#i might not get a new amazarashi song

[empty-dream]

Antinomy // Black Box

[dimobserver]

I was tagged in this song tag game by @aomitois, thank you! ^^

Rules:  Set your music to shuffle and write down each song you get for  the “thirteen scenes”. Tag whoever and as many people as you’d like! Or  if you’d prefer, just write down the first thirteen songs you get from  your shuffling! Anyways here we go!

Title Scene: Yasashii Suisei- YOASOBI

 (the lyrics somehow fit with what happens from the car scene later on)

Waking Up Scene: Piano Dorobou- amazarashi

waking up in a bleak reality

Falling in Love Scene: Lost in Paradise- ALI ft AKLO

not much about falling in love itself, but it’s still about fighting for one’s happiness, so i guess this counts?

First Date Scene: Injection- Rise Against

a continuation, but this might be too intense; quite a desperate first date and they fall fast

Fight Scene: Rapture- Panorama Panama Town

if there’s a fight there, i feel like it’s about a difference in their worldviews

Tragic Death Scene: Kono Machi de Ikiteiru- amazarashi

it may be a tragic death, but whoever died must have been content with their life- unless it’s the killer who is?

Mental Breakdown Scene: Enemy- Imagine Dragons

maybe the main character is the one responsible and this all takes a dark turn

Series Monologue Scene: We Will Not Go Quietly- Sixx:AM

a decision has been made and their new lover joins them

Flashback Scene: Train Wreck- James Arthur

this would really fit as a title, with how the plot is developing;

apparently going against the world isn’t going that great

Driving Scene: Nandemonaiya- RADWIMPS

i guess it will be this kind of emotional driving scene that might end up in goodbyes?

Kissing Scene: Ostatni Romantyczny Zachód Słońca- szymonmówi

both incredibly fitting and unsettling

plot-twist: instead of sad goodbyes it gets an even darker turn and we get a creepy final goodbye

Party Scene: Anta e- amazarashi

はやく　涙拭けよ　笑い飛ばそう　僕らの過去 

Wipe your tears, and let's laugh away our pasts

行くあても帰る場所もないから　頭の中に僕の居場所を作った2 そこで笑っている父や母や恋人が かつての面影だと気付いて途方にくれる

I’ve got nowhere to go and nowhere to come home to,

so I made a place for myself inside my own head.

And in there, my father, mother, and lover are all smiling,

but I didn’t know what to do, when I realized they were only shadows of the past.

so they went partying

Ending Scene: Vent’anni- Maneskin

my guess is the main chara moves on, has a sudden redemption that shouldn’t have suddenly happened during a timeskip and becomes a better person; manages to get away with everything and just lives freely

That was fun, i definitely didn’t expect it to turn out this way xD

surprisingly all of the songs that showed first when on shuffle are ones i haven’t listened to for a while too

tagging: @p0l-anka, @1-800-i-ship-it, @shinonomebrainworms, if you’d like to ^^ also anyone who sees this and feels like joining

[kenkamishiro]

20190318 Translation of Ishida and TK from Ling Tosite Sigure’s interview

I wasn’t expecting another interview with Ishida, since there will already be a bunch with him and the artists in the TG compilation album, but here we are. Very interesting discussion on Ishida and TK’s creative processes, so I highly recommend reading it!

If I’ve made a mistake or mistranslated something, please let me know.

Original interview can be found here.

Ishida × TK from Ling Tosite Sigure - Everyone is suffering and fighting against something

[Tokyo Ghoul AUTHENTIC SOUND CHRONICLE Compiled by Sui Ishida] Interview text by: Kaneko Atsutake Editing by: Yajima Yukako (CINRA.NET Editorial Department)

The Tokyo Ghoul anime reached its conclusion late last year after being broadcasted over 4 cours. The compilation album "Tokyo Ghoul AUTHENTIC SOUND CHRONICLE Compiled by Sui Ishida" that assembles the theme songs from the anime sets itself apart from the typical anime soundtrack. As the phrase "Compiled by Sui Ishida" implies, the author of the original work Ishida Sui himself was responsible for directing and curating the songs used in the anime. From the lineup of recording artists including TK from Ling Tosite Sigure, People In The Box, österreich, amazarashi, Cö shu Nie and Ziyoou-vachi, Ishida's ideas and Tokyo Ghoul's view of the world are conveyed in a distinct manner.

What each of these artists have in common are, to borrow Ishida’s words, “the impression that they are fighting against something,” and to borrow TK’s words, “scraping away a part of themselves to give birth to their creations.” As Ishida states during the interview, he projected himself too much onto his protagonist Kaneki Ken, and during the serialization of his manga he physically and mentally drove himself into a corner. However, it may be safe to say that the intensity of confronting oneself in a way that only creative works can possess is what led to Tokyo Ghoul becoming such a huge hit.

I asked Ishida and TK, who provided the two songs “unravel” and “katharsis” for the anime, to speak about each of their creations and their approach when it comes to confronting themselves.

When I heard about the compilation album, I was reminded once again that it’s rare for an anime to have theme songs that clearly reflect the vision of the original author.

Ishida: At first I didn’t know much about how anime theme songs were decided. I’m pretty sure it’s something like, “The partner company is here, let’s work with this artist,” but when the anime was green-lit, I just kept repeating, “This is what I like, I want to work with this artist.”

TK: I think what’s unique about Tokyo Ghoul is how well its musical appeal can be expressed. I don’t know how it works, it might just be nothing more than conveying what you love, but it’s probably surprisingly rare for the music and the original work it was derived from to be linked in such a genuine way.

What’s more, that musical appeal of Tokyo Ghoul has been conveyed worldwide. There’s a ton of cover songs uploaded on YouTube after all.

“unravel” (opening theme of the TV anime “Tokyo Ghoul”) placed 3rd on “Most Played Songs of Domestic Artists Overseas in 2018″ presented by Spotify.

Ishida: TK-san, have you seen the cover videos on YouTube?

TK: They get sent to me if it stands out. Sometimes they’re already up only a day after the original song is released. A pretty amazing feat even if it’s just replicating the song (laughs). Whenever I see that, I can really feel just how much of an influence and pull Sui-san has.

When I was asked if I could listen to the album, I felt that the lineup was very consistent with Sui-san’s feelings, despite each band having their own different philosophy. Ling Tosite Sigure and People In The Box (hence referred to as “People”) are completely different. People and Ziyoou-vachi are completely different, but I can tell that Sui-san felt something from them. It’s because you can see the work and the people behind it, that I became interested.

I’m not really interested in omnibuses, after all (laughs). If the selections aren’t made with a clear intention in mind, it just becomes a jumbled mess.

Ishida: I agree.

TK: But when I think about how your manga was born and grew together with these songs, I can listen to the flow of them in great depth. I thought it was fascinating how it feels like these songs embody Tokyo Ghoul from beginning to end.

Sui-san, did you have some sort of criteria when deciding which artists you wanted to participate?

Ishida: At first I was thinking of a “person who looks like they’ve suffered, with an androgynous voice” kind of image...but that went out the window because of groups like Cö shu Nie...a serious disposition then? As if they’ve been fighting against something. I have that feeling inside me too, so I feel like this is my way of empathizing with them.

TK: When I’m listening to an album, it feels like a part of themselves is being scraped off no mater what song I’m listening to. Even though Ziyoou-vachi’s sound is very upbeat, you can feel how delicate Avu-chan’s (Ziyoou-vachi’s vocals) voice is. You can definitely hear it in each song, whether it be fighting or suffering.

TK: It seems like this time you’ll be talking with various people (the CD booklets contain conversations between Ishida and all artists participating in the album. The conversation with TK contains a different version than the one shown in this interview). I’m sure you’ll be talking a lot about creative works and music with the others, so I thought I’d talk about something else, are you fine with that? (laughs) I think even the people who love Tokyo Ghoul don’t know anything at all about Sui-san as a person...though I’m not in a position where I can talk about people (laughs).

Ishida: Yeah. I want to hear about you instead (laughs).

TK: But I’m worried about you. Didn’t you mention once before that you were only eating chicken tenders?

Ishida: Yeah, I remember. There was one time where I didn’t take in any carbohydrates and only lived off of chicken tenders. And recently I’ve been eating paprika raw.

TK: You’ve on a whole new level now (laughs).

Ishida: And after, something like celery. I began thinking I needed to eat more vegetables, but because cooking is such a hassle, I’ve been eating anything that looks nutritious raw like celery or paprika. It’s not like I’m eating a ton of it, I’m just standing around for a bit munching on paprika every now and then (laughs).

TK: Munching on paprika every now and then, what kind of life is that? (laughs)

Ishida: I’m sitting down all day since I’m writing, drawing, and doing menial tasks for long periods of time. So the stimulation from standing up and walking around eating something reduces my stress and passes some time.

TK: Do you complete your work in your studio?

Ishida: I wouldn’t call it a studio, but yes, when I shut myself in there I do. When I was serializing my manga weekly I wouldn’t have any time to go out, so I’d move around as much as possible inside the house, or even walk a block around the neighbourhood for a few minutes. That was my life.

Between when your manga was being serialized and now, your pace of life must have changed as well.

Ishida: It’s completely changed. I have so much free time now (laughs).

TK: Have your thought patterns changed? Yesterday I just completed my next song “P.S. RED I” but while I was working on it I was constantly thinking, “What do I do about the lyrics? How can I arrange the instrumentals while I’m doing the mixing?” That song took up most of my brain space, but when I’m not doing anything creative my thought patterns drastically change.

To me it feels like serialization goes on forever, so my concern is about the thought patterns during that period. Plus when that suddenly comes to a stop, would you be struck by a sense of emptiness, or the contrary, where the next thing you want to work on will appear right in front of your eyes? I wonder which one it would be.

Ishida: I was emotionally unstable every day soon after my series ended. The moment I finished I was like, “Is it over?” and I was in bewilderment for half a day or so until it finally sank in and the next day I was thinking, “I did it! It’s really over!” Instead of feeling accomplished, I felt free because I didn’t have to draw anymore (laughs).

But that feeling lasted for a few days, and after I became scared since I didn’t have anything to do now. “Huh? What am I supposed to do now?” While I was serializing my manga I was so sleepy that if I laid down I could pass out in two seconds. But now that it was over, I couldn’t sleep because I was so tired, and I ended up having insomnia for about a month.

TK: So your next idea didn’t come to you right away.

Ishida: That’s right. Rather, I came up with concepts during my serialization. The busier I was, the more I wanted to do something else, the more I wanted to draw another manga. While my manga was serialized in Weekly Young Jump, I’d say weird things in my head like, “I wonder if this can’t be serialized in Weekly Shounen Jump?” (laughs) I might have a hot idea and think, “I want to build more on this,” but once your serialization ends, that incredible feeling disappears.

TK-san, how do you feel once you’ve finished a piece?

TK: That I’ll never be able to make another one again. That’s what I’ve been thinking ever since the second album (released in 2007). Since the title of that album is “Inspiration is DEAD” (laughs).

Ishida: Really!? (laughs)

TK: I’ve started thinking about it again recently, but it’s something that I’ve always thought about for a long time. But now I’ve come full circle and started to think the contrary, “What if it [inspiration] might not be dead?”

But I think it’s true that it’s when you’re chasing after something that inspiration really hits you. Since my mind is moving at a lightning speed right before finishing a piece, it’s during those last moments that I find lots of things I didn’t notice before. And because I can’t bring myself to overlook them, I end up saying, “Give me another hour.”

Ishida: I totally understand. I always end up noticing or adding in new things right before the deadline.

TK: Every time I think, “Why didn’t I notice this in the beginning?”, but it’s never noticeable then. There’s certain revelations that unfortunately only come at the very end.

Ishida: It is unfortunate.

In the beginning we talked about having “fighting against something” in common, and Sui-san said, “We don’t know what we’re fighting against.” But if you think about it, I wonder if it can be phrased as “fighting against ourselves” or “confronting ourselves”. What do you think, TK-san?

[T/N: This wasn’t mentioned in this interview, so they may have been talking about this during the other Ishida x TK interview that will be in the TG compilation album.]

TK: I don’t think there’s anything like that inside of me.

Ishida: Oh really?

TK: “Can I create music from within my empty self?” That’s where I’m starting from.

I mentioned earlier about how once I’ve finished creating a piece, I think about how I won’t be able to do it again the next time. But by then I’ve dug deep down into myself, deep down to the very bottom, grabbed everything I can, and after coming back up to the surface, I’m in a state where I’m devoid of anything inside me. I’ve been gradually digging deeper, digging in different places, and just barely writing new pieces. It feels like I’ve dug all the way to Brazil once I’ve finished digging (laughs).

Ishida: You’re gonna split Brazil in half (laughs).

TK: If I’m given a story based off an anime like now, I can just throw myself out there because the story already exists. But when I’m making my own creation starting from scratch, I have to confront my empty self and start asking myself, “What do I want to create?”

That’s why I’m so happy once I’ve grabbed onto something, and the moment I think, “This might be it,” I feel like I’ve been saved. That’s when I’m truly able to feel that I still have something I want to hold on to.

Can Tokyo Ghoul also be considered a work that you’ve dug deep into yourself in order to draw?

Ishida: Tokyo Ghoul is a work that almost has a “me, myself and I” kind of mentality. I should’ve just tried drawing an ordinary manga from the start. Like an average everyday manga (laughs).

I didn’t know much about manga, I just wanted to start my manga right away without any self-reflection. But when I started drawing it, I had to face myself a lot more than I expected. I found it very tiresome, not understanding the nature of my roots, not being able to draw unless I dug into myself in various ways.

TK: What volume were you on when you realized that?

Ishida: I think it was a bit before OG volume 7? I was very conscious of it in volume 7, so I decided that I had to suffer. I came up with the idea of torturing Kaneki, and because I thought I wouldn’t be able to draw it if I didn’t do the same to myself, I drove myself into a corner.

How did you do that?

Ishida: To put it simply, by just not sleeping and working non-stop. At the time, I slept so little that I’d lost my sense of taste. But I thought that by doing that I’d get closer to Kaneki, so I continued to step it up, letting it become a part of me more and more, until I was no longer in the right state to draw manga. Actually, there was a time where I was just barely drawing for a while. That was the first time I thought that creating was dreadful.

TK: To me it feels like what you experienced up to your sixth volume is similar to my experience with my first album. For my first album, because I was drawing on a blank canvas, I could create freely without a thought. Because at first there was definitely something on the canvas that I could see, it could take form if I placed something there.

However, once you’ve got something down in the middle of the canvas, when you start drawing on it again, it’ll depend on my choices as to how to expand the canvas, where I should draw.

Ishida: I see.

TK: There was this one moment where although Kaneki had looked in front of him until now, he could no longer see what he wanted to do because he had retreated deep into himself. I think that’s close to how I felt regarding my second album.

After all, it’s really difficult to continue on from there. In my case, it’s whenever I’m writing a new album, but in the case of manga, when I think about how you have to write a new chapter every week...it leaves a weird taste in my mouth.

This may be hasty to ask, but now that it’s been a while since your series has ended along the anime having concluded, how are you thinking about the concept of your next work?

Ishida: I won’t have an easy time starting it if I don’t have a firm objective in mind. I know it’ll be difficult for me to get started, so I need a really good reason and some degree of preparation.

Isayama Hajime of Attack on Titan also says something similar in “Jounetsu Tairiku”.* He said, “But I probably have to start over again,” and I thought, “Is that so, that sucks.” (laughs) So right now I’m in the middle of searching for a reason, the significance of it, my next motivation.

[T/N: “Jounetsu Tairiku” is a documentary. Isayama had an interview with them back in November 2018 which included talking about Attack on Titan’s final arc.]

TK-san, once you made your first album and felt empty for the first time, what did you find was important to help you move on and start your next work?

TK: It’s really tough for me since I have to scrape off a part of myself when creating something, but I feel very strongly that I only exist in my songs or during live concerts. I’ve got the sense that I really might disappear if I quit, so I can’t stop.

Even if I say I feel empty, if my empty self disappears, then I truly will disappear. I think it’s also different from motivation, but it’s because I feel that way at a cellular level that I can continue to keep making my next piece.

End of the interview.

[theempresskaizer]

Tagged!! 30 Questions

tagged by two lovelies @kakihoden, and @arimii​ (smooches you both, may strength fill your bones and happiness take root and grow from your hearts)

Nickname(s):  Ythmir, myusername works fine too

Gender: Female

Sign: Scorpio

Height: hmmm im not sure, 167cm?? 165??

Time: 11:50pm, otherwise known as that time i somehow regret drinking that espresso but also am vibrating with energy so yeahhhhhh

Fav band(s): too many to even remember properly anymore tbh and on the top of my head, Panic@theDisco, FOB, Maroon5, Kamisama I Have Noticed, Florence and the Machine, Dimitri Vegas & Like Mike (lmao i consider them a band in the loosest sense of the word ig uess), Kaleo, The Rigs, Amazarashi

Fav solo artist(s): mafumafu, S!N, SymaG, Deadmau5, Karmina, un:c, araki,  Megaterazero, and so much more i cant even list them all but im currently just browsing youtube for utaites so if you know a random singer with lots of personality to their voice hmu

Song stuck in my head: cover version of Roki by amatsuki feat melost, and Inochi ni Kirawareteiru cover by mafumafu, boi i got the feels

Last movie I saw: i.... i have not seen a movie since last year... ;A;

Last show I watched: i rewatched the ikemen sengoku anime haha

When did I create my blog: April 2011 (s w e a t s) and my sideblog around April 2016 

What do I post: reblogs mostly on my main, and writings on my sideblog!

Last thing I Googled: complete list of utapri cards released for the mobile eng version because i am a nerd and i need a database to look at

Do I have any other blogs: yeah my sideblog! check it out for fanfics and original writing if youre bored, maybe?

Do I get asks: H A R D L Y D: prompt me people!! on my sideblog! do itttttt

Why did I chose my URL: it’s my oldest OCs name and my title haha, i chose it because im bad at choosing names and think im a clever lil shit

Following: 874 (a mess, i know) (i cut it down to 700 but end up following a bunch again and at this point i might prune it again)

Followed by: i havent even reached 500 beh haha

Average hours of Sleep: 6-8, any less and im bound to be malfunctioning

Lucky number: i have just the worst luck im just i dont know :/ fortune does not smile upon those who are grit their teeth and dig their heels and scowl because they cant win at rockpaperscissors

Instruments: once upon a time i tried learning the guitar. now i just do rhythm games. do they count?

What I am wearing: pajamas and my sins

Dream job: writingwritingwritingwritingwriting, basically telling stories and using words to convince people that hey look up and see the magic around you, you know

Dream trip: anywhere with history which is basically every nook and cranny of the planet but in particular i want to go to places where people move and live and breathe and learn about them. there’s so much to learn and so little t i m e ! ! you stand there and you look at them and you realize that so many of them have layers and layers of history and you just want to know who they are and what they do and sometimes you press your ear to the walls and they whisper back.

Fav food: anything that does not have mayonnaise (DISGUSTING)

Nationality: w h o knows?? 

Fav song: atm i am listening on loop to: Nonsense Literature as sung by Mafumafu or un:c; Dramaturgy as sung by Rib, I thought I was an angel as sung by S!N, and Roki as sung by amatsuki, someonen gimme new music

Last book I read: currently trying to finish And I Darken by Kiersten White, i find it compelling bu t where do i buy the time to finish???

Top 3 fictional universes I wanna join: let me into anything that has urban fantasy or with dragons, or better yet BOTH, let me have my lovelies

Blogs I would like to get to know better: despite the unfortunate fact that i am not the most consistent presence on here and i am a really awkward entity i have been looking at a few new blogs so if you dont mind me barging in unceremoniously into your internet lives, lemme have it:

@shadowfairyy , @countdowntocake ​, @shadycupcakestrawberry ​, @acrispyapple ​, @rizosrojizos ​, @oh-my-otome ​, @pseudofaux , @nobume-dateand @dreamscapesin1582, and at all the people im struggling and too shy to tag because i admire you all

[recentanimenews]

Anime Opening Songs Guaranteed to Lift Your Spirits

Anime soundtracks are a huge reason why I developed such a lifelong love for music. Growing up, me and my siblings had anime opening (and ending) themes on endless rotation. Armed with an array of blank cassette tapes, we used to hold a stereo up to our TV and delicately record anime tunes from VHS recordings. I remember so many hours spent hunched over that stereo, listening intently to those songs. Somewhere in the sounds of those slightly warped, low-quality recordings, I found a deep sense of peace and joy whenever I felt lonely and hopeless.

There are plenty of difficult and terrible things in our world today, and it can be hard to find reprieve. In the midst of painful times, it's important to still find warmth and beauty where we can. Here's a list of nine anime opening songs — both old and new — that bring me comfort time and time again. Though some of these songs might also bring tears of joy, each tune carries an inspirational drive toward feelings of hope. Let's dive in!

  "Butterfly" by Kouji Wada — Digimon Adventure tri.

    With its simple yet effective guitar riffs, "Butterfly" is the fantastic opener from the beloved anime's first season, and it brings back heaps of nostalgic memories for me. The Digimon Adventure tri. version in the link above contains the same touching magic that made the original version so fantastic: soaring vocal work by the late Kouji Wada (RIP). This is undoubtedly one of those rare songs that blissfully conjures a sense of bittersweet longing, resolve, and hope.

"Just Communication" by Two-Mix — Mobile Suit Gundam Wing

  I was first exposed to Mobile Suit Gundam Wing, like many others, when it aired on Cartoon Network's Toonami. The Toonami version axed the incredible original intro, and "Just Communication" along with it (though we were still treated to a pretty amazing instrumental version for the ending US credits). Two-Mix's synth-based brand of J-Pop perfectly nails the sort of sounds you'd imagine in a mech-filled future. The song also shifts through an emotional palette fitting for the Gundam universe, going from upbeat fight-mode intensity to contemplative verses that echo feelings of love and sadness. Bittersweet moments notwithstanding, "Just Communication" is a timeless anime opener that will get you fired up to duke it out— Wing Zero style — with whatever life throws your way.

"Sora ni Utaeba" by Amazarashi — My Hero Academia

Going off an entirely unscientific poll, "Sora Ni Utaeba" seems to be fairly underrated compared to other My Hero Academia openers (which are also fantastic). This track serves as the opening tune that covers some of my favorite moments in the series, from Todoroki reaching greater self-understanding, to the unforgettable battle with Stain. "Sora Ni Utaeba" is a propulsive anthem you shouldn't miss.

"Silhouette" by KANA-BOON — Naruto Shippuden

This Naruto Shippuden theme really took the internet by storm. Covers of KANA-BOON's electric "Silhouette" abound on YouTube, along with tons of memes related to the track (and let's not forget the pretty sweet Avengers: Infinity War fan-made video too). Even though it might suffer a bit from online oversaturation, "Silhouette" still stands out as one of the most motivational — and memorable — shōnen tunes ever made.

  "Great Days" performed by Karen Aoki and Daisuke Hasegawa — JoJo's Bizarre Adventure: Diamond is Unbreakable                          

  It was really really hard to only pick one JoJo's Bizarre Adventure song for this list. Every season features inspirational openers, but "Great Days" is probably the peak for me. There's an especially buoyant, optimistic quality to the chorus that can instantaneously brighten my day. Also, the upper key change in the final section is *chef_kiss.png.* "Let the voice of love take you higher," indeed.

"Gurenge" by LiSA — Demon Slayer: Kimetsu no Yaiba

  LisA is quite prolific in the world of anime. Her songs have been featured in shows like Fate/Zero, My Hero Academia, and Sword Art Online. But for me, Demon Slayer: Kimetsu no Yaiba's opener "Gurenge" is undoubtedly her crowning achievement. "Gurenge" is the one opening anime song in years that straight up floored me when I first heard it. I also can't stress enough just how flawlessly the song pairs with Demon Slayer's opening visuals. And whether or not you're a fan of Panic! At the Disco, this video of Brendon Urie crooning along is a very apt example of the song's indisputably powerful and infectious vibes.

"Cruel Angel's Thesis" performed by Yoko Takahashi — Neon Genesis Evangelion

    While many people think of Neon Genesis Evangelion as a gloomy soul-wrencher doused in religious and philosophical symbolism (not saying this as a pejorative, as I consider NGE to be the best anime of all time), the same depressive qualities can't be ascribed to the show's iconic opening song. "Cruel Angel's Thesis" expresses the sort of resolve and strength you wished Shinji could find. It's also beyond impressive that the song is still just as moving as it ever was, even after years of an almost inescapable amount of online spoofs and memes. If you want to feel like you're hopping into an EVA unit with your A.T. field at maximum and guns ablazin', look no further.

"Moonlight Densetsu" — Sailor Moon

For most people, this unforgettable classic is likely the first song to come up whenever anime music is mentioned. What's not to love? It has thumping early '90s drum fills, sparkling synths galore, and a jaw-dropping central melody that can make any musician green with creative envy. I'm not being hyperbolic when I say that "Moonlight Densetsu" has been dear to me in just about every phase of my life. And I imagine its vibrant sense of celestial wonder will continue to motivate me — and many others — for years to come.

"Hohoemi No Bakudan" by Matsuko Mawatari — Yu Yu Hakusho

    For me, this is the penultimate feel-good anime opener from a quintessential '90s anime. "Hohoemi no Bakudan" really delivers on every level. Prince-esque guitar riffs, groovy basslines, keyboard horns, and an indelible vocal melody to top it all off. It's unusual for me to call anything perfect, but this is one of those rare pieces of art that I consider flawless.

That concludes my list of anime bangers destined to lift your spirits. We could all use a little extra music in our lives during times of tumult, so I hope this list inspires you to relisten to some of your favorite anime openers!

Are there any other anime openers you'd include on this list? Let me know in the comments!                           Do you love anime? Do you love writing? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: news+feed@crunchyroll.com

[animeindoblog-blog]

My Hero Academia: Two Heroes Film Opens in U.S., Canada on September 25

New Post has been published on https://animeindo.org/blog/2018/07/21/my-hero-academia-two-heroes-film-opens-in-u-s-canada-on-september-25/

My Hero Academia: Two Heroes Film Opens in U.S., Canada on September 25

Funimation Films announced on Friday that it will screen the My Hero Academia: Two Heroes anime film in more than 400 theaters in the United States and Canada on September 25, 26, 27, 29 and October 2. Screenings on September 25, 27, and 29 will be in Japanese with English subtitles, while screenings on September 26 and October 2 will be English-dubbed.

Funimation and TOHO hosted a world premiere of the film with English subtitles at Anime Expo on July 5. The film will open in Japan on August 3.

Funimation describes the film:

The climactic finals are over, and U.A. is getting ready for the summer training camp. Deku and All Might receive an invitation from a certain person to go overseas to a giant artificial moving city called I-Island. This island, a kind of “science Hollywood” that gathers the knowledge of scientists from around the world, is holding an exhibition called I-Expo showcasing the results of Quirk and hero item research. In the midst of all this, Deku meets a Quirkless girl named Melissa and remembers his own Quirkless past. Out of the blue, the impregnable security system the island boasts is hacked by villains, and all the people on the island are taken as hostages! Now, a plan that could shake hero society has been put into motion! The man who holds the key to it all is the number one hero and Symbol of Peace, All Might.

New characters for the film include David Shield (voiced by Katsuhisa Namase), Melissa Shield (voiced by Mirai Shida), and Wolfram (voiced by Rikiya Koyama). Melissa is a quirkless girl whom Deku meets on I-Island, and her father David was a friend of All Might in his younger days. David is a scientist who makes hero support items, and Melissa works hard to follow in his footsteps. Wolfram is a leader of a mysterious villain team that aims to overthrow the Hero Society.

Participating theaters in Japan will give out “volume 0” (volume Origin) books to theatergoers, while supplies last. The book features a cover and a manga drawn by original manga creator Kōhei Horikoshi. The book also contains a “character description and analysis collection” of characters (including the new characters) who appear in the film, as well as a “secret dialogue” between Horikoshi and One Piece manga creator Eiichiro Oda.

Original manga creator Kōhei Horikoshi is credited with the original work, character designs, and as chief supervisor. Returning staff members include director Kenji Nagasaki at BONES, scriptwriter Yousuke Kuroda, character designer Yoshihiko Umakoshi, and composer Yuki Hayashi. TOHO is distributing the film. Masaki Suda is performing the film’s theme song “Long Hope Philia.” amazarashi‘s Hiromu Akita wrote and composed the piece.

Source: Press release