Tag Archives: Music

More Anime Soundtracks to Put in Your Playlist

Welcome, weebs, to Animated Observations

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It is Friday, which means another column to share from my time at my college’s newspaper. This time, I thought it would be fun to return to the topic of good anime soundtracks, and so here are a few more that should absolutely be on a playlist of yours if they are not already. While a certain show that I have talked about in the past is also on this list, I stand by the argument that it has a great soundtrack, so yeah. With that being said, let us begin.


Welcome back, tourists.

With increasing access to pretty much every kind of music through the internet and various music streaming services, it feels as though there is a soundtrack for pretty much every point in people’s lives. Now, instead of borrowing CDs, people are sharing playlists on Spotify and YouTube. 

I have said it before, and I am here to say it again. Anime has a number of amazing soundtracks with plenty of “banger” tracks, as the kids say, as well as slower, more reflective moments. Today, I want to share more of those worthwhile soundtracks. Content warning for some of the descriptions below.

“Wonder Egg Priority” – Music by De De Mouse

Those who follow seasonal anime might already be familiar with this new addition to the magical girl genre that recently took the community by storm. “Wonder Egg Priority” follows a group of girls who are transported to a dream world in order to rescue their friends who have died of suicide. The strange and dark nature of the show’s story and animation flows into the series’ soundtrack, courtesy of De De Mouse

The 42-year-old music producer pulled no punches on this project, taking his signature electronic music style and turning it up to 11. From the first episode to the latest, there is a sort of Kinetic energy that permeates the entire work. For the best example of this, check out episodes three and four. While it might be confusing, it will definitely also be exciting.

“Bleach” – Music by Shiro Sagisu

“Bleach” is an anime with a long and complicated history in terms of its quality. However, one element of the show that always felt underappreciated was its soundtrack. There are, of course, many openings that are worth talking about, especially its first one “Asterisk” by Orange Range. However, composer Shiro Sagisu knows how to capture the show’s unique flare. 

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The show’s long run time also came with it a much larger than usually soundtrack, and while there are, of course, the occasionally more generic-sounding songs, some, like “Ichigo’s Theme” help to carve out the show’s identity and give it that extra bit of hype that every good shounen anime needs. 

“Your Name” – Music by RADWIMPS

Maybe it is unfair to compare tv anime soundtracks with movies, but it would be an absolute tragedy to not recommend at least one movie from Makoto Shinkai, as his films are pretty much all about the experience. After all, it would not be a Shinkai film with the backing of RADWIMPS.

The J-Rock group has been around since the turn of the millennium but got international acclaim after their work on “Your Name,” and for good reason. Their unique brand of J-rock is both energetic and musically progressive, building on itself constantly until it reaches a fantastic peak. The film would have been much worse off were it not for this group, and it is definitely good car ride material.

It can be hard to find good music given just how much is available, but for those who are up for trying something new, there are plenty of anime soundtracks worth exploring. 


What other soundtracks did I miss? Let me know in the comments.

If you are interested in reading more from me, check under blog to read my most recent stuff, or look below for some related posts. Also, if you would like to support Animated Observations, consider donating on Ko-fi or through paypal, or pledging on Patreon. You can even support by just liking and sharing this post.

Buy Me a Coffee at ko-fi.com

Check out my writing blog, Solidly Liquid!

Special thanks to patron Jenn Coulter for continuing to support us this month.

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

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Quadeca, “From Me to You,” and the Internet

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I do not often talk about music on this blog because I rarely have opinions strong enough to justify writing a whole article about them. However, this is without a doubt of of my favorite projects of the last year, which is strange because I definitely would not consider Quadeca to be one of my favorite artists. Still there is a lot to talk about when it comes to “From Me to You,” which is why I thought it was worth taking another post to explore. In particular, I want to take a bit of time to talk about the storyline of the album and some of the implications of its subject matter.

The story of course starts with the track “Sisyphus,” named after a Greek god who was cursed to push a boulder up a mountain only to have it fall over and over again. The track mainly concerns itself with Quadeca’s internal monologue, with the story of Sisyphus being used as a metaphor for his relationship with his own success and self-growth. Try as he might, the fear of getting to the top of that mountain, only to fall back down and have it start all over is a scary prospect.

While Quadeca, or at least the character that he plays in the album, is not the only one in this story. There is, of course, another, indicated in the chorus: “You’ve got a mountain of your own,” and throughout the rest of the album. So, who exactly is this “you?” Well, at first glance it might feel reasonable to answer that question with some variant of romantic partner, and to an extent, that is right. In the song “Shades of Us” he does mention that “[he] just wants love,” but also says that its “outside my reach, always inside my aim.” This would rather imply that he is currently single, so at best this might be addressing some future relationship.

Instead, the “you” here feels a lot more literal, as though he is addressing the audience directly. Quadeca appears to be telling both the story of his experience with internet fame, as well as reflecting on the creation of the album itself, both of which have come with their ups and downs.

This becomes much more apparent on the song “Smiling at the Ground,” in which he raps about a crazy fan who would rather see him break up with a potential girlfriend as opposed to being genuinely happy, as well as the music labels which resent him for staying independent. These things are so stressful that he “searches his fake name” only to be relieved when neither of them appear together with it. The following track “Can’t You See” also speaks to this idea as well, where Quadeca equates this Sisyphean journey to being “lost in the fog,” and that it is both “hard to stay, hard to stay gone,” again repeating the idea that his situation is very much damned if you do, damned if you don’t.

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While it is fair to say that most artists and/or people who create things, especially on the internet, hope for some level of success, it does not necessarily mean they want all of that attention at once, or even really at all. The process of virality, in which a person can become famous overnight, is an area that feels like it has been overlooked in cultural discussion. Having thousands or even hundreds of thousands of new eyes on you, as well as a mountain of new expectations can be incredibly nerve wracking. Even now that Quadeca has an established fanbase who probably will not abandon him, the fear alone can make an album that was supposed to come out in 2020 take a whole extra year.

Another major theme of the album is the idea of balancing work and the rest of one’s life. This theme comes to a head much later in the album on the three tracks “Burnin Bridges/Long Day,” “Work!” and “People Pleaser.” Each of these tracks aims to address a different aspect of Quadeca’s relationship with his work and how it has affected his other relationships.

“Burnin Bridges/Long Day” sees him playing the part of “the villain,” but also directly states how he’s “burning all [his] fuckin bridges til there’s nothin left,” and that he “trusts no one but myself, the only one that hasn’t fuckin left.” In other words, from his perspective, Quadeca is taking people out of his life who never really cared for him anyway. While this is a pretty common sentiment across rap as a genre, it feels even more important here given how the internal monologue established in earlier songs has made it clear just how much he doubts himself.

“Work,” in contrast, sees Quadeca satirizing the unhealthy relationship with work that many have come to understand as grind culture, or the idea that one should always be focused monetary or social gains, even at the expense of interpersonal relationships. Though it may not seem like it, the exaggerated lyrics as well as the fax machine noise which slowly ingrains and distorts itself into the beat make it fairly obvious. Some of the best lines, in this regard, are when he talks about “only loving you from like 3:15 to 5 PM,” as well as having “like twenty-five Red Bulls still tryna find them wings, like a blind Rick Ross.”

It becomes even more apparent when beat comes to a halt, and Quadeca talks about how “[his] mind got carpal tunnel” and that “[he] wants it all to double, even the stress, even the mess, even the largest struggle.” In this final verse, he point out how those who have bought into this grind mentality put themselves through all of this work, in part at least, so that they can where it as a badge of honor around others. The song “People Pleaser” serves almost as a prequel, describing how Quadeca’s innate need for validation from others got him into the cycle he is in, with the ever increasing quantities of money he manages to acquire never being enough for this “you.” The line “feelin’ like its eight-bit, lookin like its IMAX” also helps to reinforce the idea that, while his life on the outside looks great, self-doubt is still very much central to his problems.

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All of this comes to a pinnacle, almost literally, on the song “Summit Pt. 1” in which the major themes get reinforced. Despite how much progress has been made, both in Quadeca as a person and on the album itself, he still does not believe he has made it particularly far, evidenced by the refrain “And I’ve been lookin’ at the summit. They say we’re halfway there, I think we’re halfway from it.” Still, it would be unfair to say that he has made no progress at all, as it he also says that “me and my boulder grew a bond,” implying that, despite still not being confident, he has managed to get something of a handle on these mental burdens.

Additionally, the question of who exactly “you” is becomes an issue again, because although earlier in the album Quadeca implied a lack of romantic relationship, the song “Its All a Game” does seem to present a major romantic interest. Still, interpreting the “you” as still talking directly to the audience makes a lot of sense. When he says “I swallowed it, thank god that it was you that shared the key” in reference to the previous interlude, Quadeca seems to be saying that if there was anyone who he was going to share his most vulnerable self too, he would rather it be an audience that has expectations of him rather than random strangers.

The journey is still not going to end, both as an artist and as a person, until he meets his. In a way, acknowledging that “we’re halfway from it” is saying that not just he, but everyone has yet to reach their full potential, and although everyone might have a mountain to climb and a bolder to climb with it, seeing what is at the top might just be worth it.


There is a lot more about this album that I can and probably will talk about, from the incredibly constructing bars and ryhme schemes, as well as the amazing production. Still, if I did try and talk about it all in one post this would probably end up being a 20 minute read, and as someone with an incredibly small attention span myself, I do not want to do that to other people. So, have you heard “From Me to You?” What do you think of it? Let me know in the comments.

If you are interested in reading more from me, check under blog to read my most recent stuff, or look below for some related posts. Also, if you would like to support Animated Observations, consider donating on Ko-fi or through paypal, or pledging on Patreon. You can even support by just liking and sharing this post.

Buy Me a Coffee at ko-fi.com

Check out my writing blog, Solidly Liquid!

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

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Quedeca’s “From Me to You” is Really, Really Good

Welcome, weebs, to Animated Observations

I don’t often talk about music on this blog, and when I do, its usually in relation to anime or video games. A lot of this is because the music I listen to outside of anime and game soundtracks is, well…repetitive, to say the least. Most of it is Trap flavored Hip-Hop which I mostly use as a way to pass the time to and from work or on errands, when I am not listening to podcasts anyway. I say this as a way of prefacing that I do not tend to consume a lot of experimental stuff. Still, the album showed up in my recommended on Spotify, and, well, here we are.

I was always vaguely familiar with the sort of YouTube Rap-scene that developed in the mid-2010s because of how much time I spent on the site, especially in high school. However, the scene never stood out as being a group of “serious music makers,” even to dumb 15-16 year old me. Quedeca, in particular though, while certainly being above average in terms of his flows, rhyme-schemes and delivery, never felt like he was doing anything special. As Anthony Fantano put it, Quedeca has always felt like more of a chameleon.

I tried revisiting some of his 2019 project “Voice Memos” just to see if there was anything there I had potentially missed, and while there are definitely shades of introspection in some of the bars on that, it pales in comparison to his latest project “From Me to You.” The album is 18 songs and clocks in at just under an hour of total run time, and while that is certainly longer than the average Rap project, it is absolutely worth every second.

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There is…so much going on here. Quedeca’s reputation proceeded him a lot while listening to this album. For the first few tracks of the album I was confused and though maybe I had put on something else, but no. This is very much his project, and I say that pretty literally, as it appears most of the album was written, produced, and recorded by himself.

The production on “From Me to You” is probably the most surprising element of the album, especially considering what his production has sounded like in the past. Experimental is probably the most accurate way to describe it, but even that does not necessarily speak to the precision in which the sonic elements of the project are employed. It truly stands out as being unique to this album, and not something I could find by going to a Kid Cudi and especially not a Lil Uzi Vert.

Part of that is the noise and distortion that is present throughout many parts of the track list. The most obvious example of this comes from the opening song “Sisyphus,” which also serves as the thesis statement of the album, both in the production and writing. A lot of it is used to emphasize the heavier moments and to transition between different sections of particular tracks, such as “Burnin Bridges/Long Day” featuring IDK and “It’s All a Game.”

There is also just a ton of variety when it comes to the musical instruments used. “Sisyphus” not only has well made vocal harmonies backing up the song, but has piano, acoustic and electric guitar, ukulele, and drums all within a five minute time span. The violins on the intro to “Smiling at the Ground” were another element that really heightened the effectiveness of the track, and added to the overall atmosphere of the album.

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Good production can only carry an album so far, however, and as surprising as the production of the album is, the writing is where the album really shines. Much of the album is littered with imagery of mountains and the idea of climbing them. “Sisyphus,” which I mentioned before, makes this most apparent, as the title is a reference to a Greek god who, after cheating death multiple times, is condemned by Zeus to push a boulder up a mountain for eternity. The invocation here is meant to represent the loneliness and mental health problems Quedeca is dealing with. One line in particular that stands out with the track is “Even our bickerin’ getting nostalgic, all of those little things meld into mountains in my mind, uh,” which expands on the metaphor he has created by implying that his past struggles are something that he has to climb past.

This can be seen as well with some of the interludes that appear at various points in the album. “Verglas,” whose title refers to a frost typically found on mountains, has a similarly cold, yet inviting atmosphere which leads into “Maybe Another Day.” “Hallstatt” references a small Austrian town located in a mountainous region, which proceeds the track “Work!” with PlayThatBoiZay.

A straightforward reading of this album would be Quedeca reflecting on a past romantic relationship in which he acknowledges the struggles his partner had to go through, the mountains they had to climb, so to speak, but ultimately still wishing they could be together. While that is definitely a significant portion of the album, songs like “Smiling at the Ground,” “People Pleaser,” and “Summit, Pt.1” seem to confront another aspect of his struggle, which is dealing with expectations created by the parasocial relationships which exist for someone who makes YouTube videos and music.

There also appears to be a pretty explicit critique of this “grind” mentality which has come to dominate a lot of places on the internet. “Work!” and “People Pleaser” do this fairly effectively by illustrating that this mentality, while maybe netting some monetary success, is ultimately harmful by linking productivity with self-worth. These ideas come to a head on “Summit Pt.1,” where Quadeca reiterates the idea that he, along with everyone, is destined to climb up the same mountains, carrying the same boulders with us, only to fall back down. There is also a version of the glass half-empty, glass half-full idea present in the refrain, where he says “And I’ve been lookin’ at the summit
They say we’re halfway there, I think we’re halfway from it.”

Now, I do not want to make anyone think that Quadeca is somehow unique in his experimental sound. I know enough about modern music to know there are plenty of other artists who are similarly experimental in there Rap. Brockhampton immediately come to mind, and even some of the featured artists like IDK have been exploring new sounds long before this album came out. Even within the sub-genre of Emo-Rap, there have been a lot of interesting developments, with artists like the late Juice WRLD being at the forefront.

Also, the album is definitely not perfect. As pretty as they do sound, almost all of the interludes on the project overstay there welcome just a bit too long. Also, while there are some lyrical and sonic connections to the rest of the album, the track “Where’d You Go?” feels almost entirely unnecessary, and in a way kind of lowers the emotional impact that “Summit Pt. 1” has while listening through the album.

For those who did not give this album a second thought because of the name attached to it, I totally understand. However, even for those who are not particularly big fans of Rap and Hip-Hop, there is enough going on in the production and writing of “From Me to You” that it is worth at least a try.


Well, this is definitely my longest post in a while. Not really sure why, but I just felt a lot of love for this project after hearing it, so I wanted to write about it. Have you all listened to “From Me to You?” If you have, what did you think? Let me know in the comments below.

If you are interested in reading more from me, check under blog to read my most recent stuff, or look below for some related posts. Also, if you would like to support Animated Observations, consider donating on Ko-fi or through paypal, or pledging on Patreon. You can even support by just liking and sharing this post.

Buy Me a Coffee at ko-fi.com

Check out my writing blog, Solidly Liquid!

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

The Best of Us, The Worst of Us, The Lot of Us: Carole and Tuesday

Welcome, weebs, to Animated Observations

For as much initial interest as there was in the show, it feels like “Carole and Tuesday” got tossed aside rather quickly. This is to say nothing of the quality of the show. After all, most who finished it thought pretty highly of it, if the cumulative score on MAL is anything to go off of. Rather, the subject matter of the show was something new for both Shinichiro Watanabe as well as anime fans in general.

This is not to say that Watanabe and those who enjoy his works have not experienced social commentary in the past. Pretty much all of his shows have that, especially one of his most recent works before “Carole and Tuesday”: “Terror in Resonance,” which followed the story of two would-be high school age terrorists trying to reclaim their lost lives in any way they can.

Carole and Tuesday,” though, is a much different breed. While it certainly starts out as a in much the same way as his previous work, vaguely alluding to the social ills of the present day, by the second half it turns into a straight up modern allegory about current U.S. politics, doing very little to hide it.

At the center of this Allegory are the show’s main characters, Carole and Tuesday, who serve as representatives of both the most well off and the least. Of the former, Tuesday is a young girl who wants to play music, but whose politician mom sees it as a waist of time. Realizing that she likely will not be happy in her current situation, Tuesday decided to run away from home, taking a suitcase full of clothes, her guitar, and a dream.

In the middle of downtown Alba City, Tuesday runs into Carole, an immigrant from Earth who wants to make it on Mars, but cannot seem to keep a stable income, and who is only able to stay in the city due to the generosity of a random old man renting out his storage room. The two meet on a bridge, at which point they start making music together, and then immediately run away as they get chased down by a cop.

The two of them mostly get along throughout the series, and they spend the majority of the first half in their honeymoon phase, trying to get their career of the ground and just enjoying making music. However, the second half of the series turns up the drama to 11, as it becomes less about Carole and Tuesday themselves and more about what each of their backgrounds represent.

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Tuesday’s mom, being a prominent politician, decides to run for president on a platform of limiting immigration and restoring Mar’s greatness. Sound Familiar? Not wanting Carole to think ill of her, Tuesday decides to keep this a secret. However, Tuesday is not the only one.

While Carole does reveal to Tuesday that she is an immigrant, she fails to mention that she came illegally, which causes her to worry about the prospects of Tuesday’s mom getting elected. The two eventually find out about the other’s secrets, but ultimately work things out. The show ends with a big musical number featuring most of the cast which serves as a celebration of Mar’s diversity and talent.

Something that upsets me about the ending of the show is the sort open-endedness of it, and the way it seems to imply that if people just come together and talk about things that they will eventually come to understand each other. While I do think that is true for certain people, it does not reflect the reality of U.S. politics, and comes across more as wishful thinking.

Though it certainly highlights the gullible nature of Trump through Tuesday’s mom and her criminal campaign manager, it feels like it is unwilling to make a systemic critique, and lays the blame on individuals instead. The real world problems the series highlights are not going to be solved by making music and holding charity events. Do not misunderstand, it is important to highlight these issues and the way demagogues scapegoat various groups as a way of cementing power. It just feels as though their was a missed opportunity to come to a more radical conclusion.


My own political persuasions aside, how do you feel about “Carole and Tuesday,” both the characters and the show as a whole? Let me know in the comments.

If you are interested in reading more from me, check under blog to read my most recent stuff, or look below for some related posts. Also, if you would like to support Animated Observations, consider donating on Ko-fi or through paypal, or pledging on Patreon. You can even support by just liking and sharing this post.

Buy Me a Coffee at ko-fi.com

Check out my writing blog, Solidly Liquid!

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

30 Day Anime Challenge Two: Day 18

Welcome, weebs, to Animated Observations

It is day 18 of the second 30 Day Anime Challenge.

#18: Favorite Character Transformation Theme Song

Ok, so I guess the prompt meant literal transformation. Hmmm… Well, if I’m being honest, very few true transformation themes have ever actually resonated with me, but speaking of resonance, I think I would have to go with “Psychedelic Souljam” from “Soul Eater.” While it can be argued about whether or not Soul Resonance is a transformation, I think it still fits broadly in that category because both Maka and Soul power up tremendously.

On top of that, the song itself is really incredible. Just like its name implies, it starts out with a very psychedelic feeling, but then slowly begins to build pase, just like how Soul Resonance actually works. Overall, the song is really fun and representative of the show it comes from.


What is your favorite transformation song? Let me know in the comments below.

If you are interested in reading more from me, check under blog to read my most recent stuff, or look below for some related posts. Also, if you would like to support Animated Observations, consider donating on Ko-fi or through paypal, or pledging on Patreon. You can even support by just liking and sharing this post.

Buy Me a Coffee at ko-fi.com

Check out my writing blog, Solidly Liquid!

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

It’s Hard Not to Feel Like Spinel Sometimes

Welcome, weebs, to Animated Observations

Steven Universe has long been known for its positive, uplifting messages about identify, respect, and loving others, and this year Steven Universe’s creator Rebecca Sugar continued that tradition with the newest edition to the franchise, Steven Universe: the Movie.

Compared to the show, the movie is similar in style in presentation but is definitely bigger in feel. In fact, going back to its musical roots, the movie has a soundtrack that nearly rivals the rest of the show in terms of volume, with loads of wonderful individual songs such as “True Kind of Love” and “Happily Ever After.”

The film’s story takes place two years after the season five finale, in which Steven is able to convince White Diamond that the very structure of gem society, along with her view of other gems, is fundamentally wrong, and that other gems should be seen as equals, rather than lesser beings. In those two years since, Steven, along with the other crystals gems, have managed to make earth a safe-haven for gems of all kinds. However, this newfound happiness is short lived, as a blast from Rose’s past soon comes to haunt Steven, and turn his life upside down.

Enter Spinel, the character at the center of struggle in Steven Universe: The Movie. When she arrives on earth and meets the Crystal Gems, she vows her revenge on them by destroying planet earth with a strange looking device. The device actually contains a poison that Spinel injects into the earth, which will destroy all life on the planet in 48 hours. At first, no one is sure who she is or why she has come to earth in the first place. However, after Spinel reminisces over her past with Steven’s mom, Pearl quickly remembers who she is. Before Pearl can give Steven any information, Spinel hits all of them with a weapon that resets the gems and erases their memories. A quick battle between Spinel and Steven leaves Spinel hit with her own scythe-like, memory-erasing weapon.

The rest of the film follows Steven’s struggle to restore the memory of not only her friends, but also Spinel, so that he can try and convince her not to follow through with her plan of destroying the earth. At first, Spinel’s original motivation seemed inexplicable. Why would she want to badly to destroy earth and get some sort of illusory revenge on Rose? By the end of the film’s second half it all becomes clear. In what is arguably the most popular song to come out of the movie, “Drift Away,” Spinel explains to Steven how she used to be Rose’s servant/playmate. However, after finally receiving her own colony on earth from the other diamonds, she tricks Spinel into staying on gem homeworld, never going back to check on her, never considering her feelings in the slightest.

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It is at this moment that Spinel’s feelings become much more justified. She spent literal thousands of years of her life standing around, waiting for Rose to return, wondering “am I doing this right?” All of that for someone who never really cared about her in the first place. Probably one of the most telling scenes is the one immediately following “Drift Away,” in which it looks as though Steven wants to defend his mom, but then quickly realizes that there is not excusing what she did.

Despite her character design being more reminiscent of 1930’s, what her story in Steven Universe represents is a problem that is still very much a modern one. Too often the trust that people put into others is betrayed, and it leaves those who have been wronged with feelings of self-doubt and worthlessness. This type of harm can come in many forms, from simple gaslighting on one end, to rape at the other extreme.

Another type of this betrayal of trust can come in the form of revenge porn, where a significant other releases explicit content of a person without their consent, an issue that has only been further highlighted with the recent high profile story of former U.S. Representative Katie Hill.

However, this kind of betrayal of trust does not even have to be of an extreme nature. In-fact, sometimes it can be as simple as finding out that people who seemed to be trustworthy friends turned out to be nothing more than liars.

The reason Spinel’s arc felt so powerful is because at the core of her story is that betrayal of trust. She lost who she thought was her only friend, and because of that felt like there was no way she could trust anyone again. At the end of her climactic battle with Steven, instead of finishing him off, she breaks down into tears, and begins to wonder what the point of it all is.

Well, the point is this: those who are the victims, those who have gone through abusive relationships, and those whose trust has been betrayed should not be the ones feeling bad. Yet, even as I write these words, I am under no illusions about what the reality of the situation is. The Spinels of the world will go on feeling like garbage. The same as always.


Have you guys seen Steven Universe: The Movie? What do you all think? Let me know in the comments.

If you are interested in reading more from me, check under blog to read my most recent stuff, or look below for some related posts. Also, if you would like to support Animated Observations, consider donating on Ko-fi or through paypal, or pledging on Patreon. You can even support by just liking and sharing this post.

Buy Me a Coffee at ko-fi.com

Check out my writing blog, Solidly Liquid!

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

Final Thoughts: Carole and Tuesday

Welcome, weebs, to Animated Observations

It took a while but I finally managed to watch the last episode of Carole and Tuesday, and I have a lot to say about it. So, here are my final thoughts.


Carole and Tuesday is aptly named after its main characters who come from two very different places. Carole is a refugee from earth who is barely making a living in Alba City, the capitol of Mars. Tuesday, meanwhile, comes from a affluent part of Mars, and has a politician running for president as a mother. One day, after realizing that her mother will never approve her desire to make music for a living, Tuesday decides to run away from home. After making it to Alba City and subsequently getting her stuff stolen after arriving, she meets up with Carole on a bridge. The two immediately hit it off after performing together and formally agree to make music together.

Expectations

I try with every show I watch and talk about to keep my expectations somewhat neutral, with varying rates of success. However, given the high profile nature of the show, with it being directed by Shinichiro Watanabe and being about musicians living on Mars, I got pretty excited.

It was incredible sitting down to watch the first episode and have not only a great premise but also an amazing musical scene right off the bat. A lot of different thoughts were running through my head, and I had a lot of hope that this show would live up to the hype of its initial episode, and I am glad to say that, for the most part, it did.

The Music

If there is one thing people have heard about this series even before watching it, it is probably the music, and just how incredible it all is. Which, one might reasonably expect given that it is a show about the lives of two musicians who form a band. However, for those whose tastes tend to be on the pickier side when it comes to music, this show might not be as appealing. The range in genre, while overall pretty big, mainly tends to focus on a more pop sound, which is represented largely in the main characters Carole and Tuesday.

Despite this though, the music overall tends to be really well done, and even the pop sounding stuff sounds much better than a lot of stuff on top forty radio. Denzel Curry specifically did a great job when it comes music of rapper Ezekial. While not having to large an involvement in the show, really only showing up in the later quarter of the show and doing two songs in total, Curry’s voice and more lyrical leanings made it incredibly enjoyable.

I also want to give props to Lauren Dyson, the vocalist for Crystal, for their amazing work. I will totally admit that I have been bumping “Unbreakable” nonstop in my car ever since I heard it while watching the show. For being the only real representation of R&B in the show, she does a fantastic job.

Carole and Tuesday as a Political Conversation

One thing that kind of irked me about the first half of Carole and Tuesday is that the fact that they are on Mars is kind of irrelevant. In fact, for the first twelve episodes, it is only referenced a handful of times, and it is usually only as a reminder of Carole’s past. A lot of the writing just kind of went to waste, that is, until the pieces are put together in the second half.

As the episodes continue it becomes much more obvious that seemingly innocuous background information like the fact that Tuesday’s rich mom is running for president, or that Carole is an illegal earth refuge starts to come into focus. What started as a show about two girls wanting to escape their problems and create music together becomes a much more outwardly criticism of politics of the modern day, specifically in America.

Now for those, who do not think this is in anyway a critique of American politics, tell me if this sounds familiar: A political elite runs for president as an outsider, with the help of a few unsavory figures, running on a platform of destroying trade deals and deporting illegal aliens. While it is true in this instance I am describing Donald Trump, I am also describing Tuesday’s mother, who ends up being the main reason for the outwardly political shift in the show’s story.

Immigration ends up being the main focal point of the later half. Tuesday’s mom, at the behest of her resident shady character and political consultant Jerry promises during her campaign for president of mars that if elected she will deport all illegal immigrants and refugees. This promise, being something that would directly affect both Carole and many of her friends, leads both Carole and Tuesday to work towards creating change.

The Finale

From the beginning of the first episode up until the second to last, the show builds up the final moment of the show, “one that would go down in history on mars.” Part of the reason I talked about expectations earlier on was because of this. A moment in the show so important that the writers decided it was worth building up in the first episode should have a serious impact.

However, I feel like overall it is a bit of a letdown. The final scene features artists from all different walks of life, many of whom Carole and Tuesday meet on their adventures throughout the show, gathering together in secret to stream a live performance of a new song that opposes Tuesday’s Mom’s divisive rhetoric. The song and the performance thereof are both handled really well. Some of the characters animations during the song seem to contradict the very serious nature of the song, however, and makes it a little bit awkward. Still, for a scene that was built up for the entire show, it made me feel a little underwhelmed, largely because of the supposed importance. If the show had made more of an effort to make immigration a more important part of the underlying story, as opposed to starting this arc halfway through, it would have had more of an emotional impact. I will admit that I think this opinion has much more to do with my expectations than the fault of the show itself, although I do think changing those things would have made the show better.

Conclusion

There is a whole lot more I could talk about when it comes to the show, from the subplot with Angela, to the implications and importance of the show’s message, but I would much rather not spoil it. While it does have some noticeable flaws when it comes to things like animation and storytelling, it is an overall worthwhile experience that I highly recommend checking out for yourself.


How do you all feel about Carole and Tuesday? Let me know in the comments below.

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Carole and Tuesday Episode One Reaction

Welcome, weebs, to Animated Observations

Alright, so mini-rant before I talk about the show. I’ve avoided talking about some of the seasonal shows because they have been picked up by Netflix, and have not had an opportunity to watch them. This is because, as an American, I don’t have access to any of their anime simulcasts, which, tbh, is really annoying, and I still have not a modicum of an idea as to why they don’t do this. Point being, I didn’t want to have to pirate anything so I just didn’t watch them. But, at this point, since Netflix has just decided to not to give me or anyone else in America, I just found another way. I still will not promote pirating myself and don’t agree with it, but in this case I don’t blame anyone who does. Anyway, onto the show.


Music in anime is often something that gets explored solely through idol shows like Love Live or Uta no Prince Sama, or otherwise serves as a more cohesive aesthetic like in Samurai Champloo. However, Carole and Tuesday seems to be taking a much different approach to its musical based story.

Set in the future on Mars, where most music is produced by big companies and AI, the show follows two main girls. Tuesday is an upper class girl who’s parents forbid her from playing music, and who, because of this, decides to run away. Meanwhile, in the city of Alba, Carole spends her days trying to find steady work in order to eek out a living in the big city. The two cross paths when Tuesday hears Carole humming and playing her piano on a bridge. The two run away from a cop and meet back at Carole’s place, vowing to take on the world and make music together.

If there is one thing I have learned about the anime industry over the course of my talking about it, it is to trust in the quality of a Watanabe, and Carole and Tuesday certainly does not disappoint. The show’s opening episode brought a lot of things to the table.

The first thing it brings is its excellent animation and color pallet. The city of Alba specifically is colored in a way that makes it exactly as Carole describes it, “a city where nobodies come to be somebodies.” In that way it is very much like the New York City of Mars, serving as a beacon of hope for the tired and distraught. The character designs for both of the main characters are also incredibly cool, especially in the way that they both reflect the characters backgrounds. Tuesday, coming from a more privileged background, wears a fancier dress, while Carole, having nothing to her name other than her keyboard and her pet, wears a simple pear of overalls.

There is also the character of Angela, who seems to serve a contrast, and who seems to be a potential rival to the girls in the future. Angela is a model who is looking to break into the music business, and who does so with the help of Mr. T, a heavy-hitter in the mars music business, who tells Angela that most of the successful musicians in recent history have been AI.

Definitely the most notable scene in the first episode was when Carole and Tuesday started playing music together, at first messily, but then slowly coming together and making a beautiful song.

Overall, it was a great first episode and I definitely excited to see what the rest of the series brings.


How do you guys feel about Carole and Tuesday? Let me know in the comments below. Also if you would like to support The Aniwriter or are just feeling generous, consider donating on ko-fi or using one of my affiliate links down below:

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Check out my writing blog, Solidly Liquid!

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

Re:Creators Episode 1 Reaction

Welcome, weebs and authors alike, to The Aniwriter.

After talking about shows that I was really anticipating watching, I decided to finally get around to watching said shows. I’ve already finished The Great Passage, so the next show on my list is Re:Creators, and after watching the first episode, I have to say I am very intrigued.

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For those who don’t know, the show’s premise revolves around a modern-day Japan in which one day, characters from different works of fiction including manga and anime start to come to life. At the center of this ordeal is Sota, a young boy who wishes to become an artist himself. But one day, after trying to watch an episode of “Elemental Symphony of VogelChavalier,” he finds that the show’s main character has been transported to his world.

The show’s premise is already super interesting, but so far its execution has been even more stellar. The show’s main villain, who so far has yet to be introduced, is probably the most interesting out of everything. It is established that while Selesia, the main character of Elemental Symphony, has no idea why she is in another world, to begin with, the main villain seems to have all the answers.

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Also thought her referring to the real world as “the land of the gods” was interesting as well, because, for Selesia and the other characters, it is true. Because they are fictionally being with stories being told purely for human entertainment, they are just people’s creations, and so in a fairly literal sense, the people who create the stories they appear in are gods.

The show’s music is also a selling point that I have previously mentioned a lot, and it did not disappoint. Not only was the music itself phenomenal, but its timing in relation to the story was impeccable, and created an atmosphere that fit the narrative theme of the show fairly well.

Overall, I am extremely excited to continue watching the series, which I will still probably be doing by the time you read this post.


Have any of you seen Re:Creators? What did you all think of it? (Please no spoilers). Let me know in the comments below. Also, if you want to support the Aniwriter through donations or are just feeling generous, consider buying me a coffee on Ko-Fi. Otherwise, thanks for reading and bye for now, Friendos!

30 Day Anime Challenge – Day 6: The Anime I Am Waiting To See

Hello, Anifriends

For today’s 30 Day Anime Challenge, I’ll be talking about an anime I have not seen but I really want to.

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There are a lot of contenders for this category, especially since there is so much from past seasons that I just have not had the time to watch. One contender ultimately stood out though, among the massive ocean of things that I have been anticipating.

That show would be: Re:Creators

ReCreators

Most of what I know about this show has come from people who have heaped almost exclusively praise on top of it. While I am sure there are flaws with it, as has been pointed out by many, I just cannot help but be fascinated with the idea of anime and video game characters coming to life for a battle royale. Sure, battle royale anime are a bit overdone at this point, but the themes that seem to be present in the story make it a very compelling show.

Another reason I want to watch it though is because of the soundtrack. Like, my god is Hiroyuki Sawano good at making music. I remember a solid week of listening to the soundtrack of this show non-stop after I first hird it, without having seen the show. I still actively listen to the both the OPs and Jam out whenever them come on a playlist. Now that I think about it, I might end up doing an Opening of the Week post about them before I even see the show. Guess I should hurry up on that.


What show are you waiting to watch? Let me know in the comments below. Also, if you want to support the Aniwriter through donations or are just feeling generous, consider buying me a coffee on Ko-Fi. Otherwise, thanks for reading and bye for now, Friendos!