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Masterpiece Anime Showcase: K-On! The Movie (Eiga Keion!), A Review, Recommendation and Remarks On Serendipity At The Film’s Ten Year Anniversary

We’re buddies from here on out!
Pictures of us together,
Our matching keychains
Will shine on forever
And always, we thank you for your smile

—Tenshi ni Fureta Yo!

With its theatrical première ten years previously to this day, K-On! The Movie has aged very gracefully from both a thematic and technical standpoint. The film follows Houkago Tea Time shortly following their acceptance to university. With their time in high school drawing to a close, the girls attempt to come up with a suitable farewell gift for Azusa, who had been a vital member of their light music club. Feeling it best to be a surprise, they try to keep this from Azusa. When word nearly gets out, Yui, Ritsu, Mio and Mugi wind up fabricating that their “secret” is a graduation trip. The girls decide on London; after arranging for their flight and accommodations, the girls arrive in London and sightsee, before performing at a Japanese pop culture fair. Upon their return home, the girls perform for their classmates and finalise their song for Asuza. Simple, sincere and honest, K-On! The Movie represented a swan song for the K-On! franchise’s animated adaptation, making the extent of Yui, Ritsu, Mio and Mugi’s gratitude towards Azusa tangible: K-On! The Movie is a journey to say “Thank You”, and as Yui and the others discover, while their moments spent together might be finite, the treasured memories resulting from these everyday moments are infinitely valuable. Ultimately, representing the sum of these feelings is done by means of a song; music is universally regarded as being able to convey emotions, thoughts and ideas across linguistic and cultural barriers, and so, it is only appropriate that the girls decide to make a song for Azusa. However, Yui and the others initially struggle to find the right words for their song. It is serendipitous that a fib, done to keep Azusa from knowing about her graduation gift, sends the girls to London. During this trip, Azusa undertakes the role of a planner. She handles the logistics to ensure that everyone can visit their destinations of choice and on top of this, fit their travels so that they can honour a commitment to perform at a festival. At the top of her game in both keeping things organised, and looking out for Yui, Azusa is exhausted at the end of their travels. Once they agree to writing a song, Yui, Mio, Ritsu and Mugi set about composing the lyrics for it. When they begin to draft the lyrics, they come to realise how integral Azusa has been to Houkago Tea Time, a veritable angel for the club. This is the birth of Tenshi ni Fureta Yo! (Touched by an Angel), an earnest song whose direct lyrics convey how everyone feels about Azusa. Because everyone’s spent so much time together, Azusa’s presence in Houkago Tea Time is very nearly taken for granted. It takes a trip to London for Yui and the others to discover anew what Azusa has done for everyone: from planning out the trip and fitting their itinerary to everyone’s satisfaction, to keeping an eye on the scatter-minded Yui, Azusa’s actions during the London trip act as the catalyst that reminds everyone of how her presence in the Light Music Club has helped everyone grow.

Azusa is also evidently selfless, worrying about others ahead of herself: when the others notice her slowing down in the Underground, Azusa mentions that her new shoes are somewhat uncomfortable. She insists it’s fine, but Yui figures they can buy new shoes for her. Because of Houkago Tea Time’s easygoing approach to things, this detour into an adventure of sorts at Camden. However, K-On! The Movie is not an anime about travel; sightseeing is condensed into a montage, and greater emphasis is placed on the girls’ everyday moments together. Subtle, seemingly trivial moments are given more screen time than visiting the London Eye, or David Bowie’s House, reminding viewers that Houkago Tea Time is about its members, not where they go. While it is likely that any destination would have accomplished the same, visiting London, the birthplace of many famous musicians whose style have influenced the Light Music Club’s music, proved to be an appropriate choice that also sets the stage for the girls to compose their song for Azusa, showing that London had a role in inspiring Yui and the others. With crisp animation, attention paid to details, a solid aural component and a gentle soundtrack, K-On! The Movie is executed masterfully to bring this story of gratitude to life for viewers. Its staying power and timeless quality comes from a story that is immediately relatable: many viewers have doubtlessly wondered how to best express thanks for those who have helped them through so much, and more often than not, found that simple gestures of appreciation can often be the most meaningful. Naoko Yamada mentioned in an interview that one of the challenges about K-On! The Movie was trying to scale it up to fit the silver screen. This challenge is mirrored in the film, where Yui wonders how to create a gift of appropriate scale to show everyone’s appreciation for Azusa; in the end, just as how the girls decide on a gift that is appropriately scaled, Yamada’s film ends up covering a very focused portrayal of Houkago Tea Time that works well with the silver screen: less is more, and by focusing on a single thing, the movie ends up being very clear and concise in conveying its theme. A major part of K-On!‘s original strength was instilling a sense of appreciation for the everyday, mundane things in life; the film’s success in scaling things up is from its ability to take something as simple as finding a gift to express thanks and then meticulously detailing how this gift matured over time into the final product viewers know as Tenshi ni Fureta Yo!. However, while director Naoko Yamada fills K-On! The Movie with the series’ previous sense of joy and energy, the overall aesthetic of K-On! The Movie is unlike that of its predecessors. For the past ten years, I’ve wondered why the film felt different – the film is still K-On! at heart, but there was a feeling of melancholy and sadness about the film that was absent in the TV series. For the past decade, I’ve lacked the words to express this, but here at K-On! The Movie‘s ten year anniversary, it is worthwhile to look at why the film continues to endure – since the film became available, I’ve watched K-On! The Movie once a year, every year.

While K-On! The Movie opens with Yui, Ritsu, Mio and Tsumugi playing one of Death Devil’s songs to see what things would be like if their band had a different aesthetic, and then segues to the cheerful, Christmas-like Ichiban Ippai!, Yui and the others head off to discard some rubbish from the club room. As they walk through a sun-filled corridor leading into the courtyard, a contemplative piano begins playing in the background. Yui gazes out into the courtyard. The entire scene is faded out, featuring very little colour compared to when they’d been in the clubroom, and Yui opens by saying that she’s feeling that they should do something befitting of a senior. The moment’s composition was quite unlike anything else seen in K-On!; even though colour and joy do return to K-On! The Movie moments later, one cannot help but feel a lingering sense of sadness in knowing that, this is the end for K-On!. Much as how Yui, Ritsu, Mio and Tsumugi know their time with Azusa is drawing to a close, viewers know that for every smile and laugh the girls share throughout this film, there is a point where things will inevitably come to an end. Moments like these return after the girls come back home from London. Whereas their travels had been filled with colour, upon returning home, the world becomes faded out and desaturated again. The music becomes slower, gentler and carry with it a sort of finality. Those feelings had been set aside among the excitement in London, but back in Japan, they return in full force. This melancholy, however, is not overwhelming at all. Instead, it adds to K-On! The Movie, emphasising the beauty of the girls’ previous experiences together, and that despite its impermanence, the friendship between Yui, Ritsu, Mio, Tsumugi and Azusa is very real. While they might part ways for the present, that it existed at all counts for something. This respect for that which is transient and fleeting creates a very unusual feeling which the Japanese describe as Mono no Aware (物の哀れ, “the pathos of things”): something is beautiful because it isn’t going to last forever. This juxtaposition and seemingly contradictory set of feelings results in a bittersweetness surrounding a given moment, and much as how viewers are aware that after the movie, Yui, Ritsu, Mio and Tsumugi will part ways with Azusa, the fact is that they will hold onto and cherish the countless memories they have of one another, too. It is because of these memories that everyone is able to accept that they are moving onwards into the future. Yamada’s masterful inclusion of gently wistful musical pieces and choice of colour in K-On! The Movie speak to notions of Mono no Aware, and in this way, weaves a central piece of Japanese aesthetic into the film: nothing, not even friendships, last, but this is just a part of life. Seeing K-On! The Movie capture Mono no Aware speaks to the depth of in this film, and while K-On! might ostensibly be about a group of girls who would rather enjoy sweets and tea over practising, the series also indicates that like all things, friendships do not last forever. In spite of this, and perhaps because of this, such bonds are all the more meaningful.

Screenshots and Commentary

  • This post came about because I did wish to share something at the film’s ten year anniversary, and the observant reader will note that this year is the tenth anniversary to many things, coinciding with when I started this blog and really began writing in earnest. The film opens with Yui and the others acting like Death Devil for kicks (at least, Yui, Ritsu and Tsumugi are in on it, while Mio’s just playing as herself). Once the ruse is up, the opening song, Ichiban Ippai (“Full of Number Ones”), begins playing. This song has a very Christmas-like feel to it, appropriate for the season.

  • Because this revisitation similarly comes a full ten years after K-On! The Movie first premièred, now that ten years’ worth of accumulated experience is in the books, I was hoping to share a renewed set of thoughts about this movie. I’ve previously written about K-On! The Movie on several occasions and explored some of the aspects that made it worthwhile to watch, but reading through these older posts, it feels like back then, I’d only really scratched the surface for what I wished to discuss.

  • When Yui and the others leave the club room, the lighting is diffuse, and colours are faded. In conjunction with the music, this scene spoke volumes to me about what K-On! The Movie had been attempting to accomplish. Whereas Hajime Hyakkoku, the composer for the series’ background music, had previously written joyful, bubbly pieces, the second track on the soundtrack has a more contemplative, thoughtful tone to it as Yui considers doing something worthy of being a senior.

  • It was here that I began to realise that throughout the entirety of K-On! The Movie, a feeling of gentle sadness permeated everything that is shown, even when the characters are caught up in their own antics and creating adorable moments for viewers to laugh at. While Mono no Aware is a part of K-On! The Movie, however, it never overshadows the general aesthetic and mood; there are still plenty of jokes throughout the film, such as when Yui attempts to make a break for it after cheating in the lottery to determine where their graduation trip should end up.

  • On writing about K-On! The Movie in full for the first time in a few years, I’ve come to pick up a few things that I missed earlier, and in conjunction with a keener eye for subtleties, this post is the result; my conclusion about the film’s central theme is a little more specific now, with a focus on Yui and the others crafting a memorable farewell gift for Azusa in gratitude for her participation in Houkago Tea Time. My earlier reviews focused on friendship at a much higher level, and looking back, I think that this review captures the reason for why I enjoyed the movie a shade more effectively than the earlier reviews.

  • Gratitude is the first and foremost theme in K-On! The Movie, with everything else being an ancillary aspect that augments the film’s strengths. The movie, then, succeeds in conveying the sort of scale that Naoko Yamada desired for viewers, showing the extent of everyone’s appreciation towards Azusa. This underlines Azusa’s impact on Houkago Tea Time, and so, when one returns to the televised series, all of those subtle moments suddenly become more meaningful, and more valuable.

  • Mio gives in to her happiness and makes no attempt to hide it when it turns out London is their chosen destination. The movie’s original première on December 3, 2011 is now a distant memory. I vaguely recall concluding my introductory Japanese class and finalising my term paper on the role of a protein in iron transport for bacteria. At the time, I was focused on simply surviving that semester and save my GPA, which had taken a dive after my second year, and for most of the winter term, I was similarly focused on maintaining passable grades in biochemistry and and cell and molecular biology. I exited that term on a stronger note, and with my final exams in the books, I learned that the movie would release on July 18.

  • I still remember when this film became available to watch: it had been a gorgeous July day, and the high reached 26°C. At this point in my summer, I’d spent almost two and a half months studying for the MCAT. The course was under my belt, and I’d been going through practise exam after practise exam. When I did my first exam, I scored a 22 (equivalent to today’s 496). However, a summer of giving up research and hanging out had an appreciable impact on my performance, and by the time K-On! The Movie came out, I was consistently scoring 30s (510 in today’s scoring system).

  • For reference, a good MCAT score is 508 (29 in 2012). I had been worried if watching and reviewing K-On! The Movie would’ve had an impact on my MCAT scores, but in the end, the movie presented no trouble in that area, and I ended up watching the film after a day spent going through a practise exam. Back then, this blog was still relatively new, and I never wrote extensive articles here. Instead, I published my first review to my old Webs.com site: over the course of two days, I wrote out a review that was comparable to the average post here. This never did interfere with the MCAT, and indeed, having the chance to watch K-On! The Movie contributed to helping me relax.

  • I had decided to take the MCAT earlier that year, and this represented a major commitment from my part. From the film’s home release announcement to the day of release, time passed in the blink of an eye. The movie’s first forty minutes are still in Japan, and it provided plenty of time to establish the witherto’s and whyfor’s of how Houkago Tea Time end up travelling to London; here, Ui helps Yui to pack, and their mother can be seen in the background. Until now, Mister and Missus Hirasawa have never been shown on screen in the animated adaptation.

  • The manga would end up doing so in its fourth volume, but since K-On!! had no such equivalent (the events of the anime diverge somewhat from the events in the manga towards the end), Yamada decided to slot Yui and Ui’s parents in as Yui heads off to the airport. The manga suggests that the Hirawasas are a happy family, although the parents are very fond of travelling, accounting for why they were never seen in the TV series.

  • With its slow pacing, K-On! The Movie is very relaxing: as it turns out, Houkago Tea Time ends up overhearing classmates discuss a graduation trip and then, while focused on their own goal of gifting something special for Azusa, hide their plans by saying they’re also doing a graduation trip. This turn of events is precisely the way things Houkago Tea Time rolls, although it is notable that even while planning for the trip takes precedence, Yui’s mind never strays far from their original goal of figuring out how they can give Azusa a memorable gift.

  • In an interview with Yamada, she explains that the biggest challenge the movie format posed by K-On! The Movie was how to scale the series up to fit the silver screen. This challenge ended up being mentioned in film itself, when Yui wonders how they’d make a suitable gift for Azusa that captures all of their gratitude. In the end, much as how Yamada succeeds with K-On! The Movie by being true to the original series’ style, Yui and the others found that a gift for Azusa would mean the most so long as it had heart. The journey to London thus becomes a bit of a sideshow, demonstrating how regardless of where in the world Houkago Tea Time go, they’re still themselves.

  • K-On! The Movie is at its most energetic while the girls are on their travels. The London segment of K-On! The Movie only occupies a third of the movie, but it is here that some of the franchise’s most unique moments are shown. It is the first time anyone is seen heading to the airport and travelling on an aircraft –until now, K-On! had been set entirely in Japan, so having Houkago Tea Time set foot on a plane and becoming, as Yui puts it, a part of the international community, was a monumental occasion for K-On! in showing that the series had taken one giant leap forwards.

  • For the most part, K-On! The Movie was very well-received, with praises being given towards the direction, sincerity and ability of the film to remain true to the atmosphere in the TV series, while at the same time, capitalising on the movie format to do something that could not have been done in a TV series. Criticisms of the film are very rare – I can count the number of the film’s detractors on one hand, and most of the gripes centred on the film’s relatively limited focus on travel, portrayal of London citizens and gripes that the film was protracted in presenting its story. It is with satisfaction that I note the most vocal of these critics, Reckoner and Sorrow-kun of the elitist Nihon Review and Behind The Nihon Review blogs, are no longer around because both blogs’ domains have expired. Reckoner had been a particularly fierce critic of K-On!, but his assertions were unfounded and poorly argued, while Sorrow-kun had written numerous articles claiming K-On! was “objectively” a poor series.

  • As of now, both Nihon Review and Behind The Nihon Review have gone offline: after their owner finally stopped paying the hosting fees, their hosts suspended both sites, resulting in all of Sorrow-kun’s posts becoming removed. In particular, Sorrow-kun had believed Behind The Nihon Review’s goals were to “enlighten” fans on why anime was only worthwhile if it contained philosophical or academic merit, so seeing some of the internet’s most invalid opinions of K-On! become lost forever is something worth smiling about. The comparatively short amount of time spent in London is not a detriment to the film – K-On! The Movie is not a travel show, and London was only an aside, a consequence of a fib to keep Azusa’s gift hidden. With this in mind, it wasn’t particularly surprising that London would be secondary to figuring out what kind of song they should write for Azusa. Throughout the film, Yui’s determination to figure out something and efforts to maintain secrecy lead Azusa to wonder if something is amiss. If she did suspect something, things are quickly shunted aside when the girls’ plan to visit London become realised.

  • Upon arriving in London, the girls enjoy the sights over Hounslow, a district in West London immediately east of Heathrow Airport. It’s been a while since I’ve boarded a plane: the last time I flew was back in 2019, when I attended F8 2019. The last time I was on a plane for leisure would’ve been back in 2017 on a particularly memorable trip to Japan. No matter where I go in the world, there is always a joy about flying over a city and wondering to myself, what are the folks down below doing in their day-to-day lives? Of course, when I’m on the ground and looking up at an aircraft, I find myself thinking of where people might be headed.

  • The flight leaves Yui excited to finally become part of the international community, and she begins bouncing while riding the moving walkway. In this frame, the girls’ hands look quite small; in a cast interview, Yamada mentioned that she wanted K-On! The Movie to appeal to as many people as possible, and to this end, modified the characters’ appearances slightly from the style seen in K-On!!. The end result leaves the characters more expressive than they’d been in K-On! and K-On!! – simple things like facial expressions are able to speak volumes here in the film, whereas in the TV series, such nuances were not conveyed through such a subtle manner. After exiting the plane and entering the terminal, Azusa remarks that they’re going to have to clear customs.

  • Yui and the others are able to get through without any issue, although Yui’s weaker English leads her to mispronounce “sight-seeing” as “side business”, leading to some confusion from the customs official: I’m not sure what the laws in the United Kingdom are, but here in Canada, doing something business-related requires a visa. Fortunately, this mispronunciation doesn’t result in any complications, and all five clear customs without any trouble. The joys and drawbacks of travelling are presented in K-On! The Movie to the girls: while K-On! has long favoured gentle escapism, the movie adds an additional dimension of realism to its story through linguistic differences and challenges associated with travelling, such as the girls trying to figure out which Hotel Ibis their booking was for, or when Mio’s luggage is seemingly misplaced.

  • In the end, Mio’s luggage was placed off to the side, and she tearfully reunites with it, while developing a mistrust for revolving things in the process. Once outside in the brisk London air, the girls set off to find a taxi that will take them to their accommodations. Excitement sets in, and Mio begins taking photographs of everything Yui points at, including this Airline lounge sign for Air Canada patrons. I am Canadian, so seeing mention of Canada in the film put a smile on my face: Air Canada is the largest airline company in Canada and runs numerous flights to London. Even from my home town, there are five direct flight to Londons every week, and the average duration is around nine hours.

  • I am interested in checking out London for myself at some point in the future – aside from minor linguistic differences between Canadian and British English, I could readily do a free-for-all visit without a tour group and navigate on my own well enough. Aside from iconic spots like the Tower of London and Westminster Abbey, I would like to walk the River Thames and visit the same spots in Earl’s Court as the girls of K-On! do. Such a vacation could be done for within four thousand dollars, and in the past, I have considered the logistics of such a trip.

  • After spotting a taxi, the girls board with enthusiasm – the driver asks if they’re going to London City, to which Ritsu answers with a yes. While Azusa has done her reading to ensure the trip was a success, not everything can be planned for ahead of time, and for the girls, the fact that London is broken up into smaller districts is not something that crosses their mind. This bit of miscommunication leads to the girls ending up at the wrong Hotel Ibis, and here, even Tsumugi is unable to keep up with the English.

  • For the most part, my travels have never put me at a linguistic disadvantage because I can get by well enough with English, Cantonese and Mandarin in the places I visit. When I visited Laval in France for the first time for a conference, I had trouble getting around because I could not speak a word of French. Seeing Mugi and Azusa struggle with English might’ve been amusing when I first watched this, but after the humbling experience in France, I took on a newfound appreciation for all of the languages around the world. When the girls reach London City’s Hotel Ibis, it is thanks to Mio who is able to interpret things and set the girls on track for their hotel in Earls Court.

  • Skyfall was screened in November 2012, a few months after K-On! The Movie’s home release and nearly a year after its original screening in Japan. The only commonalities the two films share are that they have scenes set in London, including the Underground. While Yui and the others use the Underground to reach Earls Court, Skyfall saw James Bond pursue Raoul Silva through the Underground after he escapes MI6 custody.

  • On their first day in London, Yui and the others have a busy one as they try to make their way to their hotel. It’s misadventure after misadventure, but in spite of these inconveniences, everyone takes things in stride, going to Camden to buy Azusa new shoes, casually enjoying the Underground and, when trying to grab dinner, end up playing an impromptu performance on account of being mistaken for a band.

  • In spite of their surprise at being asked to perform, Houkago Tea Time’s showing is impressive. While it seems a little strange the girls travel with their instruments, the last several times I boarded a plane, it was with a laptop or iPad in tow, as I was either set to give a conference presentation or be involved in work. Carrying additional gear while travelling is a pain when one is alone, but with others, it’s much easier – one can simply ask their companions to look after their belongings.

  • K-On! The Movie has several moments where Kyoto Animation was able to showcase their craft at the movie level, and clever use of camera angles really brought the performances to life. Aside from the opening, inset and ending songs, there are no new Houkago Tea Time songs in the film: all of the performances in the movie are done with existing songs, and at the sushi restaurant, the girls perform Curry Nochi Rice after Yui spots an East Indian man in the crowd. Back in 2011, I wasn’t too big of a fan of raw fish, but I imagine that my openness to try it began after watching Survivorman‘s Arctic Tundra episode. A few weeks ago, when my office did a sushi lunch, I decided to participate and greatly enjoyed the nigiri: there’s a special flavour about raw fish that makes it delicious, and it goes especially well with a dash of soy sauce.

  • Movies typically are scaled-up TV episodes, with superior visuals and music accompanying it; K-On! The Movie is no different, feeling distinctly like an extended episode. I particularly loved the soundtrack, which features both the motifs of the TV series and new incidental pieces that gave a bit of atmosphere to where Houkago Tea Time was while at the same time, reminding viewers that it’s still K-On!. Here, Ritsu runs into Love Crisis, another Japanese band that was supposed to be performing at the sushi restaurant.

  • K-On! The Movie depicts London with incredible faithfulness, and perusing the official movie artbook, the precise locations of where the girls visit are given. Abbey Crossing, David Bowie’s House, West Brompton, and many other areas are on the list of places that Yui and the others visit. Their travels are set to the upbeat, energetic Unmei wa Endless! (Fate is Endless!) in a montage that highlights the girls enjoying themselves in London in their own unique manner. Throughout the trip, Azusa takes on the role of a tour guide, planning and coordinating itineraries for the others, who end up having a wonderful time.

  • The montage in K-On! The Movie is ideal for showing that while in London, Yui and the others have an amazing time sightseeing: the tempo would suggest that the girls’ experience is very dream like, hectic and dynamic, reminder viewers that when they are having fun, time flies. Vacations often seem to go by in a blur, and so, a montage is a very visceral way to capture this feeling. In condensing out the travel and sightseeing, the montage creates the impression that K-On! The Movie is not about London, but at the same time, it also allows the focus to remain on the girls’ aim of working out their gift for Azusa.

  • London, Japan and Hong Kong share the commonality in that they have left-hand traffic, an artefact dating back to the Roman Empire; right-hand traffic is the result of French standardisation, while Americans used right-hand traffic out of convenience for wagon operators. For Yui and the others, traffic in London would be identical to that of Japan’s, but when they encounter a “Look Right” labels on the road, they conform. These labels are also found in Hong Kong, as well: for folks like myself, they are very useful, since I instinctively look left before crossing most streets.

  • I’ve long held that the best way to truly experience a culture is to experience their food, and so, when I was in Japan, having the chance to enjoy snow crab, Kobe beef, okonomiyakiomurice and ramen was high on the highlights of my trip. In K-On! The Movie, the girls end up stopping at The Troubadour on 263–267 Old Brompton Road in Earls Court. Opened in 1954, The Troubador was a coffeehouse that has since become a café, bar and restaurant. Catching Yui’s eye early in their tour of London, the girls have breakfast here. Their Eggs Benedict is shown: it costs £9.95 (roughly 16.88 CAD with exchange rates).

  • Earlier this year, I did a special tour of London using the Oculus Quest to show how faithful the film had been to details; the real-world locations are portrayed faithfully in K-On! The Movie, although here, I will remark again that London’s skyline has changed quite a bit in the past decade. K-On! The Movie shows The Shard as being under construction, and it was opened in 2013. Some of the areas still remain as they once were. Earl’s Court, for instance, still looks much as it did in 2011, while downtown London is quite different; folks looking to visit K-On! locations in central London now will be hard-pressed to find some locations since they’ve changed so much – the Harper’s Coffee has since been replaced by a Costa Coffee, for instance.

  • After Yui gets her hand stuck in a receptacle for dog waste, the girls set off to find a bathroom and wind up at the British Museum. Here, they take the London Underground’s Central line from the Kensington Gardens: during the day, the Underground is nowhere near as busy as it was when Yui and the others first arrived, and certainly not as crowded as it had been in Skyfall, when 007 pursued Silva through the London Underground after the latter managed to escape MI6 custody.

  • While they’d intended to only stop by for a quick bathroom break, Mio, Tsumugi, Yui, Ritsu and Azusa end up checking out the British Museum’s exhibits, including the original Rosetta Stone. The girls recognise this as the replacement tombstone they’d borrowed from the Occult Club back during the events of K-On!!, when they found Juliet’s headstone was misplaced. The Rosetta Stone replica ended up being a suitable replacement, and the class play of Romeo and Juliet went off without a hitch. To see the Rosetta Stone again shows the kind of care that Yamada put into the film, giving Yui and the others a chance to see the world beyond Japan.

  • Here, Ritsu, Mio, Yui, Tsumugi and Azusa run down the stairs on the Westminster Bridge’s south banks: the location was not hard to find, since the girls end up at the London Eye moments later. There’s a doorway underneath the South Bank Lion sculpture on the left of this image, and this was used as a secret entrance to MI6’s new digs in Skyfall after Silva bombed the SIS Building. One of the joys about K-On! The Movie was that so many locations seen in this movie were also featured in Skyfall, and I myself wondered if the SIS Building would make an appearance. While this never occurred, it was a contrast to see Yui and the others have fun in the same places where Bond was on duty.

  • Mio’s fear of rotating things kicks in when the others suggest boarding the London Eye to gain a better vantage point over central London; she decides to stay on the ground and let the others have a good time. To this, Yui and Ritsu decide to haul Mio off anyways. A longstanding joke in K-On! stems from Mio’s various phobias, although it is typically the case that once Mio is pushed out of her comfort zone, she is able to live in the moment with the others.

  • As such, despite her initial reservations about all things with angular velocity, Mio is convinced to go on the London Eye. With a height of 135 metres, it is more than double the size of Hong Kong’s Observation Wheel and during K-On! The Movie, was the highest public viewing point in London. Since the movie’s release in 2011 (and the home release in 2012), The Shard opened and now offers London’s highest observation deck.

  • The girls rest here near The Royal Menagerie on the west end of the Tower of London, a major landmark that has variously been used as a mint, armoury and presently, the home of the Crown Jewels. Adjacent to the Tower of London is a modern office block and fish and chips shops. While it would be a tight schedule, the girls’ tour is possible to carry out within the course of a day. To really take in the sights and sounds, however, I would allocate at least seven days for the entire trip London, which leaves five full days to explore.

  • One aspect in K-On! The Movie that I enjoyed was that smaller details about travel were presented; most travel shows only highlight attractions and the best eats of a given trip. Conversely, K-On! The Movie portrays the smaller, more awkward moments that result when people are far from home. After their day’s worth of adventure, the group return to Ibis Earl’s Court, and almost immediately, Yui and Azusa end up missing one another often enough to the point where they wonder where the other’s gone. Yui’s just scatter-brained, but Azusa is genuinely tired from having spent the day putting an itinerary together that allows everyone to see as much as they could.

  • In the end, the pair end up running into one another in Ritsu, Mio and Tsumugi’s room. Such moments typify the sort of humour present in K-On! as a whole; it’s not over-the-top, and instead, acts to create gentler moments that elicit a smile. Some folks consider K-On! to be a comedy, but this is, strictly speaking, incorrect: K-On! might’ve had origins as a 4-koma manga driven by punchlines, but Yamada’s interpretation of the series allows for more meaningful learnings to be presented; themes like appreciation and mindfulness are more important in K-On! than making viewers laugh.

  • With this being said, comedy does crop up from time to time as a result of everyday occurrences; here, Yui slips after rushing to meet Azusa after wandering off to the Brompton Cemetery whilst considering what the song for Azusa should entail. One small visual aspect in K-On! The Movie that did stand out was the fact that all of the folks in London are uncommonly tall relative to Azusa and the others. While Azusa is stated as being only 4’11”, a quick glance at this image finds that the average Londoner would be around eight feet in height. I imagine this was a deliberate choice to show how small everyone is compared to the world.

  • After Ritsu and the others run into Love Crisis following their performance at the sushi restaurant, they are invited to perform at a Japanese Culture Fair. The girls agree to the performance even though the timing will be a bit tight, and when Azusa hesitates, the others reassure her that it’ll be fine. Because they are to be performing in front of an English audience, Yui and the others feel it might be useful to translate some of their songs to English. Strictly speaking, preserving the meaning is of a lesser challenge than finding the words with the correct syllables to match the melody.

  • The Ibis at Earl’s Court, while being a bit more dated, has attentive staff and is situated in a good location, being close to public transit. By comparison, the Ibis London City is located a stone’s throw to the London city centre and the Tower of London. The choice to have the girls book lodgings at Earl’s Court, in a comparatively quieter part of London, allows the film to also show Yui and the others spending downtime together while not sightseeing. Here, they begin working on translating their songs for their performance at the Japanese culture fair.

  • The performance itself is set at the Jubilee Gardens adjacent to the River Thames and London Eye. The introduction into the culture festival features a sweeping panorama over the area, taking viewers through the spokes on the London Eye. It’s one of the more impressive visuals in K-On! The Movie and really shows that this is no mere extended episode: I’m particularly fond of movies because they provide the opportunity to use visuals not seen in TV series. Here, the girls react in surprise that Sawako has shown up.

  • During their performance, Yui is spurred on by a baby in the crowd and plays with more energy as the concert progresses, even improvising lyrics into Gohan wa Okazu. Whether or not Houkago Teatime plays for the people they know or not, this has very little bearing on the enthusiasm and energy the girls put into their song. Personal or not, each performance is spirited conveys that Houkago Tea Time’s music is universally moving, whether they are playing for a crowd of folks in London, or for Azusa as a thank you gift.

  • It turns out that as a place to have a graduation trip, there is no better option than London, England: Houkago Tea Time’s style draws inspiration from British artists, and the songs produced for K-On! have a mass appeal for their simplicity, earnest and charm found from the saccharine nature of the lyrics. Even now, whenever I see images and footage of London, K-On! The Movie is the first thing that comes to mind; the film had done a phenomenal job of bringing the city to life, and while melancholy gently permeates the whole of the film, the thirty minutes spent in London are K-On! The Movie‘s most cheerful, energetic moments.

  • After the concert draws to a close, the girls depart for Japan; owing to their timing, things are really close by the time Yui and the others have to return to the airport and board their flight back home. In general, it is recommended that one arrives at least three hours before their scheduled departure when flying internationally. This is so one can make it through customs and security checks, which can take a while, and because some airlines require one to check in an hour before their flight. Accepting a concert on the same day they were heading back would be cutting it close, especially in a city as large as London.

  • Fortunately, some elements can be abstracted away, and the girls’ ride over to Heathrow is uneventful, with Azusa falling asleep immediately from exhaustion. A snowfall begins in London, bringing the girls’ trip to a peaceful close, and here, the soundtrack takes on a much slower, gentler tenour. The track that accompanies this scene has a very wistful, reflective mood about it and is appropriately titled “Winter night in a warm room”.

  • Back in Japan, Ritsu and the others attempt to convince Sawako to give them permission to host a farewell concert for their classmates. To her colleagues and other students, Sawako presents herself as professional and caring, attempting to distance herself from her Death Devil days, but in front of Houkago Tea Time, she’s less motivated and occasionally partakes in actions that are of dubious legality. At the end of the day, however, Sawako does care deeply for her students, and so, decides to allow the concert.

  • One of the other teachers is opposed to the idea of a concert and on the morning things kick off, Sawako does her utmost to keep him from finding out. While unsuccessful, this instructor does not seem to mind Houkago Tea Time quite as much, suggesting that Sawako’s Death Devil band were rowdier back in the day to the point of being a nuisance. During this in-school concert, the song Sumidare Love is performed: the song had been on the vocal collections, but until now, had not been played in the series proper.

  • Compared to the more colourful segments in K-On! The Movie, the final segments depicting the girls drafting out their song for Azusa are much more faded, almost melancholy, in nature, hinting that all things must come to an end. Kyoto Animation has long utilised colour to make the emotional tenour of a scene clear in their drama series; from CLANNAD to Violet Evergarden, time of day, saturation and the choice of palette are all used to great effect. Traditionally, comedies have seen a lesser dependence on colour and lighting, so for these effects to appear in K-On! show that the series has matured.

  • Despite having drawn blanks while in London, Yui, Ritsu, Mio and Tsumugi manage to begin their song once they’re back home; it was Azusa’s actions throughout the trip that really led everyone to see anew how much they’d come to rely on their junior. While this should be a joyous moment, K-On! The Movie reminds viewers that this moment is also steeped in a sort of finality: once they finish their song and deliver it, they will have to part ways with Azusa.

  • The K-On! The Movie‘s home release was only twenty four days from the day of my MCAT, and one of the dangers about this was that reviewing the movie so close to the MCAT might’ve taken my focus from the exam. In the end, watching the movie and writing about it was very cathartic, and I found myself lost in each moment: seeing Mio and the others sprint across the school rooftop with a carefree spirit was a light moment that really captured what K-On! was about. The movie helped me relax, and in conjunction with support from friends, some time management skills and the usual efforts of studying, I ended up finishing the exam strong.

  • Audiences thus come to learn how Tenshi ni Fureta Yo! came about: K-On! had preferred to focus on the girls’ experience together, and things like songwriting were often set aside in favour of having everyone enjoy tea together. This did lead to the impression that Houkago Tea Time were unqualified. However, K-On! did show that Mio spent some of her free time writing lyrics to songs, and to reinforce the idea that Houkago Tea Time’s success is well-deserved, K-On! The Movie opts to show the song-writing process behind Tenshi ni Fureta Yo!.

  • This song had appeared to come out of the blue in K-On!!, but the film shows the process behind how the song the lyrics and heart that went into the song came from seeing how much of an impact Azusa had on the light music club. However, Tenshi ni Fureta Yo! was not written overnight, and because of the timeframes, I would estimate that the film is set over the course of three weeks – the first third of the movie would’ve taken place over the course of a few days as the girls figure out they’d like to do a song for Azusa, and then book a last-minute trip over to London as a graduation trip. The London trip itself is explicitly mentioned as taking five days, and then after returning, some time would’ve been needed to put the song together.

  • While this seems excessive, we recall that in K-On!!, there had been quite a gap between exams and graduation – when Yui, Ritsu, Mio and Tsumugi head off to write their entrance exams for the women’s college, it would’ve been shortly after Valentines’ day, and graduation itself was in March. This in-between period was never covered in K-On!!, and Yamada expertly used this time as when Yui and the othes came to write out Tenshi ni Fureta Yo! ahead of graduation for Azusa. Through K-On! The Movie, it is shown that the in-betweens in an anime can also have a story to tell. Non Non Biyori Repeat adapted this concept for the entire second season, showing that anime only shows the best moments that impact the narrative.

  • Consequently, while Yui and the others might appear to be pulling songs out of nowhere, and performing like experts without much apparent practise, the reality is that the anime and manga tend to show us viewers moments when Houkago Tea Time are slacking off, but once the chips are down, and the girls get their motivation, they’re quite determined and capable. As such, this is the one criticism of K-On! I can dismiss immediately – folks who hold this against the series have fundamentally misunderstood that anime only show milestone moments, and more mundane details are deliberately omitted for a reason.

  • Tenshi ni Fureta Yo! is the song that got me into K-On!, and after I became curious to know how the series reached its culmination, I stepped back and watched everything from episode one.  With this modernised talk on K-On! The Movie very nearly finished, I note that it was very enjoyable to go back and re-watch this film under different circumstances, then write about it with a new perspective and style. Even a full decade later, the song remains every bit as enjoyable as it had been when I first went through K-On!.

  • Like a good wine, K-On! The Movie improved with age. My original score for the movie was a nine of ten, an A grade. However, revisiting the movie and seeing all of the subtleties in the film, coupled with recalling watching the film to unwind from studying for the MCAT, led me to realise that this film had a very tangible positive impact on me. Consequently, I am going to return now and give the film a perfect ten of ten, a masterpiece: for a story of pure joy that was successful in helping me regroup, and for being every bit as enjoyable as it was ten years ago, K-On! The Movie had a tangible, positive impact on me.

K-On! The Movie remains as relevant today as it did when it first premièred a decade earlier; even for those who have never seen K-On!‘s televised series, the movie is self-contained and the themes stand independently of a priori knowledge. After all this time, I have no difficulty in recommending K-On! The Movie to interested viewers; the film is every bit as enjoyable and meaningful as it was ten years previously. Because of how Yamada conveys Mono no Aware, as it relates to friendship, it becomes clear that K-On! The Movie was intended to be the final act for Kyoto Animation’s adaptation – author Kakifly had written two sequels, K-On! College and K-On! High School, which respectively cover Yui’s life at university and Azusa’s efforts to keep the light music club going. K-On! College was published in September 2012, and a month later, K-On! High School became available. Precedence would have suggested that adapting both of these volumes into an anime could’ve produced a two-cour season with twenty-four full episodes, but this would stand contrary to the aesthetic in K-On! The Movie. At the time, K-On!‘s anime adaptation had exceeded expectations in promoting the manga – the anime had been intended to promote the manga, and in this role, it has certainly succeeded. The manga itself concludes in a fashion that is consistent with the Mono no Aware aesthetic. K-On! College has Yui settling in to life at university and even makes rivals out of Akira, a serious musician whose skill is enough to get her noticed by professional producers, while K-On! High School has Azusa wondering what fun things the future will bring. However, this diverges from the feeling that K-On! The Movie originally concluded with; to bring K-On! back in the present would undermine what the film had accomplished ten years earlier. Six years earlier, I did walk through whether or not a continuation was possible, and back then, I had concluded that such a project would have been welcomed. After all, there had been enough materials to do so, and K-On! would’ve still been relatively fresh in the viewers’ minds. This answer has changed since then – a full decade later, it is safe to say that it is unlikely that Yui, Ritsu, Mio, Tsumugi and Azusa’s stories will be expanded upon. While Kakifly’s spin-off series, K-On! Shuffle, is set in the same universe and built around a similar premise (protagonist Yukari Sakuma is inspired to take up drumming after watching Ritsu perform), K-On!‘s success had largely come from the fact that it had been so groundbreaking at the time. The concept is no longer novel, and as such, adapting K-On! Shuffle is similarly unlikely in the foreseeable future. With this in mind, I imagine that this is the last time I will be writing about K-On! The Movie – as enjoyable as the series is, I do feel that I’ve said everything that needs to be said for a film that has aged very gracefully and certainly stands of its own merits, during the past decade that I’ve been active as an anime blogger.

Yui Needs A Weapon: Revisiting the K-On! Mod for Left 4 Dead 2 with Halo Weapons

“I need a weapon.” –Spartan John-117, Halo 2

Having now finished the original two Left 4 Dead campaigns, the only thing that was Cold Stream and The Last Stand, two community missions that rounded out the game. Cold Stream sees the Left 4 Dead 2 survivors fighting through a forest in the mountains to reach a helicopter to evacuate them before a forest fire catches up with them, while The Last Stand represents an alternate interpretation of what had happened in Death Toll had the survivors gone a different route. After abandoning their truck at a roadblock, the survivors make their way into a junkyard and eventually reach a lighthouse. Here, the survivors signal for rescue from a boat, fending off hordes of Infected while awaiting the boat. These community missions are quite unrelated to the stories portrayed in the regular campaigns, providing players with a remote forest setting to explore. At this point in time, the mechanics and objectives were simple enough: having beaten the last two campaigns (and fighting with the community workshop directory, which had been giving me some trouble with the character name plates), getting back into Left 4 Dead 2 to finish off the single player experience was not particularly tricky, and I ended up wrapping up both of the community campaigns with time to spare. As noted in my previous posts, the K-On! mod for Left 4 Dead 2 had been remarkably entertaining, completely altering the aesthetic and mood in Left 4 Dead 2. However, this time around, I’ve decided to further increase the mods introduced into the game: as amusing as it had been to run Left 4 Dead 2 with Houkago Tea Time characters, even new models and sound files can get old to write about. As such, I decided to introduce an additional set of mods into the game which would modify the experience somewhat without conflicting with the K-On! mods.

This mod takes the form of Halo weapon skins to replace the original weapons. While the weapons still function identically to their original forms, the weapons look and sound different. The end result is simple: I am now running with the automatics, pistols, shotguns and long-range rifles from Halo, rather than more familiar weapons. In addition to a new, highly-detailed skin, the Halo weapons also have new firing sounds. Altogether, these new weapons feel considerably more powerful and reliable than any of the classic weapons. Every shot fired feels powerful. The base pistols and Tier 1 weapons, which had felt diminished in power compared to the Tier 2 weapons in their original form, suddenly gave the impression of being viable, lethal tools that could hold their own against the hordes of Infected. The suppressed MAC-10 felt inadequate against special infected, but when replaced with the M7/C submachine gun, players suddenly appear to have a better fighting chance. The hunting rifle is replaced by the DMR, firing rounds with a slow but reliable outcome. The Tier 2 weapons themselves feel even more effective, and when the mods are properly applied, even the introductory pistol becomes a more entertaining weapon to use. I’d first heard about the Halo weapon mods from a friend who’d been interested in asking about why the modders had removed a particularly unique skin from the marketplace. I’d speculated it might’ve simply been because the mod needed more work and suggested said friend get in touch with the modders to inquire about it. After checking out the modders’ workshop, I became intrigued, and subsequently resolved to try the weapons out for myself. The end result was highly entertaining, and after ensuring that the new mods did not conflict with or modify the way my previous mods worked, I set about finishing off Left 4 Dead 2‘s remaining missions.

Screenshots and Commentary

  • I figure it would be appropriate to open with the dual M6H pistols: the original pistols felt quite weak despite being useful weapons in practise, but upgrading them to the pistols seen in Halo completely changes the impact they have. In this post, not only do I have Halo weapons, but I have Yui, Mio, Ritsu and Tsumugi wielding Halo weapons. I imagine that with this mod, once Google properly indexes my content, I’ll have the first result whenever one does a search for “K-On! Halo” or similar. All of the Halo weapon mods in this post are supplied by Adorabirb!, whose done a phenomenal job of rendering the weapons and ensuring they sound identical to their Halo counterparts.

  • The suppressed MAC-10 is replaced by the M7S suppressed submachine gun seen in Halo 3: ODST. While one cannot use the reflex sights, and the weapon handles otherwise identically to the MAC-10 in Left 4 Dead 2, there’s something incredibly reassuring about using the M7S against hordes of Infected. The Uzi is similarly replaced by the M7/C with the right mods, and with the Halo submachine guns, I suddenly feel a lot more optimistic about fighting Infected. There’s a psychological boost that results from using cool-looking and cool-sounding weapons.

  • Cold Stream was a particularly fun campaign mission – despite being non-canon, its setting makes it the next best thing to being out in the mountains for myself. It’s now been over a year since I’ve taken a hike in the mountains and had any poutine from the best poutine shop this side of the country, and I do miss it greatly. While games like Left 4 Dead 2 and Skyrim do allow me to visit the mountains and their beautiful forested trails, there is no substitution for a full day spent hiking the mountains for real, followed by a hearty Montreal Smoked Meat poutine and spruce soda afterwards.

  • My yearning to return to the mountains means that I have recently returned to Skyrim with the aim of finishing the main story off: a year ago, while writing about KonoSuba, I mentioned an interest in playing Skyrim again, and it is only now that I’ve managed to do so. Returning to Skyrim, I am impressed with how immersive and detailed the game is. I will be sharing a full post on my experiences once I am finished: at the time of writing, I am pursuing Alduin through Sovngarde, and expect that in a few weeks or so, I should be done with things.

  • Before then, however, I determined it would be best if I wrapped up my thoughts on Left 4 Dead 2 with K-On! and Halo mods first. Here, I’ve picked up the DMR: it replaces the Hunting Rifle, a weapon that I typically did not play with much on my old play-throughs on account of its poor firing rate and small magazine size. Again, the psychological changes brought on by a Halo skin were profound – the DMR’s firing rate feels faster than that of the Hunting Rifle even though the weapon stats remained unchanged, and I had a blast using it to pick off distant foes.

  • The fact a simple re-skin completely changed up the way Left 4 Dead 2 feels, despite having no actual impact on gameplay, speaks volumes to how something as simple as changing up a weapon’s appearance and sound could completely refresh an experience to the extent where Left 4 Dead 2 could feel like an entirely new game. Prior to switching out the Hunting Rifle for the DMR, I’d never used the weapon simply because its low rate of fire and limited situations where a long-range weapon made it less useful to have. However, in Halo: Reach and Halo 4, the DMR is intended more of a precision weapon filling the range between the sniper rifles and Battle rifle.

  • I ended up swapping out the FN SCAR-L for the Battle Rifle: the Combat Rifle in Left 4 Dead 2 fires in three round bursts, and while dealing less damage per shot than the other assault rifles, it compensates for this with a good accuracy. With this in mind, given how often engagements were close quarters, I generally preferred the AK-47 or M-16 where available. The Battle Rifle I ran with is the Halo 2 variant, which is my favourite iteration of the Battle Rifle in any Halo game. The mod lacks the original’s heavy-hitting sound: besides performance, the Halo 2 Battle Rifle feels solid and sounds lethal.

  • The one weapon I was most impressed with in the mod was the SRS99-AM sniper rifle, which is seen in Halo 3. This weapon excels at long range combat, and equips an advanced optic for sighting distant foes. I chose the weapon to replace the semi-automatic sniper rifle in Left 4 Dead 2, with the end result that what was originally an anti-materiel rifle with a four-round box magazine now could hold thirty rounds. The weapon sounds powerful and looks even better: the optics will depict the same view, just as the sniper rifle in Halo 3 did.

  • One of the things I needed to get used to was the fact that I’m technically still using the semi-automatic sniper rifle in Left 4 Dead 2, which behaves more similarly to the DMR than the Halo sniper rifle. If I were to go purely for accuracy, the Hunting Rifle would be better represented by the Halo sniper rifle, and the semi-automatic rifle would be replaced by the DMR skin. This would allow the mods to be more faithful to their original weapon’s roles.

  • While crossing the bridge, I ended up picking up a grenade launcher: the M319 grenade launcher is a single-shot break-action grenade launcher that functions identically to its real-world equivalent, the M79. In fact, aside from a superior construction and digital display, the weapon is more or less a M79: the M79 is the original weapon in Left 4 Dead 2, and this Vietnam-era grenade launcher was intended to give platoons additional firepower. The M79 proved effective and reliable, but being a single-shot weapon left operators at a disadvantage, limiting how much firepower they could put out downrange.

  • Moreover, carrying a dedicated launcher meant grenadiers were limited to their sidearms as a ranged weapon. In Left 4 Dead 2, this is definitely to one’s detriment, unless they were carrying dual pistols, as well. While fantastic for clearing out hordes of Infected and even making short work of the Special Infected, the grenade launcher’s utility is quite limited, and the weapon itself is also quite rare: I only encountered the grenade launcher a handful of times while playing through the original campaign.

  • Conversely, the M60 (replaced by Halo 4‘s M739 SAW) is an excellent special weapon, and when outfitted with a laser sight, becomes the ultimate weapon for taking on common and special Infected alike. Halo 4‘s SAW features a 72-round drum magazine and, while firing the same calibre rounds as the assault rifle, had a higher rate of fire and accuracy, on top of a larger ammunition capacity, making it a straight upgrade to the assault rifle. Spartan Ops missions went more smoothly the instant I picked one up. In Left 4 Dead 2, the M60 is similarly powerful, limited only by the fact that its belt cannot be replenished.

  • At the time of writing, the mod did not replace the weapon icons for the M16 or AK-47. The M16 is replaced by the MA5C assault rifle, which was featured in Halo 3 and for the first time, felt like a proper assault rifle. While the MA5C’s skin does not accurately reflect on the actual amount of ammunition remaining, the modders have taken the effort of ensuring that the digital display uses an emissive texture: in dark environments, the display will glow in the dark, which is a nice touch.

  • Towards the end of the final chapter, I picked up an M90 shotgun with a reflex sight, which replaces the SPAS-12. However, since the final part of the mission entailed pushing through a horde, the shotgun proved inadequate and I ended up dropping it for any faster-firing weapon. Shotguns have always had a limited utility in Left 4 Dead 2, and in Halo, I found them more useful against the Flood rather than the Covenant. With this being said, shotguns have always been fun to wield against the Elites, and my strategy in Halo games has always been to use the battle rifles, assault rifles and marksman rifles against weaker foes, saving shotguns or other powerful weapons for swiftly putting away groups of tougher enemies.

  • The last segments of Cold Stream requires that players reach a tall tower for extraction, and unfortunately, during my run, I ended up losing Tsumugi to the Infected. In spite of this, I still finished the mission in a reasonably efficient manner, earning myself a nifty achievement for my troubles. My best friend has indicated that there is an elegant and simple way to get the toughest achievements in Left 4 Dead 2 without breaking a sweat. I’m not sure if this is something I’ll seek to be doing in the foreseeable future just yet.

  • The last of the community missions, The Last Stand, returns perspective to Azusa, Ui, Jun and Nadoka’s perspective, as well as the grim and foreboding dark of a coastal forest. This mission starts players off with the Uzi, which the mod switches out for a M7/C Submachine gun. Insofar, I’ve referred to the Halo weapons mod in singular, but it’s actually a collection of mods one can download. Like the M7S, the M7/C feels distinctly better than the Uzi, even though the damage model remains completely unaffected.

  • It’s reassuring to know that the modder behind the K-On! mod made certain that the smaller details were properly rendered – I half expected the character models to clip or be hollow underneath, but thankfully, this is not the case. When I first played the K-On! mods, I’d heard that the modders even took into account the special attributes surrounding Mio, and while I’d never had the characters walk up onto a higher surface in campaigns with Yui and the others, I have played as Mio before. Being ensnared by a smoker demonstrated that those rumours surrounding Mio were true, and this level of attention to detail is commendable.

  • The darkness of The Last Stand meant that unlike Cold Stream, the weapons I pick up won’t be in sharp relief for everyone to check out. With this being said, having seen the M7S’ model, it shouldn’t be too difficult to convince readers that the M7/C is equally as well-designed as the M7S. Besides the same report when fired, the modder had also ensured that the submachine guns’ reloading sounds are identical to their Halo counterparts.

  • Somewhere along the way, I decided to swap out my dual pistols for the Tactical Magnum. In any real cooperative matches, such an action would be unthinkable: dual pistols offer firepower and accuracy nearly equivalent to that of an assault rifle, and so, players will hang onto dual pistols for the duration of a match if they can find them. However, since this isn’t a match with other players, I am able to switch things up for the sake of discussion.

  • I replaced the basic pump action shotgun with the M45D Tactical Shotgun. This weapon, I’ve never actually seen in a Halo game for myself before, but it’s supposed to be a straight upgrade to the shotguns seen in earlier Halo titles. I’ve heard that it is unlikely that Halo 5 will ever come to PC: of the Halo games, Halo 5 had suffered greatly from a series of decisions that dramatically altered the campaign, and this in turn led the game to receive poor reception. 343 Industries’ decision to leave Halo 5 without a PC port was likely a consequence of knowing that Halo 5 wouldn’t sell very well if brought to the PC, and instead, it appears 343 chose to focus their efforts into Halo: Infinite.

  • Because shotguns aren’t really my jam, I ended up switching it out for the MA5D with the reflex sight. Informally referred to as the recon assault rifle, this weapon differs only from the M16’s replacement in that it has a reflex sight. I’ve always wondered how Halo weapons would look with contemporary weapon attachments: in Halo, the presence of smart-link scopes means that soldiers don’t really need dedicated attachments to aim with, as a computerised system would do the work for them. Of course, with Halo 5, when the Battle Rifle was given a reflex sight, people took to complaining about it loudly online.

  • In Left 4 Dead 2, since there’s no aiming down sights for weapons without a magnifying optic, the presence of a reflex sight is purely cosmetic, and I chose this rifle purely to differentiate it from the MA5C replacing the M-16. Like the MA5C, the digital ammunition counter doesn’t actually reflect the amount of rounds one has left to them, but in the dark of The Last Stand, the glowing display is rather more visible: here, I make my way through a burning forest with Ui, Azu-nyan and Jun after fighting my way out of a junkyard to reach the safehouse.

  • The Last Stand was so-named because the original mode was about the survivors fending off wave after wave of Infected, at least until ammunition and supplies ran out entirely, leaving them to be overwhelmed. Conversely, in the campaign, players actually can escape successfully after reaching the lighthouse. Here, after exiting the safehouse, I came across a warden’s outpost.

  • Curiosity soon led me to ascend the watchtower, and I picked up another machine gun for my trouble. Whenever holding a special weapon, I’ve always found that having the dual pistols is most effective, giving me enough firepower to deal with the horde. This leaves me free to save the special weapon for the situations that demand it the most. Of the special weapons, the M60 (SAW in my case) is my favourite: possessing the same accuracy as the AK-47 and dealing the same damage as the magnum pistol per shot, the M60’s 150 round capacity eliminates the need to reload.

  • I wasn’t able to do so in The Last Stand, but locating a laser sight and equipping special ammunition dramatically increases the M60’s accuracy and damage further, to the point where it can destroy tanks and witches in the blink of an eye. On my play-through, I wound up saving the SAW for the final confrontation, anticipating that I would need its firepower.

  • This turned out to be a good decision, since a few tanks did crash my party, and with the damage the SAW deals, they were quickly eliminated. Looking around, I’ve noticed that there are also weapon mods for the melee weapons, but because I’d been interested in keeping Yui’s Les Paul Gibson, I chose not to install anything that could conflict with them. The challenge about running a large number of mods at once is that conflicts could be introduced, and it’s up to the players to choose which mod they’d prefer.

  • The mod prioritisation function in Left 4 Dead 2 is actually pretty well-written in this area: if a conflict is detected, the game will automatically load the one that’s higher up on the list, but if this doesn’t produce the desired result, one can always go into the mods menu and deactivate the ones that one isn’t interested in running. There is one more nuance about running the K-On! mod: by default, the game won’t always show the modded names correctly. Online, people suggest moving the mod .vpk files out of the workshop directory into the addons directory, which prevents Steam from automatically fetching newer versions, but also allowing all of the data to be read.

  • I’ve actually found that this doesn’t work: if one is subscribed to a mod, the game will automatically query the server for updates every time it loads. This means that every time I started up Left 4 Dead 2, a fresh copy of the mod .vpk would be downloaded into the workshop directory. Instead, to preserve my settings, one only needs to subscribe to the mod to download it, then move the .vpk out, and unsubscribe. This method is a bit cumbersome, but it does allow me to keep my settings as I like them.

  • Of course, having now completed every campaign and bonus set of levels in Left 4 Dead 2, I’m not too sure if I’ll be returning in the near future: while it could be fun to get those special achievements my friend mentioned and also re-run the game with Halo weapons, there’s quite a bit on my plate, and I’m just glad to have finally gotten the game done. Towards the end of my run, after depleting the SAW’s ammunition, I returned to the trusty BR-55 rifle to round things out.

  • Unlike my Cold Stream run, this time around, I managed to escape with everyone. Having brought back K-On! into my life in a big way, I am inclined to write one more K-On! related post before the month’s out. Once that post is done, I’ll enter May with a clean slate, ready to go through Call of Duty: Modern Warfare 2 Remastered and Call of Duty Black Ops: Cold War: while perhaps a bit pricier with respect to how much time I get out of them, I’ve always had a blast going through them.

While Left 4 Dead 2 is very much a squad-based game that is best played with friends, mods like K-On! and Halo weapons transform the way the game feels, while simultaneously leaving the central mechanics intact. This seemingly minor set of changes alters enough of the look and feel such that Left 4 Dead 2 appears as a completely different game. Admittedly, the base Left 4 Dead 2 never really appealed to me in terms of its aesthetic, and I’d only picked it up because the sale price was excellent: my friend is very big on Valve games for their ease-of-modding, and I imagined that we’d spend more time messing around as a two-person team once I’d picked the game up. While we did spend a few fun-filled hours blasting zombies, the base game never really excited me to the same extent as I imagined. However, with things like the K-On! mod, Left 4 Dead 2 became considerably more entertaining, to the point where I can say with confidence that it would be worth buying Left 4 Dead 2 solely for the K-On! mod alone. At that point, the variety of mods available in the Workshop means that, were one so inclined, they could completely transform the way Left 4 Dead 2 handles: particularly well-done and extensive mods allow players to replace the existing Infected with Halo‘s Flood, and similarly, the very same techniques for using K-On! characters as character models allow for one to run with Spartans. Such mods even provide a means of changing up the HUD to closely resemble the Mjolnir armour system, customised for Left 4 Dead 2‘s inventory system. There is no ceiling on what is possible with the mods in Left 4 Dead 2, and while Valve currently has no plans for a continuation, the ability to change the experience via mods has meant that Left 4 Dead 2 has proven unexpectedly fun: what had initially been little more than a curiosity became a full-fledged, meaningful experience that was well worth the price of admissions. Thanks to mods, I’ve now finally completed Left 4 Dead 2‘s single-player experience in full, and while my friend and I are unlikely to co-op in Left 4 Dead 2 with any frequency owing to our schedule, knowing that I’ll be able to retain a highly customised setup should we take this up means that I’d be happy to co-op if the opportunity presents itself in the future.

Azu-nyan startled the Witch: Revisiting the K-On! Mod for Left 4 Dead 2 and the Classic Campaign

“But, you can always count on her in the end.” –Azusa Nakano

Left 4 Dead 2‘s campaigns also holds a pleasant surprise for players, in the form of the original Left 4 Dead campaigns being available for players to check out. This campaign sees the original group of survivors fighting their way to a hospital, where they hope to catch a ride from a news helicopter. After the helicopter crashes, the survivors make their way to a turnpike and find an armoured vehicle, which they use to reach the town of Riverside. Here, they fight through the sewage system, through a church and the town itself, eventually reaching a boathouse. Later, the survivors make it to a city and decide to head for the airport, fighting past Infected-infested city streets, a construction site and eventually, the airport terminal itself. Upon successfully refuelling a C-130, they manage to escape. The survivors land in a heavily forested area and make their way past a train-yard, arriving at a farmhouse. Upon radioing the military, the survivors manage to escape when an armoured personnel carrier arrives to pick them up. It turns out the military had been interested in capturing them, as the survivors are asymptomatic carriers of the Green Flu, and seek to study them. However, when the military base is overrun, the survivors escape, making their way to Georgia and eventually, the Florida Keys, where it is hoped that they can find a new home. That Left 4 Dead 2 comes with the complete Left 4 Dead campaigns and its original survivors in a refreshed environment was most enjoyable indeed, and being able to play through the original game’s levels with the additional weapons, consumables and infected from the newer game demonstrated that the Left 4 Dead mechanics have worked very well. As with my last play-through of Left 4 Dead 2, I’m running with the K-On! mods that allow me to substitute the base survivors for Azusa, Jun and Ui: the model for Nodoka remains incomplete at the time of writing, but the mod has seen additional improvement to voices, resulting in a doubly entertaining experience. As with the Left 4 Dead 2 campaign, having K-On! characters means improved visibility and differentiation between allies and infected, making the missions a bit easier to go through.

Unlike Left 4 Dead 2, whose campaign was largely set in the Deep South, more levels of Left 4 Dead‘s campaign is set in environments by nightfall, creating a much more compelling and gripping environment where enemies’ appearances are more unpredictable and terrifying: everything is shrouded in darkness, necessitating slower, more methodical movement. Left 4 Dead may have a more generic set of locations in urban areas, but the familiar setting, in conjunction with a zombie outbreak, creates the sense of unease that the unfamiliar is lurking around every corner. More so than the humid, muggy conditions of the Deep South, Left 4 Dead‘s choice of location and lighting results in a more convincing atmosphere. With the updated graphical style and visuals of Left 4 Dead 2, classic environments are sharpened and made more detailed without compromising their original aesthetic. The end result is that the Left 4 Dead campaigns end up being rather more successful in conveying terror through its ambience far more than the Left 4 Dead 2 campaigns, which ended up being a little more corny and humour-driven by comparison. The sharp contrasts between the aesthetics of Left 4 Dead 2 and Left 4 Dead levels are noticeable, but the actual campaigns themselves still handle as one would expect from Left 4 Dead 2: for folks who became accustomed to playing the original, they’ve remarked the originals are more challenging and rewarding to beat. Conversely, as someone who’s still relatively new to Left 4 Dead, I found that Left 4 Dead 2‘s inclusion of the original campaigns greatly extended the sequel’s replay value, as well as giving new players a chance to play old and new maps alike depending on their inclinations. On top of smoother mechanics and more options in-game, Left 4 Dead 2 remains the game of choice to pick up owing to its support for mods, which was the primary reason why I ended up returning to check out the Left 4 Dead campaigns to begin with; it’s not every day one gets to slaughter zombies with Azu-nyan, Ui and Jun as squad mates, after all.

Screenshots and Commentary

  • Altogether, I found the atmospherics and aesthetics in the original Left 4 Dead campaigns to surpass those of the Left 4 Dead 2 campaigns: it is a badly-kept secret that I am no fan of the festering, dank swamps of the Deep South and their unparalleled ability to conjure up images of swamp monsters and the Slenderman. While Left 4 Dead‘s campaigns are set in a more generic urban area located near the mountains of the United States, the setting actually works better for a zombie outbreak. There’s a solid combination of rural and urban combat, and to kick this post off, I’m rocking the G3SG/1 semi-automatic rifle.

  • Over the past little while, I had a few conversations with my friends, and they wondered why the Hunting Rifle was classified as a Tier 2 weapon. It turns out that the Tier 1 and 2 weapons differ primarily in damage, with Tier 1 weapon requiring a few shots to take down common infected, and Tier 2 weapons can smash special infected in as few as five shots. The Hunting Rifle deals the most damage on a per-shot basis in Left 4 Dead 2, but is offset by a low rate of fire that leaves its damage-per-second as being the lowest of the weapons in the game. I’ve never run with the hunting rifle for this fact.

  • Back in the Left 4 Dead 2 campaign, there was a bonus mission called “The Passing” which saw the new survivors meeting the old ones. Playing through one of the other bonus missions allow players to see what things looked like for the survivors in Left 4 Dead: the mission is called “The Sacrifice” and ultimately requires that one of the survivors die to keep the others alive. Since I was playing as Bill (Nodoka), I ended up making the sacrifice to conclude the game. Throughout my entire run of the Left 4 Dead campaigns, I played as Bill simply because the model for Nodoka had not been completed in the K-ON! mod.

  • I appreciate that the modders are busy people, and for me, having three of the four survivors completed was all I needed to push forward: I can’t see my own character model, so playing as Bill/Nodoka meant being able to see everyone else as Jun, Ui and Azusa. Since I last wrote about Left 4 Dead 2, the K-On! mod has undergone a few more updates, adding voices to the characters. This is a minor but hilarious addition, since the characters now speak in squeaky anime voices, making them more distinct from Left 4 Dead 2‘s aesthetic. Here, I make use of a mounted 50-calibre MG to shoot the rock from a tank, earning me a rare achievement.

  • I begin the Left 4 Dead campaign proper here in the streets of Fairfield, a fictional city named after Pennsylvania’s Fairfield: unlike the Left 4 Dead 2 Fairfield, the real Fairfield has a population of around five hundred people, and Left 4 Dead‘s Fairfield looks like a city of at least a quarter million prior to the infection. The game starts on a moody, rainy night that feels perfect for a zombie apocalypse, and here, I equipped a suppressed MAC-10 to start things off. Where given a choice, I’ll almost always pick a submachine gun over a shotgun in the campaign, since it gives me a bit more RPM and reach over a shotgun.

  • The eternal question of equipping a pistol or melee weapons is the subject of no small debate amongst Left 4 Dead 2 players: my buddy believed that the best weapon in the game to fill one’s secondary slot was the combat knife, which had no delay between strikes and dealt solid damage. For me, I typically prefer holding onto the default P220 pistol and then pairing it with a Glock if one can be found: dual pistols offers solid all-around performance and allows one ranged capabilities should they ever run out of ammunition for their primary weapons.

  • I will switch out for a shotgun if it’s the only option available and I’m running low on ammunition for my primary weapons. While devastating at close range, the shotguns’ general lack of use at long ranges, and lengthy reload times mean that they’re only really useful in a limited set of situations. I have heard that with a shotgun, one can one-shot a Witch with a body-shot if their aim is true and all of one’s pellets connect. Witches were the one opponent I was absolutely terrified of fighting, and since they blocked access to critical areas at times, I often was forced to startle the Witch, become incapacitated and then dump magazine after magazine into it while hoping my AI teammates would help finish the job.

  • As I got increasingly familiar with Left 4 Dead 2‘s mechanics, I was able to detect Witches more easily and do around them, or else engage it from at range using a combination of Molotov cocktails and gunfire. Here, I’ve finally entered the hospital and cleared out an entire horde of infected. Early in my time with Left 4 Dead 2, special infected would always give me trouble, and I was always wondering how the AI teammates would always melt them so quickly. A part of the reason why this was so common was because I’d originally treated Left 4 Dead 2 as run-and-gun shooter, causing the Director to spawn more special infected.

  • By playing more cautiously and sticking with the team, I ended up setting off the Director less often. After fighting through the hospital, I reach the rooftops and signal to a news helicopter for evacuation, making use of an M134 on the rooftops to fend off the hordes. Left 4 Dead had the M134 Minigun in place of the M2 Browning 50-calibre heavy machine gun: both mounted weapons are powerful, but oftentimes are placed in strategically meaningless locations, so one can’t hop on and mow down infected en masse. However, they can still be useful.

  • Owing to how the campaign missions were, I ended up playing them in order, and here, I played through Crash Course, another DLC mission set between the No Mercy and Death Toll missions. Set in a rural small town just outside of Fairfield, the objective is to secure a vehicle and get on to Riverside. Like Fairfield, Crash Course is set during the night and has a similar aesthetic to Half-Life 2‘s Ravenholm: set purely in an industrial area, the eerie blue lighting creates a very cold feeling that brings to mind the narrow alleys and empty miner’s residences.

  • Of course, having K-On! characters around completely changes the aesthetic – I previously commented that there is a practical reason this mod is so enjoyable, and this was because the characters stick out so much, I have no trouble spotting them difference between them and the infected during a given firefight. Like Yui, Ritsu, Mio and Tsumugi, Azusa, Ui, Jun and Nodoka stand out from the hordes with their unique look, and in between combat sequences, small animations the characters have add to their authenticity.

  • Since I already wrote about a Jockey riding Mio previously, this time around, I’ve opted not to title the post after a Jockey riding Jun. Jun is Ui and Azusa’s friend in K-On!, having joined the jazz club after the light music club felt a little unusual to her. After hearing Azusa’s adventures with Yui and the others, Jun becomes jealous and in her final year, ends up joining the light music club. She didn’t really stand out too much in K-On!‘s first season, but took a greater role during the second, and becomes an integral member of the Wakaba Girls after Yui and the others graduate.

  • A common enough occurrence in Left 4 Dead 2 is that every time a powered door needs to be opened, or a radio call be made, the noise will draw the hordes of infected out. In general, I find the Molotov Cocktail to be a better throwable than the pipe bomb, since its large area of effect allows it to act as an area denial weapon, perfect for blocking off one direction of attack whenever holding an area. Pipe bombs are better used for pulling infected away from certain areas, making them a better distraction tool, and I’ve never really been too effective with the bile jar. Of course, players with more hours (and correspondingly, experience) will probably have different experiences and remarks.

  • The Riverside campaign, Dead Toll, has a distinct Alan Wake feel to it: a dark, foggy night in an eerie town. However, unlike Alan Wake, my arsenal is greater, and without a shield of Darkness surrounding the infected, it becomes a simple matter of blowing them away. I have heard that the K-On! mod for Left 4 Dead 2 is not without controversy – the exact original creator of this iconic mod is disputed, at least from what I read. If it was the case that there was a previous creator, it would’ve fallen on them to ensure they’d done a satisfactory job of maintaining and advancing things, otherwise, one can hardly fault new modders from taking up the mantle.

  • With this being said, this is not particularly relevant to me; the fact that the mod is actively being worked on and improved is what matters, and so, when I received word of the mod a few months back, I was more than happy to return to Left 4 Dead 2. Back in the sewers of Riverside (a small town quite unrelated to Riverdale, home of Archies’ Weird Mysteries), I managed to pick up a .44 Magnum, modelled after the Desert Eagle Mark VII chambered for the .44 rounds. The weapon’s large size and chrome-plated finish speaks volumes about its stopping power per shot, although most players have noted that the magnum is inferior to the P220 on the basis that it cannot be dual wielded, has a slower firing rate and a lower rounds per minute compared to the P220 or the dual-wielded P220 plus G17.

  • Making my way through Dead Toll, the grim atmosphere really creates a proper sense of horror. The dark night-time setting makes every encounter unpredictable, and conceal enemies that would otherwise be easily spotted during the day. Both Left 4 Dead and Left 4 Dead 2 make extensive use of forests in their settings to great effect – whether it is the swampy forests of the latter or the Appalachian forests in the former, there’s something unsettling about a forest by nightfall that evokes imagery of the Slenderman or similar. Left 4 Dead‘s choice to use the night creates a more compelling atmosphere; in Left 4 Dead 2, the daytime setting diminishes from the horror piece.

  • With the Dead Toll mission resembling the original Alan Wake, I recall that it’s been about eight years since I played through Alan Wake, having purchased it for five dollars during the Steam Summer sale. I’d been intrigued by TheRadBrad’s playthrough of it – one of my friends had sent me gameplay of Deadly Premonition, and at the time, the game was not available on Steam (curiously, it did release a few months later). While watching TheRadBrad’s Deadly Premonition videos on YouTube, one of the recommended videos was one of his play-throughs for Alan Wake. The concept in Alan Wake intrigued me and I ended up picking the game up along with the spin-off, American Nightmare.

  • At present, I can’t say I have too much interest in playing Deadly Premonition for myself; TheRadBrad’s play-through was very comprehensive and gave me a solid idea of what ends up happening. With respect to Alan Wake, I’ve yet to actually beat American Nightmare despite the game being in my library for over eight years; it typifies my tendencies to procrastinate when it comes to entertainment, and Left 4 Dead 2 is proof of this, as it took me eight years to finally sit down and complete the game. To be honest, my Steam library’s grown larger than I have time to game on account of the Steam sales, and in recent years, I’ve not bothered partaking in sales, knowing I’ve got enough titles to last a very long time.

  • Towards the end of the Dead Toll mission, after arriving in Riverside and reaching a boathouse, the goal will be to fend off the hordes again. I’ve switched off the G3SG/1 to the M16A2: while my favourite weapon in Left 4 Dead 2 is the AK-47, for being a slow-firing, hard-hitting weapon, the M16A2 is reasonably versatile and its large 50-round magazine and rate of fire makes it a great choice for both CQC combat and medium range firefights against common infected.

  • Here, I’ve equipped a laser sight for my M16A2: this weapon mod greatly improves a weapon’s accuracy, transforming the assault rifles into makeshift marksman rifles. They’re able to improve hip-fire accuracy on all weapons, but on the shotguns and grenade launcher, they’re not as effective. Offering tremendous advantages when equipped, laser sights also indicate where allied players are pointing their weapons. To offset their usefulness, laser sights are incredibly rare, and players usually go through entire campaigns without finding one. Having the laser sight made the final fight to keep the infected away while waiting for a boat at Dead Toll proved useful.

  • The Dead Air mission entails fighting through the city streets until reaching an airport, which is host to a range of aircraft the survivors could use to fly out of town to the next area. Of the Left 4 Dead missions, I enjoyed Dead Air the most owing to its setting: there is something unsettling about an orange-tinged night sky that implies the world is burning now, folding from the weight of the infection. The survivors start on a rooftop greenhouse and must make their way over to the airport, which appears to be located very close to the city if one could simply walk up to it.

  • Most airports are located away from urban areas so the noise from air traffic do not disrupt residents and businesses, but smaller airports are often located in the heart of a city to act as an auxiliary facility for domestic flights. En route to the airport itself, this is the moment that lent itself to the post’s title: because one of the AI teammates had startled the Witch, the Witch’s attention was focused on them: a swift finger on the screenshot button landed me this screenshot, and I subsequently dumped a few magazines into the Witch before it could take me out.

  • The Dead Air campaign marked the first time I’ve been in a video game airport since my previous unsuccessful attempt to explore the Washington National Airport in The Division 2. I fought through a concourse area before entering the parts of the airport with the gates: the saferoom is located just inside the gate before the sky bridge. The K-On! mod for Left 4 Dead 2 adds the riff, Kendama-kun, as the song for whenever a chapter ends, and I keep thinking in my head, in Yui’s voice, “Keion!” upon successful completion of each chapter.

  • The final step of the campaign is to wait for a C-130 to finish refuelling. There’s a mounted M134 available here, but as most of the infected will come from different directions, I didn’t find it to be particularly helpful. I’ve got the SPAS-12 equipped here: known as the Tactical Shotgun in-game, the SPAS-12 has the least spread. While dealing slightly less damage than the Benelli M4 Super 90 (Auto Shotgun in-game), the reduced spread means it reaches out slightly further with more reliability. Finale missions always provide an endless supply of weapons and ammunition, allowing one to freely switch between different weapons to get the job done.

  • The final campaign is set in a forested area by daybreak that brings to mind the areas seen in Half-Life 2: Episode Two, specifically the White Forest, even if the forest seen in Left 4 Dead has deciduous trees (and White Forest, being modelled on forests in the Pacific Northwest, are largely coniferous). The early morning light represents a departure from the night settings in the previous levels, but this is only an aesthetic – the sky may be illuminated, but the land is still somewhat dark, and one must remain vigilant. The site is modelled on Allegheny National Forest in eastern Pennsylvania, which is located just south of Lake Erie in the Appalachian Mountains. It becomes clear that any other time, the park would be a fantastic place to go for a day trip of sorts.

  • A glance at the calendar will find that we are two-thirds of the way through March, and that today is the Vernal Equinox. On this first day of spring, the days will only continue to lengthen as summer approaches. I am very glad that light and warmth are returning to this side of the world. The first day of spring also coincides with the city-wide youth science fair – a few weeks ago, I helped with the science fair for the most prestigious secondary school in the city: my old secondary biology instructor took up a post there and invited me to help out, and it’s always been fun to see what the brightest young minds in the area are up to.

  • Like last year, this science fair is virtual: this is for the safety of all involved, and while I very much prefer to see projects in person and ask questions after a presentation, I understand that the virtual science fair format is necessary. With this being said, the plus side about a virtual science fair is that I can review projects at my leisure while rocking my pyjamas before my first cup of Earl Grey. As soon as this post is done, it’ll be time to turn my attention wholly towards the judging.

  • Now that I’m coming close to finishing off the original Left 4 Dead campaigns, and having finished Left 4 Dead 2‘s base campaigns, the thought of a potential Left 4 Dead 3 did cross my mind. It turns out that Left 4 Dead 3 and Half-Life 3 were projects that were permanently suspended in 2017 as work continued on the Source 2 Engine: only a handful of games, including DotA 2 and Half-Life: Alyx, have been developed in the Source 2 Engine so far. With Valve still tight-lipped about their future projects, the only constant is that speculation is quite meaningless, since there’s next to nothing in the way of facts surrounding the future of the Half-LifePortal and Left 4 Dead franchises.

  • The last segment of the Left 4 Dead campaign has survivors holding out near a small farmhouse: once the radio is called, the military will deploy an APC to the site, and until it arrives, the survivors must survive wave after wave of infected. Unlimited ammunition and several first aid kits are available for use inside the farmhouse, and I ended up going with the M16A2, since this was a scenario where RPM and sustained damage was helpful. In the end, I succeeded in fending off the zombies, and as No Thank You! began playing, I watched the end-of-campaign stats roll, revelling in the fact that I finally finished both the major Left 4 Dead and Left 4 Dead 2 campaigns. At the time of writing, the only Left 4 Dead 2 campaigns I have left are the community-made ones.

  • Towards the end of the mission, I ended up picking up a tonfa and killed an infected to earn the “Club Dead” achievement, which requires players to get a melee kill on common infected with each of the game’s melee weapons (axe, chainsaw, cricket bat, crowbar, guitar, frying pan, golf club, katana, machete and tonfa, plus a pitchfork and shovel on PC). While most guides call this a nightstick because it is modelled after the Monadnock PR-24 police baton with side handle, the baton itself was based off the Okinawan tonfa. I’ve been training with a tonfa for some years, and they’re usually used in pairs. While I’m not as skilful with tonfa as I am with sai or nunchaku, I am sufficiently versed to know that in Left 4 Dead 2, the player is not holding the weapon as one would traditionally hold a tonfa.

With all of the major Left 4 Dead 2 campaigns now finished, this journey has been one that’s been a shade under eight years in the making: the presence of mods has been an instrumental piece of my inclination to pick Left 4 Dead 2 back up, with the end result that I managed to finish a game that I’d all but forgotten about. The presence of K-On! mods for Left 4 Dead 2 also had another side effect: it brought back numerous, pleasant memories I have of the K-On! franchise, leading me to check out the K-On! Come With Me concert and revitalise my interest in the franchise’s music, in turn helping me to relax and keep focused during a somewhat stressful February. Familiarity with Left 4 Dead 2 also means I’m now able to keep up with my friends where conversation turns towards this game: for the longest time, said friend had been hoping I’d complete the game to an extent where I’d be able to offer insights on the mechanics and provide thoughts on why Valve might’ve made certain decisions in the development process, which results in interesting discussions well beyond what gaming discussion today typically consists of (i.e. the best cosmetics and memes, or complaining about games endlessly for not catering to the individual). At this point in time, I’ve now completely experienced the K-On! mods for Left 4 Dead 2, which was an impressive and commendable effort into bringing one of my favourite franchises together with a survival shooter: the process to get the mod set up and running has been effortless, and really adds dimensionality and fun to a game that I otherwise would’ve just left in my backlog. Having now seen what the K-On! mod has done for Left 4 Dead 2, I do plan on taking things up a notch for the two remaining community missions, Cold Stream and Last Stand. Hopefully, getting those last two community missions done won’t take me another eight years to wrap up this time around!

K-On! Come With Me!!: A Review and Reflection of the 2011 Live Action Concert At the Ten Year Anniversary

Even if you fail, try to add it up
‘Cause a bigger answer will come to you
Whatever that happens to be
If we’re together, we’ve got nothing to fear!

–Come With Me

On a Sunday afternoon ten years earlier, Saitama Super Arena hosted the largest K-On! event the franchise had organised. Titled Come with Me!!, the event was a celebration of K-On!‘s successes, seeing live-action performances of the series’ most well-known works from members of Houkago Tea Time. Aki Toyosaki, Satomi Satō, Yōko Hisaka, Minako Kotobuki and Ayana Taketatsu stepped onto the stage to thunderous applause, welcoming the audience with GO! GO! Maniac before introducing themselves. Each of the cast then performed their lead character songs (Oh My Gitah!, Seishun Vibration, Drumming Shining My Life, Diary wa Fortessimo and Over the Starlight). After Taketatsu performed her song, director Naoko Yamada then made an appearance, announcing that K-On! The Movie would be premièring in theatres on December 3. Madoka Yonezawa (Ui), Chika Fujitō (Nodoka) and Yoriko Nagata (Jun) continued on with their performance before things transitioned over to a stage play, where Toyosaki, Satō, Hisaka and Kotobuki reprised their characters’ roles; because the clubroom at their school is undergoing maintenance work, the girls need a place to practise, and they find themselves in an unexplored area of school (Saitama Super Arena itself. After the initial shock wore off, Houkago Tea Time performed several new pieces (Ichigo Parfait ga Tomaranai, Tokimeki Sugar, Honey Sweet Tea Time), along with one of K-On!‘s most iconic songs (Gohan wa Okazu) on a central stage. As their performance draws to a close, members of Death Devil took to the stage and put on a different kind of show that mirrors the sort of music Sawako and her band would’ve played while they were in the light music club. When Houkago Tea Time return to the stage, they sat down to discuss differences in musicianship and how the different Japanese scripts can impact perceptions of whether or not something is cute: it turns out that the gentle curvature of Hiragana script gives the words a gentler feel, compared to the harsher, more angular appearance of Katanana script (for instance, “Keion” in Hiragana,けいおん, has a friendlier appearance than the Katakana ケイオン). The members of Death Devil suggested that Houkago Tea Time continue to work hard and do as they’ve always done – Houkago Tea Time returned to the stage and performed the centrepiece songs of K-On!‘s second season (Pure Pure Heart, U&I and Tenshi ni Furetta Yo!, along with an encore performance of Fuwa Fuwa Time). Come with Me!! entered its closing acts subsequently, with the cast reflecting on their incredible experiences as a part of the K-On! franchise. The audience is treated to a final performance of Come with Me!!, the song that lends itself to the concert’s name.

With a runtime of three hours and thirty-five minutes, Come with Me!! would hit the shelves on August 10, just shy of a half-year after the concert ended. Through this home release, the concert’s events would be immortalised. Even though there is no substitute for attending in-person, the home release edition captured the emotional tenour and vigour of the atmosphere at the concert. Throughout the concert, Toyosaki and her co-leads frequently allude to how much practise it took to prepare for the event: to ensure every song was memorable, the team would’ve rehearsed tirelessly to nail each and every song, step and line. The actresses even learned the fundamentals behind their respective characters’ chosen instruments so that they could put on a compelling performance (it is understandable that the actual instrumentation was done by professional guitarists, bassist, drummers and pianists). While Toyosaki, Hisaka et al. are no professional musicians, their efforts paid off: where they played with the instruments, it genuinely felt that Houkago Tea Time was on the stage. When they were purely singing, their songs absolutely conveyed the manner and style of their respective characters, bringing Yui, Ritsu, Mio, Mugi and Azusa to life. The energy and spunk everyone had was a major factor in keeping the viewer’s attention throughout the entire concert, and despite the runtime length, Come with Me!! never felt for a second that it was dragging on: there were surprises around every corner, and the combination of live music, a miniature stage play and a chance to listen to the voice actresses and staff share their experiences contributed to a very heartfelt and sincere presentation that unequivocally demonstrated the sort of impact that K-On! had during the height of its popularity. This love for K-On! was apparent: besides the cast’s powerhouse performance, the sell-out crowd also indicated what K-On! meant to many. Nowhere was this more apparent than towards the concert’s end – Satō was fighting back tears while singing Tenshi ni Furetta Yo!, and both she, and (Azusa) teared up during their final speech to the audience. Ironically, despite promising not to cry, Hisaka wound out breaking into full tears. The audience, in turn, cheered enthusiastically and could be heard shouting encouragement to everyone before, during and after performances. Through Come with Me!!, the mutual respect and love that everyone shares for the K-On! franchise, the staff working on it, was plainly visible.

Come with Me!!! was a tour de force performance that served to emphasise the process behind K-On!.This concert served to highlight the sort of effort that went into the production of K-On!: the series’ incredible success during 2009 and 2010 had been the result of Kyoto Animation, Naoko Yamada and each of the voice actress’ diligence, persistence and skills, all of which came together to a polished and meaningful final product. Overseas viewers, however, are limited to what they see in the final product: we don’t see the people behind the work, and consequently, without having seen any of this, it would’ve been easy to dismiss K-On!‘s success as undeserved, warranting nothing more than a vitriol-filled blog post telling people not to watch this series. Come with Me!!, on the other hand, made it apparent as to what went into the creation of K-On! – when immersed in a crowd who shares the staff’s love of K-On!, it becomes impossible not to be appreciative of the effort each of Toyosaki, Hisaka, Satō, Kotobuki and Taketatsu put into making the series compelling. Everyone’s speeches really drove home the sort of passion that led everyone to put in their best for K-On!, whether it was voicing the different characters, singing or stepping out onto a stage in front of thirty-five thousand fans. That Come with Me!! was performed to a sold-out crowd at Saitama Super Arena speaks to the sheer scope of the impact K-On! had on its viewers: it is no easy feat to draw out thirty-five thousand people, including families, each of whom has found sufficient emotional impact in a series such that they would attend a concert and cheer on the staff that made a tangible impact in their lives. This is a thought that definitely crossed each of Toyosaki, Hisaka, Satō, Kotobuki and Taketatsu’s minds: looking out from the stage to a sea of applause and glow-sticks really would’ve it tangible as to how far-reaching K-On! had been.

Screenshots and Commentary

  • Per the title card, Come With Me!! was held on February 20, 2011 at the Saitama Super Arena, a massive stadium and venue capable of housing 37 000 people. Doors to the event opened at 1400 JST, and the event formally began at 1600, running until 1900 on a Sunday. Tickets cost 7800 Yen (93.49 CAD in 2011) per person, and the event had been announced in October 2010, a month after K-On!‘s second season had finished airing. The BD released in August 2011, giving viewers a 1080i picture and Linear PCM 5.1 audio: while not possessing the same visual fidelity as progressive scanning (motion blur was a bit more noticeable), the final result is still more than watchable. Before K-On!‘s leads take to the stage, audiences would’ve seen a sakura tree adorning the projection screens.

  • I believe that this post marks the first time a full discussion of Come With Me!! has been had anywhere since the BD released: live action events aren’t usually in the realm of things that anime bloggers typically write about, and while Come With Me!! was probably one of the largest anime events of its time, it was not large enough to make waves amongst the English-speaking blogging community. As such, no posts about Come With Me!! exist. At the ten year anniversary, the time has come to rectify this, and here, Toyosaki, Hisaka, Satō, Kotobuki and Taketatsu finally make an appearance to kick things off. The concert opened with a live performance of the opening song, Go! Go! Maniac, a high-intensity piece. The opening songs for K-On! have always been spirited pieces, energetic and at times, a little hard on the ears.

  • Conversely, Hisaka is the lead singer for the ending songs, which have a more mature, rock-like feel to them. I’ve always been fond of Hisaka’s performance as Mio – there’s a certain sexiness about her delivery of Mio’s lyrics and lines. After Go! Go! Maniac, Listen!! is the next song viewers would’ve been treated to. Altogether, Come With Me!! features a total of twenty seven songs. The first two songs act as a bit of a precedence for the remainder of the concert, and it speaks to the voice actress’ stamina that they were able to sustain such an energetic manner for the whole of the 185-minute performance: even concerts with stars like Sam Hui and Alan Tam only ran for two-and-a-half hours.

  • With the two opening songs in the books, Toyosaki and the others introduce themselves to the audience, marvelling at the size of Saitama Super Arena’s audience. With over double the capacity of Yokohama Arena, which hosted Let’s Go! (the first K-On! concert), Saitama Super Arena would’ve been an impressive sight. Let’s Go! took place on December 30, 2009 to an audience of around 15000, and tickets to the two-and-a-half hour event went for around 6825 Yen (81.97 CAD). The BDs became available precisely six months later, on June 30, 2010. The big anime bloggers of the day did write about this one, praising the event as a fantastic opportunity for the voice actresses of K-On! to really show their viewers what they’ve got, and the event was also where the announcement for K-On!! was made.

  • With the introductions done, Aki Toyosaki wastes no time in switching over to a red outfit for her live performance of Oh My Gitah!, Yui’s character song that acts as a love letter for her cherished Les Paul guitar. Throughout the whole of K-On!!, Yui treats her guitar as though it is sentient, and in Toyosaki’s performance of Yui’s song, it is clear as to how deep this love of music and her partner-in-arms is. I’m not an expert in music theory, style or history, so I can’t speak to the style of this song, but Yui’s character song uses a very similar instrumentation to the incidental pieces seen in Man v. Food, whenever Adam Richman is exploring the local eateries prior to his challenge. This creates a very personalised feeling, and I imagine that this is what the composers were going for when writing Oh my Gitah!.

  • Since Mio’s instrument is a bass, it is fitting that her character song, Seishun Vibration, makes extensive use of the low notes of a bass guitar. Of everyone in Houkago Tea Time, it is a badly-kept secret that I’m most fond of Mio and her voice – Seishun Vibration is then, unsurprisingly, my favourite of the character songs. The lyrics are bold, reflective of the two sides to Mio: while Mio normally presents a very shy and reserved face for the world, she also has a more aggressive and forward personality that shows up when she’s in the presence of those she’s comfortable around. Seishun Vibration is purposeful, and the perfect song for driving along a highway through the mountains. During her performance, Hisaka brings back Mio’s infamous moe moe kyun move, a callback to the first season.

  • Admittedly, while Satomi Satō is a highly skilled voice actress (evidenced by her numerous roles in a range of anime), her character song for Ritsu came across as being very bombastic and noisy. I’ve never really been a fan of her character song, Drumming Shining My Life. With this being said, of everyone, Satō definitely spent the most effort replicating Ritsu’s voice for Come With Me!!: of the characters in K-On!, she and Yui have the most unique voices. On her image album, Ritsu also has a second song, À la carte, Evening Sky, that is slower-paced and more relaxing in nature, speaking to another side of Ritsu’s character.

  • Minako Kotobuki’s Diary wa Fortessimo is a fun-filled song, being my second favourite of the character songs. There’s always been an earnestness about the song I’ve enjoyed, and coupled with Kotobuki’s singing voice, I found this character song brings to life Tsumugi’s view of things around Houkago Tea Time. Bouncy, cheerful and whimsical, I really liked Kotobuki’s performance, and of everyone, she seems the most at ease with performing, dancing happily during the song’s instrumental interlude (her movement feels crisper and more purposeful than the others).

  • Ayana Taketatsu’s performance of Azusa’s character song has a spunk to it, mirroring Azusa’s traits. Character songs are written to give insight into an individual’s defining attributes, and beyond the lyrics, the way a song sounds can speak volumes about a character well beyond what was seen in the anime. In K-On!, character songs allow listeners to peer into the minds of the characters and ascertain how they really feel about certain things: Azusa has always attempted to present herself as a beacon of reason and focus in a band whose senior members are prone to distraction, but despite the lax attitude Houkago Tea Time takes towards music, Azusa has come to appreciate them all the same and promises to support them as best as she can.

  • With Houkago Tea Time done their character songs, Asami Sanada steps onto the stage to address the audience. Sanada’s been a longtime voice actress before beginning K-On!, starting her career in 1999, and has played a variety of roles. As Sawako, Sanada presents her with a sweet, gentle voice befitting of a teacher. Of course, when the chips are down, her voice takes on a much rougher tone, attesting to her skills. K-On!, both in its anime and manga incarnation, has Sawako change appearance depending on whether she’s the teacher everyone knows and loves, or the punk rocker with a fondness for metal: Sanada is able to present both sides of Sawako’s personality without skipping a beat.

  • This was probably one of the major highlights of Come With Me!!: Naoko Yamada stepping onto the stage herself to greet the audience and drop the biggest bit of news since K-On!‘s second season. That a film had been in the works had been known for quite some time, but with director Yamada on stage to personally announce that the film was releasing on December 3, 2011, the audience went wild, especially with the revelation that this film would feature all-new content. The K-On! manga was still ongoing at the time, but the film had an original story set during the second season’s timeframe. Looking back, I would’ve liked to have seen K-On!‘s remaining manga volumes (College and High School) receive anime adaptations, but I imagine that Yamada had intended the second season to act as the decisive close on Houkago Tea Time’s journey.

  • Once the big announcement was made, Madoka Yonezawa stepped onto the stage to perform Ui’s character song. Ui’s songs have always been a joy to listen to, and Yonezawa does a fantastic job as K-On!‘s Ui: the ever-dependable and reliable younger sister, Ui is only seen doting on Yui the way a loving grandparent might. Her character song suggests that, despite her own prodigious skills, the one thing she longs for most is to follow in Yui’s example and find something that she can totally immerse herself in. Ui does end up inheriting Yui’s role as a guitarist in the manga, joining the light music club and performing alongside Azusa, Jun and several new members.

  • Jun’s character song falls into the same category as Ritsu’s and Azusa’s: of the character songs available, I never really got into her song quite to the same extent that I did for Mio, Tsumugi and Ui’s songs. As one of the secondary characters, Jun’s in Azusa’s year and is classmates with Ui, as well. Yoriko Nagata’s performance of Junjou Bomber is, in person, much livelier than it was as pure audio, and speaks to the fact that Jun admires Mio greatly. While joining the Jazz Band owing to poor first impressions of the light music club, Jun comes around and joins in their final year, longing to do the things that Azusa does.

  • Rounding out the character song performances is Chika Fujitō’s Nodoka: Jump is an upbeat and optimistic-sounding song that mirrors Nodoka’s enjoyment of her time as a high school student, where, in the process of encouraging those around her to be their best (especially Ritsu and her propensity to forget important logistics, such as paperwork), she also found herself being pulled along by those around her into the future. Fujitō plays Nodoka with a calm sense of assuredness. Both mature and dependable, Nodoka handles most trouble by listening, although she can be stubborn in some cases, as well. Jump’s composition has a very warm, summer-like feel it it, with the instrumentation and tone conveying an image of a beautiful day of blue skies and sunshine.

  • Once the character songs are done, the lights go out, and a small skit is presented for the viewers’ benefit: when their clubroom undergoes maintenance work, akin to a similar situation in the second season, Houkago Tea Time go in search of a new place to practise, coming across a strange portal in their school’s basement that seemingly leads straight to Saitama Super Arena. Come With Me!! thus enters its next phase, and as Toyosaki, Hisaka, Satō, Kotobuki and Taketatsu step onto a central stage in the arena, the lights come back on.

  • For the next performance, Toyosaki, Hisaka, Satō, Kotobuki and Taketatsu pick up their instruments and, after spurring on their respective segments of the audience, step right into Houkago Tea Time’s new songs. Ichigo Parfait ga Tomaranai (Strawberry Parfaits are Unstoppable), Tokimeki Sugar (Heart-throbbing Sugar) and Honey Sweet time were released on a special album back in October 2010, having never been performed in K-On! proper. Each of these songs have a unique zeal to them, with Toyosaki, Hisaka and Kotobuki respectively leading the vocals.

  • While these three songs were never seen in K-On!, it becomes apparent that they still have the distinct Houkago Tea Time sound and correspondingly saccharine lyrics. Reading through the lyrics’ English translations, the lyrics would probably be quite tricky to get into a good-sounding song owing to the way syllables work, although I imagine that even if successful, the songs could sound quite unusual. Having said this, the songs sound fine in Japanese, and I’ve long held that compared to contemporary pop music, K-On!‘s miles ahead of anything we currently have.

  • Seeing the camera pulled back really gives a sense of scale at Saitama Super Arena: there is a sea of people surrounding the stage. Moments like these really accentuate the fact that K-On! was an incredibly popular series in Japan, and the fact is that the show was able to draw thirty thousand plus people to a live event. While K-On! also became popular amongst foreign viewers, who similarly appreciated the warm themes and atmosphere taken by K-On!, after its run in 2009, there was a great deal of discussion on whether or not the series was great for storytelling or other technical reasons.

  • K-On! excels not because of anything groundbreaking, but because of its sincerity about things like appreciation and friendship. The simple themes, coupled with Kyoto Animation’s technical excellence and amazing voice work from the cast meant that K-On! hit all of the right notes. Seeing something like Come With Me!! really makes tangible the amount of effort that went into making the series a success – behind every character is a human being, each with a story, and so, for viewers, a part of the enjoyment (both for K-On! and for Come With Me!!) comes from being able to see for myself the effort that goes into making something.

  • The final song that Houkago Tea Time plays on this centre stage is Gohan wa Okazu, an iconic K-On! song that, despite its hokey lyrics about how rice is a staple that is essential for all meals, is so well composed and catchy that it is immediately recognisable, the same way classics like Staying Alive, Go Your Own Way, The Hustle, Baker Street and countless other songs are immediately recognisable just by listening to their opening riffs. Gohan wa Okazu typifies the sort of music that Houkago Tea Time perform: between Mio’s flowery and soppy lyrics, or the simple, direct approach Yui takes in her songs, Houkago Tea Time’s music is by no means complicated, but expert composition renders each song immensely enjoyable.

  • Insofar, Toyosaki, Hisaka, Satō, Kotobuki and Taketatsu have been miming the act of playing their instruments; singing and playing instruments simultaneously is remarkably challenging, and these Houkago Tea Time songs still have decently complex instrumentation. To allow the cast to focus on singing, a part of their concert uses pre-recorded instrumentals. This is completely understandable, and from an enjoyment perspective, it never diminishes from the experience – having the instrumental tracks pre-recorded also leaves the cast free to interact with the audience and drive up engagement, as each of Toyosaki et al. do when they ask their respective sections to cheer them on.

  • Once Houkago Tea Time wraps up their centre-stage presentation, Death Devil steps in to perform Maddy Candy and LOVE. Unlike Houkago Tea Time, Death Devil specialises in speed metal: Sawako is easily swayed by her heart, and took up an increasingly wild approach to music to impress a guy in her year. Their music is intense, sounding nothing like the kawaii style that Houkago Tea Time is known for. While I’ve never been quite as excited by their music as I am about Houkago Tea Time’s songs, Death Devil is technically more bold and creative: speed metal, after all, eventually gave rise to the power metal genre which I am fond of.

  • Come With Me!! has the cast do a minor stage play of sorts, where they discuss the nature of musicianship and how image can be impacted by the type of script used. This was one of the topics that we covered in my introductory Japanese class – I took this course in my third year, after I’d finished watching K-On!, and my instructor remarked that the Hiragana script is the first script that children learn, being at the core of the Japanese language. Between this and the fact that Hiragana uses gentle curves, it creates a very cute looking script compared to the angular Katakana and intimidating kanji scripts. Recalling this brings back a great deal of memories: I had just come from a summer of building a renal flow model using the Bullet Physics engine in Objective-C, and this work was interspersed by me really getting back into anime, including Sora no WotoBreak BladeIka Musume! and The Melancholy of Haruhi Suzumiya.

  • Lucky☆Star had jump-started my interest in Kyoto Animation’s works, which led me to K-On!, and this was the anime that brought me back from the brink of destruction. When Come With Me!! was performing, my semester would’ve been really kicking into high gear: in organic chemistry, I would’ve been covering alkene and alkyne reactions (halogenation, epoxidation, dihydroxylation and others), while data structures II would’ve seen the introduction of Red-Black trees and AVL trees, which are self-balancing and mitigate the problem of where worse-case data insertion creates a linked list, which slows down searches. Better minds than mine might fare better in the unique combination that was data structures and organic chemistry: I came to a razor’s edge of failing both, and it was ultimately K-On! that helped me to regroup and survive.

  • It is for this reason that even a decade later, I still continue to watch anime of this sort: when times get difficult, losing myself in another world for 24 minutes helps me to regain perspective of things. Thus, when I watched Come With Me!!, I was immediately reminded of what K-On! meant to me personally. Towards the final act, Houkago Tea Time return to the main stage and pick up instruments, playing live in front of the audience. While perhaps without the same finesse as a professional musician, Toyosaki, Hisaka, Satō, Kotobuki and Taketatsu nonetheless put on an admirable showing, and the songs they perform remain faithful to the originals.

  • Hisaka’s Pure Pure Heart first showed up in K-On!‘s second season in Tea Party. The band had no previous performance with this song, and a glance at the lyrics shows that it would’ve been Mio who wrote the lyrics. Mio’s lyrics are typically more wistful and poetic than Yui’s, more resembling those to a contemporary pop song, but there is a sincerity about them that most songs today lack. It is a little surprising that ten plus years have now elapsed since Houkago Tea Time’s songs were first written and performed – back then, I enjoyed them above the popular music of its time, and today, the music remains every bit as enjoyable as it was back then.

  • During the performance, the camera pulls back and gives a glimpse of the venue, along with the folks in attendance. The cameras show happy concert-goers of all walks of life, and their enthusiasm could be felt even from behind a monitor. Prior to the concert, local media interviewed some of the attendees, but an unscrupulous anime blog, which I will only identify by its orange triangle logo, took selected clips from this broadcast to make the assertion that the attendees were “creepy”. This site has long held a reputation for misrepresenting things and taking information out of context, and their “article” on Come With Me!! comes across as being a sour grapes response to the concert above all else.

  • Back in Come With Me!!, once Hisaka is done with Pure Pure Heart, the next song is U & I. This is probably one of my personal favourites in the series: Yui had written it after Ui had fallen ill while looking after her, and Yui quickly realised that appreciation became more pronounced when someone she’d taken for granted was (briefly) taken away. K-On! had, earlier that episode, also shown Houkago Tea Time realising how much their clubroom meant to them. When Yui sees the parallels, inspiration for her song comes almost immediately, and the result is a song that I found even more iconic than Fuwa Fuwa Time. U & I comes second only to Tenshi ni Fureta Yo!. This song was a graduation gift to Azusa, and of all the songs in K-On!, brims with three years’ worth of emotion.

  • It is no joke when I remark that Tenshi ni Fureta Yo! is the culmination of everything that K-On! represents. This one song contains all of the themes throughout the series, and it is therefore unsurprising that many regard it as the opus magnum for all of Houkago Tea Time’s songs. During Come With Me!!, Houkago Tea Time’s performance of the song evidently brought back a great many memories amongst the cast: Toyosaki and Hisaka are able to keep it together, but for Satō, emotion threatens to overwhelm her, and she very nearly breaks out crying when singing one of Ritsu’s lines during the song. Her voice audibly breaks for a moment, and this little detail alone made clear what Tenshi ni Fureta Yo! meant to not just Satō, but everyone on the cast, staff and the entire audience.

  • Tenshi ni Fureta Yo! is what ended up leading me to watch K-On!: the combination of Lucky☆Star driving my reignited interest in anime, and my happenstance coming across a K-On! parody of Gundam 00, and out of curiosity, I picked up all of the vocal songs. While I was unsuccessful in finding the song used in the parody, one song stood out far above the rest: Tenshi ni Fureta Yo!. After doing a search, I realised that it would be necessary to go through the whole of K-On! to see the proper context for this song, and so, in late March, after finishing Lucky☆Star, I began watching the series. I finished the series in early May, right as the summer research began, and during my days at the lab, I would build out my models while listening to K-On! music.

  • Towards the end of the concert, encore pieces are performed along with the second season’s opening and ending songs (Utauyo!! MIRACLE and No Thank You!): Fuwa Fuwa Time, Cagayake! GIRLS and Don’t Say Lazy make a return. Fuwa Fuwa Time is Houkago Tea Time’s first song, and for this, the cast play their instruments along with singing. For the remainder of the songs, it’s back to using a pre-recorded instrument track. The preparations that went into this would’ve been gruelling; while I’ve not touched an instrument for over a decade now, I still have memories of what it took to put on a performance as a member of the concert and jazz bands back in middle school. Come With Me!! is the culmination of Toyosaki, Hisaka, Satō, Kotobuki, Taketatsu, Sanada, Yonezawa, Nagata and Fujitō’s combined efforts, along with the musicians, choreographers and support staff.

  • For audiences, seeing iconic songs from their favourite show brought to life would’ve certainly been an incredible experience: for three hours and thirty-five minutes, it’s a full immersion into the world of K-On!, and while the home release is able to convey these feelings to viewers, there is no substitute for being there in person. For Japanese attendees, a drive, few train rides or perhaps accommodations at the hotels near Saitama Super Arena would’ve been all that was necessary to see this concert, but for overseas viewers, the only way to check this one out would’ve been to await the home release, which was six months later (in August 2011). I believe that by this time, I would’ve been well into my renal flow model and had begun investigating tricks for using collision masks to mimic semi-permeable membranes.

  • With all of the encore songs finished, everyone returns once more to sing the Sakura High School song – it does feel a bit like a graduation ceremony, even though the song was originally used to welcome new students during the opening of the second season. The way Come With Me!! is structured is logical and flows well, combining the different aspects of K-On! into a part concert, part stage play: it is a true-to-life K-On! experience, and fully brings the second season to a proper end. K-On! The Movie would not have gotten the same treatment, and despite overwhelmingly positive reception, would also mark the end of the animated series. The manga, on the other hand, continued running for an extra year as Yui and the others become university students, while Azusa inherits the light music club’s presidency and strives to make it as memorable for her juniors as Yui and the others had done for her.

  • Come With Me!! is the last song in the concert: everyone returns to the stage once more to sing together. While not exactly the strongest of the songs in K-On!, its lyrics do speak to the sort of carefree and inquisitive nature of everyone in K-On!. Once the final song comes to a close, everyone shares their final thoughts and thank yous with the thirty thousand plus viewers. It is an emotional close to the concert, and during the closing speeches, Taketatsu, Satō and Hisaka openly weep as they thank everyone for their continued support.

  • It is not lost on me that, three years after this concert took place, I would actually have the chance to participate in a similar event (albeit on a much smaller scale). This event was The Giant Walkthrough Brain, and my involvement here was leading the implementation of the Unity 3D visualisations that would accompany the project. In this way, my role in The Giant Walkthrough Brain would’ve been equivalent to the team that built the set and managed the audio-visual component of this performance. A part of The Giant Walkthrough Brain involved us developers walking out onto the stage as the credits rolled, and there was definitely a sense of pride to know that I helped to build something that hundreds of people would enjoy.

  • This is, at least for me, why I chose the path of iOS developer despite the fact that it’s fraught with difficulties and challenges (least of all, the fact that Swift itself changes every year, and things become deprecated all the time). To be able to work on products that hundreds to thousands of people use is a humbling thing, and in this sense, being able to gather all of my users into a one room and know that I helped make something easier for every single person I can see would be moving. Taketatsu begins crying during her speech: the cast had jokingly remarked that they’d do their best to keep it together, and while Toyosaki and Kotobuki are able to do keep smiling as they speak, Hisaka, Taketatsu and Satō’s emotions cause them to struggle in expressing how deep their gratitude is.

  • For me, seeing their tears was as effective of a thank you as any well-given speech, and I found myself feeling these same emotions. In a bit of irony, how each of Toyosaki, Hisaka, Satō, Kotobuki and Taketatsu ended up giving their thank yous mirrors their characters. Yui is someone who lives in the moment and is able to have fun without being distracted, while Tsumugi is ever composed and similarly lives in the moment, albeit with a sort of grace that Yui lacks. Ritsu would be more similar to Yui and Tsumugi in this regard, but she’s been known to have a more emotional side to her, as well. For Mio and Azusa, the most serious of the group, these two are always mindful of those around them.

  • How I came upon Come With Me!! is a bit of a simple story: shortly after finishing K-On!, I fell in love with the musical style and sincerity that the series’ music embodied, and took an interest to the character songs. Each album had the characters’ respective voice actress singing their songs, plus a version of Come With Me!!. While looking this up for Mio, I stumbled across the segment of Hisaka performing this song live in the Come With Me!! event, and ended up reading more about the concert. However, the three-hour-and-thirty-five-minute long runtime was admittedly daunting, and I never did get around to watching the concert in full until earlier this year. K-On! returned back into my life when I decided to revisit the K-On! mod for Left 4 Dead 2,, which led me to fall in love with Houkago Tea Time’s music anew. Realising that the ten-year anniversary to Come With Me!! was near, I decided to bite the bullet, buckle down and watch the concert in full.

  • The end result was a rediscovery of why K-On! had been so enjoyable for me, as well as what the series had done for getting me through a very difficult segment of my life as an undergraduate student. K-On! might have finished for the present, but its impact on slice-of-life anime cannot be overstated – 2014’s Gochuumon wa Usagi Desu Ka? carries a very similar aesthetic and style, a love of sweets and life lessons, and similarly found immense popularity after its run. The series has hosted several concerts with music from the series, in the form of Tea Party Events. During the second season, the character song albums all featured the song Welcome!, which, similarly to Come With Me!!, features the characters singing a common song. In this way, GochiUsa is today’s K-On!, but unlike K-On!, whose popularity divided the community, GochiUsa is nearly universally acclaimed: once people acclimatised to the fact that K-On!-like shows were not here to dominate the market, but instead, complement it, reception to the genre and aesthetic thawed considerably.

  • Overall, Come With Me!! represents the apex of what is possible with K-On!, being an essential experience for anyone who counts themselves to be a fan of K-On!. Ten years after the live event at Saitama Super Arena, the memories continue to live on in the hearts of fans, and it is saying something that even now, K-On! still positively impacts fans and writers alike: messages of appreciation and gratitude make K-On! a particularly warm series, and Come With Me!! makes it abundantly clear that a considerable amount of effort went into making K-On! a success. This concert is something that I hope fans of the series will have a chance to check out, as it provides a different view of what this effort entails, and what the rewards for this effort are.

While Toyosaki and her K-On! co-stars were speaking about the impact K-On! had on each of their lives, I was sleeping and awaiting that day’s training at the karate club I’m a part of. At the time, I was deep into the winter term of my second undergraduate year: this term would prove to be the most difficult time I had faced in university, and I had been losing resolve. My peers fared little better, dropping out of data structures outright and resolving to take it again later. As organic chemistry and data structures became increasingly involved, I ended up dropping another course – because I had been intent on trying to maintain satisfactory performance in these programme requirements, I ended up neglecting one of my options entirely and wound up on the edge of failing. K-On! had been on my watch list for quite some time, and serendipitously, I had begun watching it right as April began, when it seemed that I would be suspended from my degree for unsatisfactory performance. The easygoing, heart-warming events of K-On! thus became something to look forwards to as each day drew to a close, and I ended up putting in my fullest efforts to stave off annihilation by day, watching K-On! every evening before turning in. Seeing the camaraderie in K-On! led me to accept a group-study invite from my friends in the health science programme, and I ended up helping to organise a study session for data structures so we could pass the exams together. By the time I finished K-On!, it was early May: thanks to the group study sessions, I ended up doing well enough on my exams to stay in satisfactory standing, and further learnt that I was offered an undergraduate scholarship to conduct summer research. I subsequently developed a keen enjoyment of the music in K-On!, and listened to the songs from all of their albums while implementing and testing my model of renal fluid flow in Objective-C. During Come with Me!!, the voice actresses spoke of people whose lives were transformed by their series. While Toyosaki and the others are highly unlikely to ever hear my own story of how K-On! changed my life, sharing this with readers is to demonstrate that K-On! did indeed have a tangible, positive impact on many people, including myself. The Come with Me!! concert served to reiterate this, and beyond being an indisputable success, also paved the way for K-On! The Movie, which acts as a sentimental, heart-warming and sincere finale to a series that would ultimately influence how slice-of-life shows of the present are adapted and presented to viewers.

A Jockey is Riding Mio: Revisiting the K-On! Mod for Left 4 Dead 2 and Returning Impressions

“Now that I think about, I’m always causing trouble for you, and it’s always at important times like this.” –Yui Hirasawa, K-On!

After a group of survivors are left behind in Savannah, Georgia amidst a zombie outbreak, they might their way to a mall and escape on a stock car, headed for New Orleans. However, the highway they travel along is blocked by vehicles, forcing them to continue on foot. The survivors reach a derelict amusement park and use a rock concert to signal for rescue. Despite being successfully extracted, the pilot becomes infected, causing the helicopter to crash. The survivors make their way through a swamp, fight through a plantation and make contact with a boat captain. However, the boat begins running out of fuel, forcing the survivors to stop in Ducatel, Mississippi. Securing the fuel needed in a sugarcane factory, the survivors return to the boat and reach New Orleans, fighting their way through the city and reaching a bridge. After crossing said bridge, the survivors come in contact with the army, who suspect them to be carriers, but evacuates them anyways: the military are leaving New Orleans, which is overrun, and head towards the Caribbean to escape the outbreak. This is Left 4 Dead 2‘s original campaign; Valve released this survival horror shooter in 2009 and over time, added further content to the game, including the entire original Left 4 Dead campaign. With its AI system, Left 4 Dead 2 procedurally generates levels based on the player’s style, creating a highly unique experience. While the original game received acclaim, my experience in Left 4 Dead 2 was greatly augmented by the installation of clever and creative mods which change the game’s aesthetic without altering the core experience: through the community, my Left 4 Dead 2 experience was shaped by going through the campaign, but with members of K-On!‘s Hōkago Tea Time standing in for Nick, Coach, Rochelle and Ellis.

Installation of this mod alters the player models, substituting Yui, Mio, Ritsu and Mugi in place of the usual survivors; these models are surprisingly well-crafted and fits extremely well into the game. While this does not change how Left 4 Dead 2 handles, there is one additional advantage about running this mod beyond being able to laugh at the idea that a Jockey is Riding Mio: Yui, Mio, Ritsu and Mugi stand out from the background, making it much easier to spot team mates. In settings where it is dark, and where a Witch’s presence precludes the use of a flashlight, having visually distinct character models make it much easier to know where allies are. The K-On! mod is ultimately a fun addition to the game, creating a ludicrous and amusing contrast with the situation at hand, and there is one additional feature that really sets the mod apart. During the concert chapter of Dark Carnival, modders have swapped out the Midnight Riders’ music for Hōkago Tea Time’s music, and similarly, their posters are exchanged for posters of Yui, Mio, Ritsu and Mugi. Fighting the infected while jamming out to U & I, Don’t Say Lazy, Gohan wa Okazu and No Thank You! was an experience quite unlike any other: I’ve long had a fondness for the songs of K-On!, and despite the dramatically different aesthetic of Hōkago Tea Time’s light and fluffy songs, they fit the moment unexpectedly well. The end result is a mod that proved remarkably fun to experience, bringing one of my favourite anime series with the thrill of blasting zombies. At the time of writing, the original Left 4 Dead 2 campaign is completely ready to play, and the modders are still working on getting Azusa, Ui, Jun and Nodoka working; Nodoka still needs a character model, but beyond this, the classic campaigns and bonus side levels are largely ready.

Screenshots and Commentary

  • Before I continue further into this post, I remark here that I was actually rocking a combination of K-On! mods for Left 4 Dead 2, and as it turns out, there is a single package that includes everything, from the character names to the modified concert posters and skin for Yui’s Heritage Cherry Sunburst Gibson Les Paul guitar. However, multiple conflicting mods meant that I had the shortened name for each of Yui, Mio, Mugi and Ritsu, although for this post, they work to my favour on account of the joke I’ve opted to use as the post title. Here, I begin on the rooftop of a hotel in Savannah, Georgia, a moderately-sized city of around four hundred thousand people.

  • Every mission has players start with the Sig Sauer P220, which is equipped with a tactical flashlight. Despite being intended as a backup weapon, the pistol does offer unlimited reserve ammunition and is a great secondary when one is using a slower firing long range weapon. This first mission at the hotel sets the tone of the remainder of Left 4 Dead 2 – players fight through hordes upon hordes of zombies to get to a safe room, and some missions entail fetching resources or waiting for a vehicle to arrive. Conventional FPS tricks are not as effective in Left 4 Dead 2, since the procedural generator will adjust itself to challenge the player’s style.

  • Over the course of a level, one will find weapons and equipment scattered about. After picking up a suppressed MAC-10, it becomes possible to shred zombies more easily, but the weapon’s high rate of fire means one can burn through their reserves quickly. Left 4 Dead 2 also has an unsuppressed Uzi: the differences between the two weapons are that the MAC-10 hits slightly harder, while the Uzi is more reliable at ranges. The MAC-10’s suppressor is purely cosmetic, doing nothing to lessen the zombies’ sensitivity to weapon fire.

  • After exiting the hotel, it’s onto the streets of Savannah; the musty brown-yellow light suggests it’s late afternoon, and combined with the hazy, smokey skies, really conveys the feeling of a Deep South summer. The aesthetics of Left 4 Dead 2 brings to mind memories of TV Tropes, a site I disparagingly refer to as “Tango Victor Tango”: oppressive, fetid weather creates an image in my mind’s eye of site’s users, sitting in a dimly-lit basement tapping away at their keyboards instead of capitalising on the summer weather. While perhaps understandable (hot, humid days make it very unpleasant to be outside), there is also a melancholy about this vision.

  • As I made my way though the level, I acquired a Heckler & Koch G3SG/1 semi-automatic marksman rifle, which is probably one of the best weapons for long-range combat: it is second only to the hunting rifle in accuracy, but with a decent rate of fire and magazine capacity, it allows one to maintain a distance from the zombies. As players move through missions, increasingly powerful and effective weapons become available. I typically prefer the M-16 or AK-47, as they are versatile weapons that allow me to hold my own at most ranges. On a team, I would have no qualms about equipping dedicated CQC or long-range weapons.

  • In one of the bonus missions, “The Passing”, I found an M60: this LMG is a unique weapon in that it has a non-reloadable 150-round belt, and hits particularly hard at close range (although its spread makes it less useful in long range engagements). However, once depleted, players will drop the weapon. In my original Left 4 Dead 2 post about the K-On! mod, I remarked that my experience would be complete once I got my hands on an M60, and having used it, I found it to be an amusing weapon to use, tearing through horde of zombies with ease. However, I ran out of ammunition for it before I could take down a Witch with it.

  • When I made my way through the campaign, I didn’t know that “The Passing” was a DLC mission, but was surprised to see Azu-nyan in the mission. The mod I originally had installed in 2013 was complete to the point of having Yui, Ritsu, Mio and Mugi’s models ready, as well as Azusa’s, so on this mission, Azusa felt a bit out of place with the others. With the K-On! mod currently missing only Nodoka’s model, it means that if I were to play the other campaign missions with the original Left 4 Dead survivors, assuming I picked Nodoka, I would have a sufficiently complete experience.

  • I do plan on venturing into the other campaign in the future, so for now, we return to the base Left 4 Dead 2 campaign, which sees the survivors reaching an abandoned amusement park. For all of my missions, I decided to play as Ritsu: there is a reason for doing this that I will show off later in this post. The amusement park mission was easily my favourite of the lot – it covers a bit of turf, taking players through an empty roadside motel into the amusement park itself.

  • Here, I’ve swapped out my P220 for a katana: melee weapons in Left 4 Dead 2 are more varied than its predecessor, and are a last ditch option for taking out zombies. Common zombies and some special zombies can be defeated in one stroke, while Witches take four strikes, and Tanks take twenty. For CQC, melee weapons can cut down multiple zombies at once, and are most useful when one is being rushed or wading into a fight. Conversely, pistols are preferred if one wishes to have a second ranged weapon. On a team, players should pick the weapons that fit their loadout, and I’d be comfortable carrying a melee weapon if my primary weapon is an automatic, otherwise, if it’s a shotgun or rifle, then carrying the pistols has served me better.

  • Of the weapons in Left 4 Dead 2, the M16 is the true jack-of-all-trades, being accurate enough to pick off enemies at range, while at the same time, having a decent fire rate and capacity for close quarters firefights: the weapon has a 50-round magazine. Like all other weapons, it is best used in short, controlled bursts, as firing on full-automatic will deplete a magazine very quickly. Left 4 Dead 2 features enemies of three different categories: the common enemies that rush the player are easily dispatched, and there are uncommon enemy types that deal special kinds of damage (but once recognised, can still be taken out). Finally, Witches and Tanks are the most powerful and durable enemy types in the game, usually demanding coordinated firepower to deal with.

  • The incredible contrast between running K-On! characters in Left 4 Dead 2 was an endless source of humour – for one, Yui, Mio, Ritsu and Mugi are ill-dressed for the terrain and climate of the deep south, and furthermore, their manner do not correspond with Left 4 Dead 2‘s original survivors: the members of Hōkago Tea Time are students, after all, preferring to spend their days practising with their instruments and unwinding with tea after a day’s worth of classes.

  • After I pushed onto the rollercoaster, a Jockey began attacking Yui, and the on-screen prompt indicates that a Jockey is riding Yui. Upon seeing this message for the first time, I realised that a lame joke could be made regarding the mod, and this is what lent itself to the post title: I’m fond of all the characters in K-On!, but Mio particularly stands out with her serious, no-nonsense personality (and humiliation when things don’t go the way she’d like). Mio thus became my favourite character in K-On! on very short order, and I further found that her songs were among the best to listen to (although in later years, I did come to appreciate everyone’s singing equally).

  • While a subtle, simple touch, the K-On! mod replaces the concert posters in Left 4 Dead 2 with K-On! characters, further immersing players into the idea that Left 4 Dead 2 was really made for K-On! characters with this mod. During this particular play-through of the concert chapter, I ended up picking the SPAS-12 (the stock is folded up, and it’s known as the combat shotgun in-game). Shotguns in Left 4 Dead 2 are situational weapons, and playing solo means not being able to have teammates cover off ranges that I’m ineffective at – the SPAS-12 is the second most powerful close range weapon available to players on a per-shot basis but is not useful at longer ranges.

  • Because I retain the classic concert mods on top of the updated mod, my version of Left 4 Dead 2 has the iconic U & I and Gohan wa Okazu as the main songs played during the concert. Upon removing the duplicate mods, No! Thank You and Don’t Say Lazy play instead. I actually prefer the first set of songs, as they have a happy, energetic feel that would be completely out of place while fighting zombies (whereas the ending songs have a more traditional rock sound about them). Here I’ve equipped the guitar as a weapon – the mod retains the original model, but is re-skinned to have the same finish as Yui’s Gitah/Giita.

  • Bashing zombies with Gitah and listening to the sounds made on every stroke, in conjunction with listening to classic lyrics from U & I while Yui, Mugi and Mio fight around me was the apex of the experience this mod confers. For the whole of this mission, it truly felt like K-On! was brought into Left 4 Dead 2 completely – everything fits seamlessly together to yield a load of fun and even more laughs. In 2013, I was completely satisfied with this experience. Back then, I had multiple mods active to recreate this experience, whereas now, thanks to a new modder taking on the project, a single install is all that’s needed.

  • After finishing the concert, I originally set Left 4 Dead 2 aside and was expecting to return later. However, “later” never came, and I ended up leaving much of the campaign unfinished. However, two things recently compelled me to resume this hitherto unfinished journey: the first was that the modder who’d picked up the project had invited me to give it a go, and the second is that I’ve been trying to make a more serious effort about finishing off my backlog before it becomes unfeasible to do so. Of course, with the trend in contemporary games towards battle royale and loot-box driven experiences, I’ve had very little incentive to play the more recent games.

  • Returning to older titles, like Left 4 Dead 2, was a breath of fresh air precisely because a decade earlier, games were made to be replayed in small groups. I’ve never really enjoyed the battle royale genre because it encourages techniques like camping and dance emotes. Similarly, I do not believe that micro-transactions create an enjoyable experience; previously, games rewarded players for investing time into them and improving, and cosmetics were a part of this progression system, an indicator of this dedication. Purchasable cosmetics and mandatory DLC, on the other hand, degrades progression.

  • Here in the swamps of Louisiana, I fight my way across festering, dank bayous: here, I half expect to come across Slenderman. It was in the far-flung woods of Alabama that Marble Hornets‘ operator appeared in, haunting a group of individuals in what has become one of the most well-known (and well-crafted) alternate-reality games. There is an eeriness about the Deep South that makes the area conducive for spooky-sounding stories, and long before the internet and Slenderman, the Deep South was home to numerous legends surrounding swamp monsters and the like.

  • I eventually reach an abandoned town made up of shacks, and for the briefest of moments, my thoughts strayed back to Tango-Victor-Tango – it is not tricky to imagine the likes of Fast Eddie, Fighteer or Madrugada occupying one of these rickety dwellings, dealing out moderator judgment to those who disagreed with them in the cool of their basements, away from the muggy, humid summers of the American Deep South. Curiously enough, none of these moderators actually live in the Deep South: Fast Eddie is from Rice Lake, Wisconsin, and Madrugada calls Davenport, Iowa, home. Fighteer, on the other hand, is in Bethlehem, Pennsylvania. Despite its age (Left 4 Dead 2 turned eleven back in November of last year), the game still looks and handles like a modern game would, save a few places where things can be a little uneven. Lighting and visual effects still look great.

  • For the most part, the piece of Left 4 Dead 2 that feels the most dated for me are the weapon mechanics: while the weapons still deal good damage against enemies, there isn’t much in the way of feedback to know when I’ve actually hit something. This could just be a consequence of modern games offering things like audio or visual feedback (such as hit markers) per shot landed, and overall, is a very minor gripe about an otherwise solid game that has aged very well. K-On! is likewise an anime that aged extremely well: a decade after its airing, the lessons and discoveries remain fresh, and the music of K-On! is still very much enjoyable to listen to.

  • The hapless Yui gets ridden by a second Jockey in this post here as I make to call the boat to bring the third set of missions to a close. There’s a 50-calibre mounted gun on the second floor, but the placement is such that the weapon isn’t too helpful: on paper, having access to a weapon that can fire continuously for fifteen seconds at a time to thin out hordes of zombies and even do damage to tanks is great, but in practise, being stuck in one spot with a weapon whose firing angles can’t reach all of the enemies is risky.

  • This is the moment readers have come for, and after seven plus years, I’ve finally gotten the screenshot that gives this post its name. During my play-through, Mio was the one character who seemed to be immune to Jockeys – the AI players are typically attuned to the uncommon zombies and killed them long before they got into range for this to happen. Hence, after spotting a Jockey, I would deliberately back-petal and try to bring it into where the AI players were fighting, but more often than not, Mio (or anyone else) would melt the Jockey in the blink of an eye. During the sugarcane plant mission, however, I finally managed to get a screenshot of a Jockey riding Mio, a phrase that remains hilarious even today.

  • As a rainstorm pushes in, navigating the sugarcane plant became a nightmare. The mission is infested with Witches, which I found to be the trickiest enemy to deal with. Armed with ferocious-looking claws, Witches can down players in an instant. I typically try to avoid confrontations with Witches where possible, since I’m not a sure enough shot with a shotgun to take out a Witch with a single headshot. In a team match, having four human players and strategy would allow a better weapons distribution, as well as map management.

  • Here I equip a pipe bomb for no apparent reason. Equipment items in Left 4 Dead 2 are used to restore lost health, provide temporary boosts or create a tactical advantage during a firefight. In general, I prefer Molotov Cocktails, since they act as powerful area-denial tools. For most situations, carrying a first-aid kit is preferred as my primary healing item, and while I usually save them for myself in single-player campaigns, I have used them to bring the AI back to life to ensure everyone makes it out of the mission in one piece.

  • In the streets of New Orleans, I gear up for my final mission in what appears to be the famous Bourbon Street of the French Quarter. It was in this area where I’d realised how much I’d missed out on over the years after getting sidetracked by other things: New Orleans looks fantastic, and the mission is set by day, so visibility is good. I did mention that the K-On! mod helps with visibility, allowing me to see teammates better than the original models, which were more realistic and blended in with things better. One touch I particularly liked was that the K-On! models still carry their gear properly.

  • Left 4 Dead 2 released in November 2009, five months after K-On!‘s first season finished airing. At the time, I imagine that something as ludicrous as mashing the two together was initially not on anyone’s mind, but the combination of K-On!‘s popularity and the extensive mod support for Valve games meant that sooner or later, something such as the K-On! Left 4 Dead 2 mod was bound to appear. K-On!‘s runaway popularity was a result of Kyoto Animation’s excellence in bringing the manga to life, and excellent voice acting (as well as singing) from Aki Toyosaki, Yokō Hisaka, Satomi Satō and Minato Kotobuki.

  • Back in those days, it seemed hardly possible to take a step without someone criticising K-On!. One wonders how those folks would’ve handled news that such a mod exists. By the time I got to checking the series out in 2011, a second season had finished airing, and criticisms of the series began fading from view. While negativity surrounding K-On! began dissipating, it was clear that there were more people who enjoyed this series than those who did not. At a special live concert in Saitama Super Arena, to a sold-out audience, it was announced that K-On!‘s movie would begin screening that December. Like Left 4 Dead 2, I never did get around to watching the concert, Come With Me!, until recently. Having now done so, I intend to write about it at the ten year anniversary to when the concert was held.

  • Going through Left 4 Dead 2 with K-On! mods inspired me to rewatch the anime and films alike, and also got me wondering as to whether or not other mods for series I’m fond of exist. As it turns out, there’s a music mod that plays Girls und Panzer music during the concert, but that’s about it – nothing exists for GochiUsa, which I consider to be the successor to K-On! for offering an incredibly cathartic atmosphere and adorable antics amongst its cast of characters. Like K-On!GochiUsa is immensely popular and has had live concert events of their own, although the music in GochiUsa is, if it were possible, even more saccharine than anything from K-On!: while pleasant to listen to, it would feel decidedly out of place in the rock concert mission.

  • Here, I equip the SIG SG-552 assault rifle for the final push across the bridge, the last of the chapters in the original Left 4 Dead 2‘s campaign. Until last September, German weapons were only available in versions of Left 4 Dead 2 sold in Germany, but an update brought the SG-552, MP5, Steyr Scout and Accuracy International AWSM rifles into the game. These weapons now randomly spawn in the game, and have been updated to have slightly unique attributes that make them viable (rather than being reskins of existing weapons). It speaks volumes to Valve’s dedication that they still provide support to games that are more than a decade old, and a part of this hope is that Valve might one day provide more information on developments to their most famous franchise, Half-Life.

  • With the original Left 4 Dead 2 campaign finally in the books, I will be looking to complete the other missions, which now feature Azusa, Ui, and Jun thanks to the mod. In between Left 4 Dead 2, there are a few other things I have on the gaming front – I will also need to create an opening to write about Black Mesa, which I picked up during the Winter Sale, and wrap up, then write about, the first season of Spartan Ops, which has proven to be surprisingly enjoyable. On top of this, The Division 2‘s fourth manhunt season is coming to a close, with Faye Lau becoming available come February. I hope that there’ll be bit of a break in the Manhunts: while fun, and allowing me to earn gear that I otherwise wouldn’t get, they are a bit time-consuming, and I am admittedly more interested in returning to my backlog, having gotten what I feel to be more than my money’s worth in The Division 2.

I’ve got a very strange relationship with the games I pick up, and Left 4 Dead 2 probably exemplifies this: I originally bought the game for five dollars on a sale back during March 2013, towards the final days of my undergraduate semester, and intended to co-op with my friends. A half-year later, I’d found the mod, and beat the campaign up to (and including Dark Carnival). However, thoughts of Left 4 Dead 2 soon faded, and I never did finish the original campaign in full. Moreover, it appeared that the mod had hit a sort of hiatus. A few months ago, it turns out that one of the developers working on the mod had personally reached out to me and alerted me to the fact that the mod had now resumed development, some eight years after I’d first heard of the project. This update was a bit of a reminder about the way I roll: I tend to procrastinate big time on my hobbies. While this isn’t necessarily detrimental (I make it a point to be on top of my other endeavours), it does mean that I occasionally miss out on the hype and energy surrounding the latest big thing. With this being said, I’m not terribly bothered by this, and prefer to enjoy things at my own pacing. This approach has its pluses and minuses; in general, I tend to avoid spoilers well enough so that my experiences are not diminished, so even years after something is released and discussed, I still can find surprise and excitement when I go through it for myself. With the original Left 4 Dead 2 campaign now in the books, it looks like I’m ready to continue on my journey in Left 4 Dead 2 to complete the remainder of the campaign missions: it is pleasant to know that there’s still an entire story to experience with a different set of characters, and I look forwards to checking out more settings beyond the Deep South that featured in Left 4 Dead 2‘s base campaign alongside who would become the Wakaba Girls in K-On!‘s manga continuation.