garou’s growth was already addressed with Genus and Orochi, it is merely 100% confirmed with Darkshine. Orochi was the first monster to dodge a punch from Saitama, even Boros never did that (though Boros did survive a direct normal punch to the chest). The Organization, the support team, the Saitama group, they aren’t necessary, the hero vs monster war works fine without them. The S-Class actually losing, Orochi returning, and Tornado nearly dying is great…. but it doesn’t lead to any sufficient result, at least not until after Psykorochi is defeated. Paralleling the monster’s tower to the hero’s tower is just a nice touch… but it adds no impact or conclusion to the story whatsoever.

[sparda3g]

The Seven Deadly Sins Chapter 267 and 268 Review

It’s been a while since I last review the series’ chapter. I had a complication with my new laptop to get my day started, but now I am back in motion. I apologize for unable to get chapter 266 review done. Now I am back for the latest chapter; however, there were two releases. I guess you can say it’s my karma, can’t escape from working hard. On the bright side, we have two chapters to enjoy.

The first chapter was largely a buildup, picked up right where Estarossa lost his mind and proceeded to choke Elizabeth, because love hurts. It’s sad how I thought, “As expected. Oh the humanity! Will anyone please save the princess?!” Sorry, my expectation has shrunk. Fortunately, she ends up saving herself by shooting magic right at his face. It’s the least she had to do; she was about to die. Honestly, if someone did save her from that, that is kind of sad. My hope for her was rising and nothing can ruin that…

Right?

An interesting setting for Estarossa to choose to hide her at, concerning that it was a secret meeting place between Meliodas and her. Estarossa truly believe he is his oldest brother; I can’t say that’s sweet of him. Of course, Elizabeth will be touched by the sight since it is nostalgia and all, so I didn’t mind her reacting this way. For now. Shame that it does resort to a love triangle war though, especially Estarossa being involved in this mess.

The next conflict against him is setup back at the plain field with the Archangels and King getting ready to set off. I wonder if this is how the series’ battle will be like going forward; teamwork is the only way to win. It’s nothing wrong with that; just feel like one-on-one will become Meliodas and very few others exclusive. Anyway, it makes sense for those three to be the only one to go since they can fly; sorry, no flying nimbus. If this was a Seinen series, I would be very afraid for King to die because of marriage in mind, but I am worried in a lower capacity level.

Before anyone can say, “Sausagefest,” Derieri insists to join along as well because she can fly too. This is when it finally put her trust into the test due to her status. At least the Archangels aren’t so rude with her. It’s  evident that only Ludociel is a bona fide douche of Archangels; good for others. Human can bad mouth at her all day, so it’s natural.

I was happy that King is the one to step up and defend her, mainly because his journey in the past spiritually comes in handy for a reasonable decision making. I couldn’t see any other way. I don’t know if King will tell her the story, though I think it’s that important. So long she has someone’s support, she is allowed to go. I do get the feeling that this is her endgame, but maybe Nakaba will surprise me. We’ll see. Now we have a demon, a fairy, and two Archangels. Sounds like a really strong team.

It segues to a better yet simple insight of Estarossa and his struggles in the past. As said before, he’s like the bastard child that no one would want or befriend with. The reason why he loves Elizabeth and Meliodas is because they didn’t laugh at him. It’s a familiar story of social outcast getting loved by one and eventually fallen in love. The problem is he’s a villain and most importantly, Elizabeth always have her eyes on Meliodas. What a shocker.

Even in the midst of depression, she still talks about him and ask Estarossa to help her. To be fair, Meliodas is the prime target, so I won’t blame her for bringing up the topic in this dreary mood. I unintentionally feel bad for Estarossa to be stuck with this hell of being neglected by two obsessed lovers. Who’s the actual villain here?

The one part that is questionable and honestly, I’m curious for probably a reason that wasn’t intended is whether that one memory of his is true. He states that Meliodas once told him that he will work things out with him and Elizabeth. Elizabeth is confident that he would never say that. If you take it out of context, I would think she’s an asshole for being so damn sure. Hell, do we even know what Meliodas meant if that part is true? It sounds like something of an older brother trying to make the relationship work, but not necessarily make them lovers. I wish the translation was more accurate or the tone was better suggestive because that respond somewhat pissed me off. It better be false to escape this mess. “I’m sure your memory is mistaken.” It better be…

Estarossa does go mad and the Commandments begin to swallow him up. He resumes back to choking Elizabeth out cold, only it’s a strangle rather than a chokehold. She started it, so serve her right. At least, she’s on cue to be damsel in distress, so why I even bother hoping. Estarossa form a ball shape, filled with the Commandments’ energy. He lost his mind to drag her into the abyss, so he can eat her. Look, if it does put her into Kaneki’s state in the last episode of Tokyo Ghoul Season 1, I will eat all of my complaints and put her on a throne; no more from me.

It’s an interesting comparison with Estarossa and Meliodas’ current state. That would mean Estarossa will go through the transformation phase similar to Meliodas in which is taking time to complete. The state is like a cocoon, waiting it to break. What I would like to know if Meliodas can come in contact with other Commandments or other similar procedure he’s in. If so, he may detect Elizabeth in danger and plan will change. It does sound like a perfect setup for those two to go head-to-head with similar power-up. It’s only matter of time.

The second chapter is pretty straightforward, but entertaining none the less. It’s all about Ban, the guy who has been missing for a while. The color page did give it away, so it wasn’t much of shocker. However, it does hold more than one meaning behind it. While there isn’t much to cover in plot aspect, the joy comes from the journey and how far he has gone.

It does start off strange with some wolf covered in black energy or whatever, leaving some fans wondering what is that at first. I quite like the imagery of the setting. It’s artsy in a way, something like Limbo the video game. It’s a nice change of pace in its atmosphere; Nakaba should do more of that technique. It becomes clear that it’s Ban when it remembers the Fountain of Youth and sure enough, he recovers to his normal state. Well, his human state to be exact.

These two chapters used plenty of large panels, sometimes a page worth, for impacting effect or cool designs. In this chapter, it’s mainly for the detail and exploiting the hardship journey. Purgatory is true hell and even for an immortal, it can still “kill” you. Your body may not break, but your mind will.

Ban grew crap load of hair but that’s because time travel fast in there. With the mixed of an image of a lost man and his current mental state, it would appear he has lost his mind, close succumb to eternal hell. It’s effective when even Ban was scared out of his mind. The double page is really good. It’s like watching some guy going to an endless journey; wandering around for centuries (literally).

I feel bad for Ban to suffer this magnitude. It’s agonizing how he keeps calling for Meliodas like he really can’t take it anymore. Immortal isn’t shaping up to be incredible. It’s telling when he begins to speak to himself, questions and all. You can argue that he’s doing so to keep in check of his humanity’s state, which is plausible. Either way, he’s fallen into the despair that could one day take him to emptiness.

We are treated with a nice fun action with some silly looking black dragon, but this type of nature is amusing and I do miss it. It’s a good change of imagination in its lore, so not everything has to be vicious in design. The dragon reminds me of Meliodas’ old sword, but I believe that is the point by the end. It brings a fun action between the two. It was a good timing on its end since Ban needed a distraction to prevent total insanity. It’s funny how I thought we have a new hairstyle for Ban, only to get his head blown away and regenerate with the usual cut. It’s a good thing that I didn’t jump ahead to think there’s an art error since time travel really fast and such.

It’s good that it was established a while back that Ban and Meliodas have a solid friendship, so it’s nice yet a bit sad how much he has struggled to retrieve his best friend’s emotion. Luckily, Ban has a lover that is far tolerable in compare but my point is his reminder of Elaine waiting for him causes “Meliodas” to speak from somewhere. All this time, that funny looking dragon is “him.” It’s charming how two friends always find a way to challenge each other, no matter where.

Now that he has found “him,” it does make me wonder if he will return once actual Meliodas “hatches” from transformation or will it be for a while, leaving room for Meliodas to cause chaos. I don’t even know how can Ban escape from there. He now holds the game changer; it’s only matter of how long it will take.

Overall, the two chapters were good for its setup. Archangels, King, and Derieri is an impressive dynamic; hopefully it takes them a while to get there for some amusing interactions. Estarossa lost his mind because this romance has been mind-numbing. It leaves a sign of potential two brothers’ battle coming soon, possibly after with those four arrival. Ban’s journey was creeping and amusing. The artwork for both chapters are pretty solid with nice detail with its single page use. The second chapter benefited greatly from extra spaces and impacting inserts. The combine of two doesn’t make it feel like two chapters in total, but it covers enough setup to engage an exciting event for the next. Plus, both end page of each chapter connects each other. It won’t be long now before another round of carnage ensue.

[celticnoise]

In my last article for the blog I looked at the beginning of the dark days.

The 1989-1990 season was the first indisputable truth that we were now well and truly in the shadows of Rangers.

League wise it was the equal lowest finish for Celtic since before the Jock Stein era way back in season 1964-65. Cup wise we had almost found salvation with a third consecutive Scottish Cup win but had been denied by Aberdeen via the first ever penalty shoot-out decider in the national cup final’s history.

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Europe had ended early though this had been par for the course for Celtic for a decade and it was probably just as well that we hadn’t qualified for a European campaign for the first time in nearly 30 years via the previous seasons underwhelming exploits.

So on we rolled to 1990-1991 and this is the first season where I can recall pretty much all of our home games as a season ticket holder. By the way don’t worry. This isn’t going to be a season by season review but this one deserves to be given individual analysis so tantamount was it to shaping our future.

Billy McNeill was still in charge and he had bolstered the squad by adding the then (not now) legendary figure amongst the Hoops fans of returning hero Charlie Nicholas from Aberdeen where he had of course helped deny us in the previous May’s cup final.

Hopes were high for ‘Champagne Charlie’.

Especially considering we had only averaged one goal a game in the previous term. We also added some genuine quality with the acquisition of Hibs star midfielder John Collins who became the clubs first £1 million player. This was an unusually ambitious signing by the club for that time and smashed the previous club record fee of £750,000 paid to West Ham for Frank McAvennie in 1987.

Added to that there was Martin Hayes who arrived from Arsenal for over £600K.

He would appear 10 times for Celtic over the course of the next 3 years.

He never scored and became such a forgotten man that one urban myth abounds of a time he fell asleep in his car whilst waiting for the rest of the first team to to arrive at Barrowfield for training and by the time he woke up it was already finished. Upon realising this and rushing to apologize to then manager Liam Brady (don’t worry we’ll get back to him) he was informed that nobody had even noticed.

I’ve also heard another one about how he was locked in his car by team mates at the old training ground one winter’s morning as a practical joke and wrote an S.O.S request on the steamed up windows which wasn’t answered until several hours later. The chances are both are probably deviations of the real story.

But ultimately…..who cares? That was his impact on the team.

Yet in the beginning there was genuine hope that season.

Collins was an excellent player and the board had really pushed the boat out in securing him. Nicholas was seen as the prodigal son returning. Funny how things change.

He’d struggle to muster an autograph request outside the ground now.

It couldn’t have got off to a worse start.

We were well beaten 2-0 at Fir Park on the opening day by a pretty decent Motherwell team that had Davie Cooper and a young Phil O’Donnell in their ranks and Tommy McLean at the helm. At full time Cesar and McLean clashed whilst going up the tunnel in what proved to be the best thing on the match highlights on Sportscene that night. It marked the beginning of what was to be a long season and yes, Sportscene used to be on on Saturday nights.

Things didn’t get much better on match day 2. We were thumped 3-0 at home to an Aberdeen team that was more or less the same to a man as the one that had beaten us in the Cup Final – minus Nicholas of course – in front of 45,000 fans who’s despair was easy to imagine.

Mason, Connor and Gillhaus all did the damage within a crazy 14 mins spell in the second half where we completely capitulated. This game is very much etched into my memory. Back then Aberdeen would bring a huge support down to Glasgow, almost as big as their average home support now. They would have the whole Rangers end of the stadium something usually only reserved for Rangers themselves.

Aberdeen threw down the gauntlet for what was to be a very serious title challenge that day.

Celtic on the other hand clearly signaled they were going to be way off such a feat. Most of the Celtic fans left early as the game played out like a training session over the final 25 mins.

As I departed 5 mins from the end with my father from our seats at the front of the main stand we briefly turned at the top of the stairs leading to the exit and looked across a sea of empty seats and the remaining crestfallen faces. I asked my father what was wrong with everyone.

He responded: “Their hearts are in the wrong places son.”

Celtic actually went on a 7 game unbeaten league run thereafter which included a credible 1-1 draw in the sun against Rangers at Ibrox with Derek Whyte popping up to head an opener that was later cancelled out. We also cruised into the semi finals of the League Cup where we met Jim McLean’s Dundee Utd, who were a serious outfit back then. This was my second visit to Hampden and this time it was in the terraces facing the old main stand. I was terrified. A 9 year old boy surrounded by what seemed to be legions of towering men.

Unlike my last visit though we won.

I can still see Gerry Creaney rising up like a salmon to score with a header now.

Paul McStay blasted home the second and a final against Rangers was secured.

That took place a month later in late October in front of 62,000 at a packed Hampden. The League Cup (or Skol Cup as it was then) Final like everything else it seems took place much earlier in the season back in the day.

In the days before the game The Daily Record claimed that the Celtic Supporters Association had allegedly paid a private investigator to keep an eye on the final’s referee Jim McCluskey in the lead up to the match after it was revealed he’d paid a £25 fine the previous summer for being found “drunk and incapable” in Kilmarnock town centre in the early hours of the morning shortly after attending the annual Orange Order parade.

McCluskey denied he was openly sectarian.

Anyway it looked like it was going to be a wonderful day when Paul Elliot went from what appeared to be tying his shoe laces to throwing his head towards a misplaced Wdowczyk shot and heading the ball past the despairing Chris Woods (yes Rangers had a goalkeeper before Andy Goram.).

However Mark Walters equalised 15 mins later and then with the stadium enveloped in Autumn early evening darkness Richard Gough hit an extra time winner.

The Rangers end of the stadium went bananas.

Unfortunately that was a theme for the majority of the 90’s when Old Firm matches came about. The whistle went and we slipped into the night. Gutted.

Of course little did we knew it could actually get a lot worse but it didn’t seem like it could that particular Sunday as we returned home.

But it would be nearly 5 years before we returned to Hampden again for a final.

For the rest of the season Celtic played catch-up as Rangers and Aberdeen battled it out neck and neck at the top of the table. One of the most memorable games was a 1-0 home victory over Aberdeen courtesy of a last minute Paul Elliot winner.

I’d like to repeat a point from the previous article.

That being: Paul Elliot … what a player!

Nowadays of course we expect to cuff the Dons home and away. But back then having been on the receiving end of two back to back 3-0 defeats in the league to them that season a victory was seen as significant no matter how it was achieved.

In the end we finished a distant third beating 4th placed Dundee Utd by the skin of our teeth on goal difference. With no European distractions the League form had at least picked up on the previous term and despite the disappointment of being pipped in the League Cup final the club had progressed to the semi’s of the Scottish Cup. In fact the quarter final and the subsequent weekend’s fixture that followed it proved to be not only the highlight of that season but probably the club’s best week full stop until Fergus McCann arrived at the 25th hour to bail us out of receivership three years later.

The quarter final in question took place at a packed Celtic Park on March 17th 1991. That date usually has a lot if significance for many Celtic supporters but this was no ordinary St. Patrick’s Day.

No this was … The St. Patrick’s Day Massacre.

Going in Celtic had failed to beat Rangers on 4 previous occasions that season including the aforementioned League Cup Final nearly 5 months before.

In order to maintain any hope of silverware Celtic just had to win.

The crowd was amped and it was an incredible atmosphere even for an Old Firm game.

The crammed Rangers end were in gloating mood on a dull, grey Sunday afternoon but could seldom be heard over the jungle who belted out “The Merry Ploughboy” and “Happy Birthday St. Patrick” like their lives depended on it.

And it got off to the best possible start as Gerry Creaney, who in moments back in those years looked like a future star in the making, crashed in the opener after 6 mins. Half an hour later we were in dreamland as Wdowczyk (Shuggie) blasted a free kick that deflected off of Graeme Souness’s marque signing ‘The Missing Link’ aka Terry Hurlock and it looped over Chris Woods into the net.

Rangers never recovered and only very brief bouts of actual football broke out over the rest of the game. You may wonder if not familiar with the match in question where the ‘Massacre’ tag comes from.

After all 2-0 hardly constitutes a massacre.

Well it had more to do with the 4 red cards that got flashed in the second half.

The first was for Celtic with Peter Grant seeing red for sheer stupidity. Already on a yellow Grant decided to charge down a Rangers direct free kick on the edge of the box about 5 mins before it had even been struck.

The three Rangers players all walked due to thuggery.

Hurlock who had been getting a taste of his own medicine that day from everyone in green and white hoops didn’t like it and lashed out. Hurlock really did come to embody everything about Souness’s Rangers. With superior funds at his disposal and the ability to buy skilled players like Ray Wilkins and Walters the moustached one as he was then would still bring in hammer throwers like Hurlock.

Terry was lost with a ball at his feet but in his element when delivering a groin high challenge. I seem to remember ‘Not the View’ the legendary Celtic fanzine doing a comic strip set in Souness’s house. The house was bare and decrepit and Souness would sit on a solitary wooden chair with his Admiral Rangers tracksuit on refusing to put on the central heating. In the corner he’d have Hurlock locked in a cage.

Walters also picked up an uncharacteristic red card and Hateley walked for lashing out. All this took place live on the BBC on a Sunday afternoon.

Dougie Donnelly tried vainly to provide half and full-time analysis but was generally drowned out by the noise.

And that was followed a week later as we did them again.

Having won only one in the previous eight before the following weekend Celtic made it two wins over Rangers in six days by trouncing them 3-0 in the league at Celtic Park the following Saturday. Even Anton Rogan got on the score sheet. It was Celtic’s first Old Firm league win since November 1988 and briefly maintained faint hopes of a late title challenge as we went unbeaten in 9 league games and made it 6 consecutive league wins.

Alas rather than spur Celtic on it seemed to have the opposite effect.

Going into the business end of the season and still clearly basking in the glory of those 6 days in March, Celtic’s form just completely nosedived. They lost 3 league games on the spin and in amongst those they also lost the Scottish cup semi-final via a replay defeat to eventual winners Motherwell.

At a wet and windy Hampden on a Tuesday evening Celtic were ahead twice in the first 21 mins but subsequently downed tools and shipped 3 goals in the second half.

I watched the game on a big TV at a family friend’s house over in the southside of Glasgow. Back then you traversed the length and breadth of the land to go to people’s houses who had Sky TV.

Tommy Coyne had a chance to kill the game off at 2-1 and missed. Packie Bonner made an excellent save from Motherwell’s John Philliben and then proceeded to be all at sea for Motherwell’s 3 goals.

As the whistle went the din of boos was audible.

The Bhoys had blown it.

The season was over bar the shouting.

Celtic won the last 4 league matches of the campaign to secure 3rd spot and a return to European football. Meanwhile as if to add insult to injury Aberdeen snatched defeat from the jaws of victory by losing 2-0 at Ibrox to Rangers on the final day when all they needed was a draw to secure the League Championship.

In the final analysis the 1990-1991 campaign had been an improvement on the previous one though was still way off what would be considered acceptable for Celtic.

Two seasons without a trophy meant the almost unthinkable happened and Billy McNeill, Cesar, lost his job.

A dark day indeed when the club’s greatest ever captain who played a record 822* games for the club in which he won 23 trophies including of course the European Cup and who also managed us to 8 trophies which included the historic centenary season double, is shown the door.

Feelings amongst the fans was mixed.

As much as Cesar was revered Celtic had finished empty handed for two consecutive seasons for the first time since the early sixties.

The mood soon picked up though when it was announced that the new manager was going to be legendary ex-Repulblic of Ireland internationalist, Arsenal and Juventus star Liam Brady who would be furnished with millions of pounds to buy a new team.

He was going to be our Graeme Souness.

A thinking out of the box appointment with no previous ties to the club and lofty ambitions.

And chief executive Terry Cassidy was going to unveil plans for a new stadium any day now. The Celtic View was upbeat. It was almost like a dream.

Little did we know, things were going to get a hell of a lot worse than we could ever imagined as that dream slowly turned into a nightmare.

Yes next time out we’ll be reliving that disastrous night in Neuchatel Xamax as well as the Tony Cascarino experience.

*Some records show 789 games as Billy ‘s total for Celtic. Either way it was a lot.

Paul Cassidy needs a right good drink after recounting the darkness of that fateful year …

http://ift.tt/2qxrBvo

[recentanimenews]

10 Classical Compositions that Anime Loves

For anime soundtracks, Western classical music can be a useful tool. One fewer cue to compose, for starters, and you don’t have to navigate the same rights issues that crop up when licensing contemporary music. Especially for more well-known pieces, there might be dozens of different recordings to choose from for just the right interpretation. Audience recognition helps too - there’s something special about hearing a familiar tune played over a pivotal scene. It’s not always used well (I can think of some very, very bad examples), but when smartly inserted, Western music can make for some truly iconic moments. Let’s take a look at some pieces that show up often in anime.

10. Polovtsian Dances from Prince Igor (Alexander Borodin)

[Pittsburgh Symphony Orchestra]

Although Borodin never finished the opera Prince Igor before his death in 1887, the Polovtsian Dances from the end of Act II survive in concert halls worldwide, as well as in pop culture. No. 17, “Gliding Dance of the Maidens,” appears in Kare Kano: His and Her Circumstances, as well as in the second season of Sound! Euphonium arranged for concert band. The piece itself comes from the scene in Prince Igor where the invading Turkic tribe celebrates the khan Konchak. It was intended to sound exotic when contrasted with the Russian folk music associated with the opera’s protagonists. The piece suggests another land, different and unknowable - appropriate for the finale of Blood Blockade Battlefront, when the supernatural world threatens to collide with the real one. It’s also frequently used in RahXephon to represent the Mulians, a mysterious race that controls music-powered clay mechs. Yoko Kanno even quotes its melody in “Garden of Everything,” the B-side of the movie’s ending theme.  In both BBB and RahXephon, the Polovtsian Dances’ ‘foreignness’ emphasizes the long history behind their respective supernatural beings. It’s nice when soundtracks are thematically relevant like that!

9. Symphony No. 8 “Symphony of a Thousand” (Gustav Mahler)

While not as pervasive in anime as some of the other entries on this list, Mahler 8 (dubbed “Symphony of a Thousand” for its enormous orchestra and chorus) is still pretty iconic, figuring heavily in the broadcast order finale of The Melancholy of Haruhi Suzumiya (chronologically episode 6). The text of the piece itself revolves around redemption through love and confidence in humanity, making the symphony possibly one of the most uplifting pieces of late Romanticism. It’s fitting for a grand finale that [spoilers?] hinges on Haruhi and Kyon’s faith in humanity to keep reality from collapsing. No matter how unusual or interesting Haruhi’s alternate world may be, it’s solitary and miserable. To keep Haruhi from remaking reality according to her own whims, Kyon reminds her of the relationships she’d lose in hopes of grounding her enough to return them to reality. Who cares about a fun fantasy world without people to enjoy it with? Why reject everyone you love in favor of danger and uncertainty? Symphony of a Thousand is ultimately about embracing the human attachments we form, perfectly in line with the anime’s themes.

8. Nocturne Op. 9 No. 2 (Frederic Chopin)

[official? rubinstein]

A mainstay in film and TV, this nocturne is probably one of the first pieces people associate with Romantic keyboard music. It’s a go-to cue to telegraph that a character is sophisticated: Austria in Hetalia, one of the antagonists in Parasyte -the maxim-; Glasslip, Legend of Galactic Heroes, Momoiro Sisters, the list goes on. So it’s a nice change of pace when it’s used differently, like in the penultimate episode of Hybrid x Heart Magias Academy Ataraxia. The pairing of sweet evening music with a scene of busty, half-naked anime girls fighting to keep Tokyo from blowing up is hilariously jarring - just the way I like my fanservice anime. It’s totally in character for Hybrid x Heart to shoot for drama and blow straight into camp, and the scene is perhaps the best example of that tonal mismatch in the show’s entire run. I’m not sure how the impossibly shy Chopin would feel about his music being used this way, but hey, it’s not like he’s around to complain.

7. Prelude No. 1 from Well-Tempered Clavier (J.S. Bach) / “Ave Maria” (Charles Gounod)

The Well-Tempered Clavier, composed around 1722 to show off the latest advances in proto-piano technology, is today regarded as one of the Baroque period’s most important works, such that the dozens of preludes and fugues collected in two volumes are the bane of every piano student ever. But while most of WTC is unknown to people outside the music world, the first prelude remains Bach’s most well-known solo keyboard piece (the famous Minuet in G being the work of one of his colleagues). Over a century later, French operatist Charles Gounod superimposed a melody on it, eventually pairing it with the text of a Catholic prayer. The resulting song is about as famous as the original prelude, showing up all over popular culture. Puella Magi Madoka Magica, for an easy anime example. Yurikuma Arashi uses the piece as well, associating it with the bear deity Kumaria (the Virgin Beary, if you will). Yes, you read that right. “Ave Maria” for Kumaria. On the nose? Absolutely. Dead on the fuzzy little bear-girl nose. To be fair, none of the visual metaphors in Yurikuma are any more subtle, so it totally fits. Bless this show.

6. Sonata for Two Pianos in D major, K.448 (W.A. Mozart)

How do you depict a relationship between two musicians? In a duet, of course! It happens plenty in Your Lie in April in both four-hand piano and violin/piano combinations. But why restrict yourself to one piano when you can have two? That’s where Mozart’s K.448 comes in. When he was 25, he composed the two-piano sonata for a joint performance with his 23-year-old student Josepha Auernhammer, who was purportedly in love with him. Although nothing came of that relationship, the circumstances surrounding the piece’s composition perhaps make it tempting to assign romantic connotations to any performance of it. Certain anime take advantage of that: in Ouran High School Host Club (after Tamaki’s bizarre solo demonstration of both parts at once), a duo of middle schoolers learns the two-piano sonata to kick off their blossoming romance. In all versions of Nodame Cantabile, it’s the first collaboration the uptight Chiaki and carefree Nodame undertake together. Handing off the melody between them, Nodame and Chiaki must learn to respect and accomodate their conflicting personalities. It’s important that neither part is simply accompaniment to the other; unlike in a four-hand duet, where one person plays in the lower range and the other in the higher, the two players in a duo must be equally skilled, complementing each other rather than dominating. Chiaki and Nodame’s successful performance of the piece signals their mutual understanding of each other, the start of a complicated but enduring romance/friendship that carries through the rest of the series.

5. “Vocalise,” Op. 34 No. 14 (Sergei Rachmaninoff)

(unknown, but official upload)

“Vocalise,” as its title suggests, is one of 14 songs that Rachmaninoff originally composed for voice with piano accompaniment. These days, it’s often performed by an orchestra or a solo instrument. I have a particular fondness for Rach’s own orchestral arrangement, but the melody on its own is lovely as well. Melancholic and gorgeous, it suggests a profound loneliness. No wonder it tends to show up in heartwrenching anime scenes. In Puella Magi Madoka Magica, a recording of Kyousuke’s violin solo is yet another contributor to Sayaka’s despair. In Night Raid 1931, the piece is a running motif in spy Aoi Miyoshi’s troubled life, first as a joke about his poor violin skills, and then later as a prominent element in his backstory. His attachment to the piece turns out to be in remembrance of a lost love. It’s an expression of nostalgia to a time when his life was simpler, before Japan’s growing militarism erupted full force in Nanking and Korea, complicating his espionage work. The piece’s presence throughout the series in stilted, off-key form is so essential in making the final revelation land, music reaching clarity just as Miyoshi’s motivations do. It’s one of the best creative choices in a politically controversial but otherwise unremarkable anime, and Miyoshi’s story wouldn’t work nearly as well without it.

4. Piano Concerto No. 2 Op. 18 (Sergei Rachmaninoff)

I just mentioned a Rachmaninoff piece, but this one is too good to skip. One of the most notoriously difficult and exhausting pieces in the piano repertoire, Rachmaninoff’s second concerto (affectionately nicknamed “Rach 2”) is a perennial concert favorite. The technical skill and strength required to play the entire thing make it a survival challenge in itself. As such, it’s the highlight of the debuts of both Eugenie Danglars in Gankutsuou and Shinichi Chiaki in Nodame Cantabile. It also shows up in Fairy Tail underscoring the climactic fight between Erza and Azuma in episode 114. Throughout the development, Jellal reassures Erza that he’s supporting her in spirit. The music is well-matched to the action onscreen, reaching the virtuosic climax of the first movement at the decisive moment of the battle. As the final chords land, Erza regains her drive. The show does cut some of the tense buildup that I love Rach 2 for, but nonetheless, the payoff is still damn satisfying.

(On the subject of Rachmaninoff, his third piano concerto - my favorite piece of his - shows up markedly less often; the only anime example I can think of is in Legend of the Galactic Heroes. Maybe someday people will understand the glory of Rach 3. In the meantime, try humming the James Bond theme over Rach 2. It’s a lot of fun, I promise.)

3. Etude Op. 10 No. 3, “Tristesse” (Frederic Chopin)

Today, Chopin’s etudes (Op. 10 and 25) are staples of piano repertoire. Each is a study in a specific keyboard technique. The third etude “Tristesse” (sometimes “L’Adieu”), as it’s now known, emphasizes balance and smooth voicing. The melody - Chopin’s most beautiful, by his own judgment - is still beloved today. It can be heard in the Baccano! finale, as well as in Fullmetal Alchemist (2003) under the title “Tune of Separation,” arranged for string orchestra by Michiru Oshima. My favorite use of it is in the Genius Party short Baby Blue, directed by Shinichiro Watanabe. In the 15-minute film, the melody first appears when Shou sketches out an aimless tune on the piano. It comes back in full force in the dreamlike emotional climax, expressing the bittersweet nostalgia of youth as his childhood friend Hazuki bids him a final farewell. The piece may not have been composed with a narrative in mind, but its reputation as a piece about goodbyes serves it well here in one truly memorable scene.

2. “Clair de lune” from Suite bergamasque (Claude Debussy)

The third movement of Debussy’s Suite bergamasque, “Clair de lune” is one of the most iconic keyboard pieces in French Impressionism, a late 19th-/early 20th-century artistic movement that prioritized conveying a mood over presenting a detailed picture. That focus on atmosphere over a defined melody might be what makes the piece so appealing as a soundtrack. Its sentimental A-section appears in Kids on the Slope, Wandering Son, 18if, and even an inconsequential bath scene in Thermae Romae. Rarely, however, does anything use the entire piece - which means it stands out all the more in Your Lie in April. In episode 15, the piece perfectly underscores Tsubaki’s nighttime heart-to-heart with Kousei. Her lines are timed to match the piece’s phrasing, and as the music becomes more intense, so does her monologue. The flowing B-section expresses her desperation as she realizes that Kousei’s musical career is taking him out of her reach. By the time Kousei reaches the piece’s recap, we get the sense that something has changed. Tsubaki might be the same person she’s always been, but her relationships have been forever altered. Likewise, the last section of the piece sounds similar to the beginning, but elements of the B-section still linger as a reminder that things can’t stay the same. The scene is a pitch-perfect marriage of story and soundtrack, and my favorite use of “Clair de lune” in anything, full stop.

1. Symphony No. 9, “Choral” (Ludwig van Beethoven)

Generally agreed to be Beethoven’s greatest work, Beethoven 9 was unique for Classical-era music in that it introduced a chorus layered over the orchestra - hence the nickname. The symphony is an easy go-to for a grandiose and triumphant score, since the “Ode to Joy” melody from the last movement is immediately recognizable. No wonder it’s popular worldwide - especially so in Japan. The piece appears in Gunslinger Girl, the Nodame Cantabile J-drama, and a number of other shows. Thanks to Kaworu Nagisa in Neon Genesis Evangelion, it’s now also the “sophisticated, vaguely menacing white-haired anime boy” leitmotif - think Shogo Makishima in Pyscho-Pass, for instance. And for good reason! The last scene in episode 24 of EVA is easily one of the most iconic, disturbing moments in anime. The minutes-long still shot and delicious irony of a piece about joy played over Shinji’s worst emotional low leave a real impression. Plus, Alexander Rahbari’s interpretation of the piece is one of my favorites, capturing a fierce rawness that’s often missing in more technically polished recordings.

But because Beethoven 9 is such a seminal work of music, I can’t limit this entry to just EVA. In Yuri!!! on ICE, Otabek Altin’s free skate music is a unique arrangement of the symphony’s second movement. While the original piece was already groundbreaking, composer Taku Matsushiba takes it some really interesting places. Beefing up the chorus and brass sections to make the overall sound even bigger, Matsushiba re-orchestrates the piece to sound decidedly more modern in places. The end result is simultaneously traditional and transgressive, but most importantly, A Lot. EVA may have used the symphony to devastating effect, but this wonderfully cheesy reinterpretation is more special to me for capturing the blend of silly and serious that I love about anime.

These aren’t all of them, not even close. I didn’t even get to Michiru Oshima’s string arrangement of Beethoven’s Tempest Sonata in Blast of Tempest, the infamous Hallelujah scene in Evangelion, or the sheer variety of music used in Princess Tutu, Legend of the Galactic Heroes, and ClassicaLoid. And that’s to say nothing of Yoshihisa Hirano’s habit of quoting other works in his soundtracks: Prokofiev’s Romeo and Juliet in Hunter x Hunter, Bizet/Sarasate in Ouran some vaguely Orffian strains in Death Note. Meanwhile, Yuri!!! on ICE uses both real pieces (Tchaik’s Sleeping Beauty, Mendelssohn’s Violin Concerto Op. 64, Mussorgsky’s Pictures at an Exhibition) and sound-alikes (Taku Matsushiba’s “Rapsodie Espagnole” resembles Ravel’s Bolero, “Stammi vicino, non te ne andare,” Puccini with a hint of Wagner; and “Allego Appassionato,” Rachmaninoff, what with the absurdly difficult techniques in its latter half). You can find Western art music all over the place in anime if you just look.

On that note (heh), what’s your favorite classical piece in anime?

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Micchy is an enormous dweeb who tries and fails to hide her anime obsession behind a skating otaku facade. Follow her on Twitter @Liuwdere for more vaguely anime-related content. 

By: news+feed@crunchyroll.com