The Infinite Zenith

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Tag Archives: Music

A Luminous Witches PV- Introducing The Allied Air Force Aviation Magic Band

“Music can heal the wounds which medicine cannot touch.” –Debasish Mridha

Unlike the various Joint Fighter Wings, The Music Squadron are a group of Witches whose role is to provide a morale booster to those in areas afflicted by the Human-Neuroi War. Rather than taking to the skies with machine guns and destroying the Neuroi in aerial combat, the Music Squadron travel around, giving live concerts to people to protect their smiles through the power of music. Of course, when they’re not travelling around Europe and performing, they’re also dealing with the publicity that surrounds being idols: when Lyudmila acquire a camera, they struggle to take proper pictures of one another. A handful of the Witches do seem to have a natural affinity for the limelight, including Aila and Éléonore, who strike various poses, and Sylvie, who feels at home with photo shoots. However, when the girls transform into their performance outfits, pandemonium ensues, ruining their group photo. The Music Squadron made their first animated debut in a short four-minute preview video that was released back in December 2020, and later this year, they’re supposed to get their own dedicated series, Luminous Witches. Very little has been announced insofar, and at the time of writing, it is not known when Luminous Witches will begin airing – I am guessing that we could see this series air during either the summer or fall season of this year.

Screenshots and Commentary

  • After the behemoth that was Jon’s Creator Showcase, this post on Luminous Witches is partially to show that yes, I am capable of writing short form posts, too. Here, Virginia, Lyudmila and Shibuya check out the camera, an apparatus which Shibuya believes will capture one’s soul if misused. Photographic have existed since 1825, when Joseph Nicéphore Niépce successfully captured an image using a pewter plate coated with bitumen. By the events of Luminous Witches, 35 mm film would’ve been common, and the existence of cameras would be common knowledge.

  • It did therefore strike me as a bit strange that the Witches would be unfamiliar with cameras, and here, Maria, Manaia and Sylvie join the party. Luminous Witches has a sizeable cast, and while a long time ago, this would’ve proven intimidating, these days, larger casts are no problem: it took me a few episodes to properly learn everyone’s name in Brave Witches and so, here in Luminous Witches, I’m sure I’ll be able to do the same once Luminous Witches actually starts airing.

  • Because the character archetypes in Magic Squadron seem to have parallels with members of the 501st and 502nd, I immediately felt at home when this preview video began running. When the girls try to photograph Manaia, they are unsuccessful because Manaia isn’t able to keep still. Here, Eleonore is seen holding a flashbulb: while cameras have been around for at least a century by the events of Luminous Witches, the flash bulb is a newer innovation: the earliest flash bulbs were German in origin and date back to 1929, using oxygen gas and a magnesium filament; the resulting reaction created a sufficiently bright light to illuminate a scene, but the intensity would also mean flash bulbs were single-use.

  • In the short five-minute runtime, the Luminous Witches PV has a more laid-back feel compared to the more serious moments of combat. Magic Squadron doesn’t actively participate in combat, and I did initially wonder about the feasibility of leaving an entire squadron of Witches to act as musicians and singers in a war where humanity would presumably require all active Witches to be at its most effective. Having said this, Strike Witches has been pushing to convey the idea that there is no small role in war, and much as how there are no small roles in performing arts, Luminous Witches is likely to be a story about preserving hope.

  • I believe that Luminous Witches will focus on Virginia as the protagonist: hailing from Britannia, same as Lynette, Virginia is Magic Squadron’s composer, being responsible for arranging both vocal and instrumental music for their songs. Her best friend is Shibuya, who comes from Fuso and bears many similarities to Lynette (both in manner and appearance). While a five-minute PV does not fully show everyone’s attributes, even in this short runtime, one has a reasonable idea of everyone’s traits: Eleonore is a Gallian Witch who is very frank about things, Aila acts as an older sister for the others, and Manaia is like Francesca, being energetic and excitable. Maria, being from Karlsland, is rigid and disciplined, similar to Gertrude and Minna.

  • Mid-session, Joanna finally shows up; it turns out she’d been in the middle of an art project of sorts, and is covered in paint. Coming from Liberion, Joanna designed the logos for everyone in Magic Squadron, and she’s the same age as Francesca. One thing that I noticed in Luminous Witches‘ PV was the prevalence of every Witch’s familiar: these small, supernatural animals are often paired with a Witch to act as an attendant of sorts. Strike Witches and Brave Witches completely dispensed with these elements, preferring to focus on the Witches themselves. If Luminous Witches continues to depict familiars as the PV did, it could be a first for the series.

  • After a transformation sequence rivalling those of a magical girls anime, Magic Squadron is finally ready for a group photo. Their stage outfits are quite nice, striking a balance between the Witches’ military backgrounds and possessing the glitz that is most associated with idols. While I possess a reputation indicating a propensity for any anime with the moé aesthetic, I’m admittedly not particularly versed in idol anime: shows like Idolm@ster and Love Live! are probably the first that come to mind, dealing with the daily lives, triumphs and tribulations of those involved in the entertainment industry.

  • The only idol anime I’ve ever really gotten into was Wake Up, Girls!, which I picked up out of curiosity and became very into for the story it told. I do have Love Live: School Idol Project on my to-watch list, but after how busy February was, I intend to spend the remainder of March tending to the things I’ve left alone. It was around here that Virginia’s role as Luminous Witches‘ central character became clear: she’s stands at the centre of the photo, and she was also the first character viewers see in the PV.

  • An accident causes everyone’s familiars to suddenly reappear, spoiling the group photo and bringing the PV to an end. While the animation and artwork quality in the PV are not to the same level as what I’m accustomed to in Strike Witches or Brave Witches, it does a satisfactory job of giving an idea of what Luminous Witches will feel like. While there’s no airing date for this series yet, I am rather looking forwards to checking out a completely different side to the Strike Witches universe.

Luminous Witches will detail a completely different side of the Human-Neuroi War; up until now, we had largely followed the adventures of the Witches who’ve made a considerable difference at the front lines. However, the other aspects of the Strike Witches universe have not always been fully explored – Luminous Witches presents a chance to portray other parts of a world that viewers rarely get to see. The focus on a more light-hearted, musical side of the Strike Witches universe (without venturing into the realm of an open parody like the Take Off! series) could offer insight into the importance of support: while it is often the case that we only see the faces of those on the frontlines as the heroes, the reality is that all accomplishments were the consequence of a team effort. The Apollo 11 mission, for instance, was backed by no fewer than four hundred thousand scientists, engineers, technicians and support staff that made Neil Armstrong and Buzz Aldrin’s historic lunar landing successful. As such, to see the Music Squadron in action in Luminous Witches will represent an enjoyable change of pace, bringing idol music into the world of Strike Witches. I know a few folks who will be quite enthusiastic about Luminous Witches, as it combines the idol and military-moé genres. Given the extent of world building in Strike Witches, I imagine that Luminous Witches will be something that I’ll find enjoyable, as well.

Masterpiece Anime Showcase: Tari Tari, The Sound of Compassion, Supporting Aspirations Through Music and A Graduate’s Swan Song

“But for me, just having fun wasn’t enough. The support of my friends was equally important; they encouraged me through my struggles. They’re all so different from me, but they’re honest and determined. We fought, but we also worked together. I know you had a friend like that, too. Someone to have fun with, someone to share her worries. Mom, I have finished the song we promised to write. Sorry it took so long. I’m glad I could create this song with you and my friends. I’ll treasure it always for bringing us together.” –Wakana Sakai

Wakana Sakai once aspired to be a musician, as her mother Mahiru, once was, but after Mahiru died, Wakana began distancing herself from music to dull the pain of her loss. Konatsu Miyamoto is an optimistic and cheerful girl with a great love for music, and seeks to redeem herself after an incident in her previous year that led to her being removed from the lineup of active singers. Sawa Okita holds aspirations to become a jockey in the future, despite her father’s wishes. Taichi Tanaka strives to be a professional badminton player, and Atsuhiro Maeda is a transfer student with a love of the sentai genre. Five disparate students, each with their own goals and troubles, are united when Konatsu seeks to form her own choral club, with the aim of being able to sing again and do something big before graduation. Brought together by music to form the Choir-and-sometimes-Badminton Club, these individuals come to learn about one another, their strengths and weaknesses, and come to support one another on their goals while working hard to put on a performance ahead of their school’s closure. This is Tari Tari, an anime from P.A. Works dating back to 2012 that portrays the life of five high school students who are on the edge of one milestone as they prepare to finish their final year of high school. Through its thirteen episode run, Tari Tari demonstrates the power of music to bring people together, to motivate and encourage one another; each of Wakana, Konatsu, Sawa, Taichi and Atsuhiro each have their own aspirations, but unified by music, realise an opportunity to contribute back to their school and put on a performance that allows them to properly express thanks to those around them. When it is revealed their school is to close, Konatsu’s initial determination to sing again transforms into a performance that represent a swansong of gratitude and appreciation for the teachers and students, as well. The road to this performance also helps each of the club’s members in a tangible way: Wakana opens up to the others and comes to peace with her mother’s passing, Sawa places more trust in her friends and allow them to support her ambition to become a jockey, Taichi continues pushing forwards on his dream of playing badminton professionally, and Atsuhiro does his best to help everyone. With Sawa, Taichi and Atsuhiro’s support, as well as Wakana’s experience, the Choir-and-sometimes-Badminton Club are able to send their graduating year off in style, creating a cherished memory that marks the end of one journey and the beginning of the next.

With its focus on music, Tari Tari‘s central theme speaks to the power of music, and how it is able to motivate, inspire and encourage people from different backgrounds, experiences and creed, bringing them together for a common purpose. At scale, Tari Tari‘s theme is a positive one: that music transcends cultural, linguistic and ethnographic boundaries, being able to convey emotions that are universally understood. Through music, a diverse group of individuals gather together, and working towards a shared goal of doing one final swan song before graduation, also come to find camaraderie and support in one another. Sawa comes to voice her worries about the road to being a jockey instead of keeping it to herself, and the girls encourage Taichi to do his best in badminton. Konatsu comes to understand why Wakana approaches music with a serious mindset, but Wakana herself opens up to the others, realising that her mother’s vision of music was something to be shared. Tari Tari‘s single greatest strength therefore lies in its ability to bring in people from different walks of life, set them with a common objective that unifies them, and create something compelling: the series could’ve easily been about any one of Wakana, Sawa, Konatsu, Taichi or Atsuhiro and comfortably occupied a full thirteen episodes for each arc had everyone faced down their problems independently, but together, with support from one another, solutions are reached more swiftly. Tari Tari excels at tying together so many different elements because it is able to show how music impacts everyone, and ultimately, how music is something that sets in motion the events that bring people together and set them on a trajectory towards their futures. The use of a simple, yet powerful theme allows Tari Tari to cover everyone’s stories in a compelling and satisfactory manner, resulting in an anime that is earnest and sincere in its messages.

Taken together with P.A. Works’ visually impressive presentation, a phenomenal soundtrack and strong voice acting, Tari Tari quickly became a favourite of mine: the sum of its meaningful themes and a technically excellent audio and visual component made it an anime I looked forwards to every week. Tari Tari seamlessly transitions between each of Konatsu, Wakana, Sawa, Taichi and Atsuhiro’s stories, weaving them together in a concise and focused manner. While this could’ve ended up meandering, unfocused, Tari Tari ended up captivating me. During its run, I became invested in the characters and rooted for their success. Every episode left me in anticipation of what would happen next, and this ultimately ended up being an asset of immeasurable value: that summer, I had been studying for the MCAT, and it was an immensely stressful experience. By July, I had concluded CLANNAD and ~After Story~, and Tari Tari ended up being the show that filled in the void. By giving me something to look forwards to each week, Tari Tari helped me relax: the series had had just reached the halfway point, when Wakana becomes consumed with remorse at having okayed her father to dispose of their piano, which meant discarding the one remaining link she had with her mother. However, Wakana’s father explains that her mother had decided to keep quiet about her illness so their final memory of songwriting together would be a happy one. He reveals that he still has her old music, and never threw the piano away. Wakana realises an opportunity to finish something she had started with her mother, and her love of music is rekindled. She agrees to help Konatsu and the others, marking a turning point in Tari Tari when it is shown that support can come from anywhere. This was an encouraging course of events: I thus resolved to survive the MCAT so that I could see Wakana’s journey continue. When the MCAT concluded, Tari Tari delved into Sawa’s story, and by this point in my summer, I had the remainder of the month to myself. Watching Sawa overcome her problems, and Atsuhiro taking the lead in a local performance for the shopping district motivated me to pick up the journal publication that my lab had shelved amidst the academic term. I dusted the project off and coordinated with a few of my colleagues into helping us finish. My supervisor was pleasantly surprised the paper was revived, and agreed to proof-read it. By the end of the summer, we had a submission-ready publication, and the journal accepted it, leading this to be my first-ever journal article. For having helped give me the resolve and strength to stare down the MCAT in the days leading up to the exam and ultimately leading me to see a journal publication through to the end, Tari Tari had a nontrivial impact on me, that, in conjunction with everything that the series excels at doing, results in my counting Tari Tari to be a masterpiece.

Screenshots and Commentary

  • Tari Tari began airing early in July 2012, a time when I had just wrapped up my summer course on physics and could afford to focus my entire effort into reviewing for the MCAT. I had been curious to check out Tari Tari after watching one of the trailers, which played an instrumental version of Melody of the Heart, the series’ main theme. The song had a warm, inviting sound, and my curiosity was piqued. At the time, no one knew what Tari Tari would be about: the preamble only indicated that it would be about a group of students looking to do something big for their final year of high school.

  • After the first episode aired, I was thoroughly impressed: out of the gates, Tari Tari introduced all of its main characters and gave viewers a solid idea of their personalities entering the series. Because Tari Tari deals with transitions from one part of life into the next, viewers are dropped into a bit of a chaotic time in the story: Konatsu and Sawa’s homeroom instructor, Tomoko Takahashi, is set to go on maternity leave, and everyone is wishing her the best.

  • However, this also happens to be the day that Atsuhiro transfers into their class. Tomoko tasks Taichi to look after him and give him a tour of campus. Tari Tari covers a lot of ground during a very short time, and the first episode also establishes that Konatsu is intent on having a singing role in the choral club after an accident the previous year causes her to be removed from singing. For Konatsu, singing is a form of expression and represents liberty: her love of singing comes from a childhood admiration of the Condor Queens, a band known for their Spanish performances, and when her appeal to music instructor Naoko Takakura fails, she resolves to start her own club.

  • Wakana starts out her journey cold and detached, removed from the others. Serious and dedicated, she sports a no-nonsense personality; when Konatsu approaches her to start a new choral club, Wakana rebukes her, remarking that music isn’t a game. However, Konatsu’s opinion of music, that it’s more than just an art form to perfect, does cause Wakana to pause for a moment – Mahiru had a similarly optimistic and cheerful outlook on music, seeing it as something that could bring people together and otherwise convey intangible concepts.

  • Tari Tari is full of nuance: the first few episodes have both Wakana and Naoko as being unsympathetic to Konatsu’s desire to perform. While it is not immediately apparent, Wakana and Naoko have their own reasons for having such a rigid mindset on music: subtle details such as these really give life to the characters of Tari Tari, and as more about everyone is shown, viewers come to empathise with what they’re going through. When Wakana reluctantly agree to be the pianist for Sawa and Konatsu during their first concert, a hint of her true personality is shown – underneath her stoic personality is someone with the same warmth and kindness as Mahiru.

  • P.A. Works’ series are not known for their fanservice components, so it was a bit of a surprise to see Taichi’s older sister chilling in his room when Atsuhiro arrives at his place. My history with Tari Tari is a bit of an interesting one: I followed it weekly when it was airing, and then wrote a brief piece about it at my old website. Two years later, I returned to write about it again as I transitioned away from my old site to the current blog. Reading through my old review led me to rewatch Tari Tari, and on this third revisit, I found that Tari Tari, besides being excellent from a story and technical point of view, also did two important things: it contributed to me getting through a trickier time and also influenced some of P.A. Works’ later works to a nontrivial extent.

  • Tari Tari‘s soundtrack is composed by Shirō Hamaguchi, who had previously worked on the music to Ah! My GoddessGirls und PanzerHanasaku IrohaHaruchika and The Magnificent Kotobuki. Of these, Ah! My Goddess stands out: while the 2004 TV series had more ordinary music, his work on the 2000 film resulted in a soundtrack of sublime quality, and in Girls und Panzer, the superb range of music, from militaristic combat themes to the everyday slice of life pieces and marching songs, really highlights how versatile Hamaguchi is. It is therefore unsurprising that the music of Tari Tari is of such a high standard.

  • Tari Tari marks the first time I’d seen a series breaking so many established conventions: in most anime, a club on the brink of dissolution would receive its members in the first few episodes, and then spend the remainder of the series exploring their chosen specialisation. In Tari Tari, Konatsu managed to assemble an entire choir and performs, but loses these members almost immediately, forcing her to seek creative means of keeping her club together. She eventually builds the Choir-and-sometimes-Badminton Club in the aftermath, unfairly defeating Taichi and Atsuhiro in a three-on-two badminton match that certainly wouldn’t be regulation. Tari Tari also pioneered the idea of a club being able to have more than one focus to keep enough members to stay afloat, something that would be revisited in Iroduku and Koisuru Asteroid.

  • With the benefit of hindsight, it is easy to see why Naoko is so adamant that Konatsu not form the Choir-and-sometimes-Badminton Club; after Konatsu finds Mahiru’s old song, Melody of the Heart, Naoko acts out of respect for Mahiru’s memory, feeling Konatsu to be desecrating things. However, as Wakana begins to open up, Naoko realises that Wakana desires to carry on in her mother’s footsteps. The principal is able to spot this earlier on, and when Konatsu appeals to him directly, he allows their club to carry on, knowing what it means to Wakana, as well.

  • A secondary theme in Tari Tari is that small groups of devoted, dedicated people are capable of achieving great things together. Despite having lost all of their previous members who had musical background, the Choir-and-sometimes-Badminton Club’s remaining members are committed despite not possessing the same level of training and skill. That Sawa and Konatsu were able to perform earlier on hinted at this, and so, it is with five members that the club moves ahead with its activities, although at this point, Wakana is still only a member in name, being occupied with her own challenges.

  • Konatsu decides to sign the Choir-and-sometimes-Badminton Club up for a local music festival, but when the Condor Queens show up, she begins wavering. This causes a rift between Sawa and Konatsu, but the two reconcile after Wakana helps the Choir-and-sometimes-Badminton Club to secure a stage. In the end, despite performing only for three children and their parents, the club still manages to put on a decent showing that impresses their audience. It is from humble beginnings that the Choir-and-sometimes-Badminton Club start from, but their tenacity and determination to be more is what drives Tari Tari. Along this journey, past hurts are healed and dreams are realised.

  • Tari Tari is one of those anime that I could have written about in an episodic fashion, since each and every episode has so much worth talking about, and I actually had considered revisiting the anime episode by episode, pointing out all of the bits of foreshadowing and each episode’s contributions to the series. In Tari Tari, each and every detail is relevant to the big picture. However, it became clear that, while Tari Tari deserved an episodic review, my schedule wouldn’t allow for it, so I’ve chosen to instead talk about it at a much higher level.

  • At the local badminton tournament, Taichi is unable to advance, but despite his disappointment, he vows to work harder. It is here that Taichi begins developing a crush on Sawa; she starts the party by trying to connect with him and shares more about her interest in being a jockey, which in turn drives Taichi’s desire to know more about her. A ways back, I wrote a post on why the feelings were mutual: besides the body language in the scene, it is Sawa, and not Konatsu, who decides to go back and see how Taichi is doing after his loss. Sawa’s also got a bit more of a playful side to her, buying Konatsu a hot drink on a hot day.

  • Wakana’s relationship with her mother had not been the best in recent years, and her biggest regret is not being more understanding prior to Mahiru’s death. Seeing the old piano brings back memories of this pain and guilt, which is why she initially wanted to get rid of it. The episode is characterised by an incoming typhoon, which casts the whole of Enoshima in a moody, grim light, mirroring Wakana’s feelings. However, the next morning, the storm has gone, and Wakana’s developed cold. Seeing a despondent Wakana leads Konatsu to believe the worst, and she falls into a tide pool when attempting to “save” Wakana.

  • For Wakana, talking it out is how she comes to terms with what had happened: hearing the impact Mahiru had on those around her, whether it be Shiho (Sawa’s mother) or the Condor Queens helps Wakana to appreciate the carefree and spirited attitude. Being able to listen to Shiho and the Condor Queens share their stories really makes Mahiru’s contributions tangible, far more than listening to old recordings and reading letters alone could accomplish. The sum of these memories, in conjunction with a conversation with her father, finally allows Wakana to accept what happened, and also turn over a new leaf, to fulfil her promise to Mahiru and write a song together.

  • In a few weeks, the leaves will start turning yellow as summer fully gives way to autumn. Throughout Tari Tari, Mahiru is presented as being warm, spirited and understanding. She touched countless people with her carefree and accepting beliefs on music, believing the first and foremost aspect was to have fun. This belied an incredible talent and skill in composition, and Wakana initially did not understand this about Mahiru. The flashbacks in Tari Tari, in conjunction with frequent mention of Mahiru’s impact, shows that she’s left a lasting legacy, and even though she might be gone, Wakana will always have the happy memories to guide and inspire her.

  • With the Choir-and-sometimes-Badminton Club’s activities in full-swing now that Wakana is on board, Konatsu sets about trying to determine what their presentation for the culture festival will be. However, the other choral club members doubt Konatsu, and moreover, Naoko will need to okay any use of the main stage. In spite of this, Wakana decides to press forward, studying composition to see how to best finish her mother’s song, which she plans on using for the Choir-and-sometimes-Badminton Club’s performance. Here, the reflection of the room’s windows can be seen on the whiteboard: Tari Tari makes extensive use of reflective surfaces to create a well-lit feeling in its environments.

  • Once Wakana’s story is concluded, Tari Tari switches over to Sawa: Konatsu and Taichi’s stories were a bit shorter, but Sawa’s story is a bit more fully-fleshed. It turns out that her aspiration to become a jockey is met with opposition: her father disapproves, and moreover, Sawa’s physique does not appear to be suited for the occupation. She begins an aggressive diet in a bid to lose weight and make the requirements, but this results in fatigue and lethargy. After falling off her horse during archery practise from fatigue and lack of food energy, Sawa is taken to the local hospital to be examined for any injuries, and her father implores her to stand down.

  • Like Wakana, Sawa feels that her problems are hers alone to bear, that no one else would understand what she’s going through, and for this, her mannerisms take a noticeable shift: Tari Tari had presented Sawa as outgoing and playful, so to see a dramatic change was to show how heavily the future weighs on her mind. Sawa and Wakana’s stories are the top of Tari Tari, and the fact that they were so clearly presented indicates that even with a time constraint, shorter anime can still succeed in telling a compelling, full-fledged story that viewers can connect with.

  • While practising at Atsuhiro’s place, Sawa finally comes forwards with her troubles to the others. However, when Wakana suggests taking a step back to regroup, Sawa goes ballistic. She lashes out, suggesting that Wakana’s already got a background in music and that for her, it’s different. Indeed, Wakana’s love for music and Sawa’s determination to become a jockey are rooted by different motivations, but it does bring about one important point: the future is always uncertain, and the things people end up falling in love with doing might not always be what they’s sought out. When I revisited Tari Tari two years after the MCAT, my desire to go into medicine had been displaced by a newfound love for software development, for instance.

  • It’s easy to get caught up in the gravity of the moment, but Wakana’s suggestion was never to give up being a jockey, and instead, look at the problem from a different perspective. Sawa subsequently spends the remainder of the episode in poor spirits and takes a sick day, even as the Choir-and-sometimes-Badminton Club sets off to prove their worth to Naoko, who reluctantly allows them to perform if they can make the audition. In order for the Choir-and-sometimes-Badminton Club to stand a chance, they need Sawa, and ultimately, it is Wakana who takes the initiative to call her. Realising that she’s still needed, Sawa understands what Wakana and the others are doing for her, and immediately sets off for school on her horse, barely making it ahead of their slot.

  • In the aftermath, Sawa’s father sees the scope of her determination, and while still reluctant to allow her to pursue a career, realises that her daughter is hardworking and determined. He is later seen yelling at the admissions staff, saying he’ll personally curse them if they don’t relax the admission’s requirements for physique. It’s a rather touching moment that shows how, despite his outward appearance, Sawa’s father does care greatly for her. With Sawa’s story in the books, and the audition securing them a spot, Konatsu decides to go big on their performance for the culture festival, adding a play on top of their singing.

  • When the local shōtengai reports a decline in revenue from the previous year, Shiho suggests a radical new event: a live-action performance featuring sentai, the equivalent of Marvel or DC’s superheroes. This interpretation of superheroes has become iconic in Japan, and the Power Ranges are a particularly famous series. While outwardly different from something like the MCU sentai heroes fight in teams and strive to uphold justice the same way the Avengers do. Atsuhiro is very keen about this genre, seeing it as representative of the idea that good can prevail over evil, and the Choir-and-sometimes-Badminton Club take on the job to help raise money for their performance.

  • Despite her experience with music, Wakana struggles with the composition of the song that Mahiru had left her. Shiho ends up pointing her in the right direction: Naoko had once studied music as well, being Mahiru’s classmate, and as such, should have some suggestions up her sleeve. Like Wakana, she is very unsympathetic to Konatsu’s attempts to run her own choral club because Mahiru’s death hit her hard. While viewers may find it difficult to accept Naoko’s character, Tari Tari does an excellent job of giving credence to why individuals act the way they do.

  • In Atsuhiro’s arc, he becomes distracted upon learning that all of the letters he’d written to Jan, a friend back home in Austria, were never delivered because he’d changed addresses. When the Choir-and-sometimes-Badminton Club discover this, Atsuhiro comes into the open and, having now voiced his concerns, remarks that he’s confident Jan is going to be fine, and that he can also focus on his goals. Like Sawa, Wakana and Taichi, expressing his worries helps him to see an out. Owing to his love for sentai, Atsuhiro is the most enthusiastic and coaches the others in their roles.

  • The end result is an impressive performance, and when Atsuhiro stops a would-be thief with Taichi, Sawa, Wakana and Konatsu despite being physically outmatched, it really demonstrates the strength of his character. This was a fun arc in Tari Tari that gives viewers a better measure of Atsihiro’s character, and I remark here that while Konatsu and the others affectionately refer to Atsuhiro as “Wein” (after Austria’s capital, Vienna), I prefer calling Atsuhiro by his given name because this is the way to properly address the characters and furthermore, avoids confusion.

  • Once the Choir-and-sometimes-Badminton Club secure the funds for their costumes and props, it’s full steam ahead as they prepare for the culture festival. Tari Tari has one final curveball to throw at them: it turns out their school is closing down because the area has been zoned for new development. The timing is such that it would cause the cancellation of the cultural festival, but Wakana ends up finishing her song, and she pushes to have their own festival anyways, since this song represents not just her, but the sum of the Choir-and-sometimes-Badminton Club’s efforts, a product of self-discovery that each of Konatsu, Taichi, Sawa and Atsuhiro have experienced since they met.

  • During the preparations, Taichi and Sawa spend more time together, and Taichi eventually develops a crush on Sawa. This shouldn’t be terribly surprising, since Tari Tari had foreshadowed this early on: the two have been through quite a bit together as members of the Choir-and-sometimes-Badminton Club, and when he’d failed to make the competition, Sawa had been the first to check up on him to make sure he was alright. Indeed, Taichi does attempt a kokuhaku at the series’ end, but the outcome of this is left ambiguous, and for fans of Tari Tari, this has been a bit of a sore spot, since viewers believed that Taichi and Sawa deserved a happy ending of sorts.

  • Despite being unsuccessful in convincing the student council to permit the Choir-and-sometimes-Badminton Club to press on, Konatsu’s efforts are admirable, and she manages to convince the choral club to help her. Owing to an accident, the props that Atsuhiro had worked on are discarded. The club manages to recover them at the local landfill, and with Taichi’s help, the props and costumes inch their way to completion better than before. Meanwhile, Sawa heads off to try and enlist the shōtengai association’s help in gathering an audience.

  • While visiting Mahiru’s grave, Wakana runs into Naoko. It is here that the extent of Naoko’s friendship with Mahiru becomes apparent, and seeing Wakana finish Mahiru’s final composition convinces Naoko that Wakana is a worthy musician, someone who has the skill to continue bringing joy into the world through music. This was incredibly touching, and with her effort, Wakana demonstrates that the Choir-and-sometimes-Badminton Club is worthy of her respect. On the day of the festival, Naoko fetches the wind instrument club and choral club to help with the performance.

  • While the principal has always been somewhat of a pushover when it came to the school’s future, he ultimately decides that sending the students off in style and leaving a positive memory matters more than a comfortable retirement bonus. He discards the developer’s proposal and allows the festival to be held. There is no time to lose as the Choir-and-sometimes-Badminton Club press forwards with the preparations for their performance. The rainy weather gives way to sunshine, and ultimately, the Choir-and-sometimes-Badminton Club’s performance is an unqualified success, capturing everyone’s feelings and thoughts regarding their journey and time together.

  • After lectures ended, I had spent most of the afternoon of the day before at the Telus SPARK Science Centre helping to get things set up, and the Friday night of six years ago was the opening night. Looking back, The Giant Walkthrough Brain would have been my Radiant Melody: after being tasked with testing the viability of the Unity Game Engine to provide a virtual visualisation of Jay Ingram’s show in May, I ended up taking the lead on the development of the software side of things, and over four months, I implemented, tested and improved the Giant Walkthrough Brain. Following a successful showing at the Banff Centre, the true test would come as the Giant Walkthrough Brain was presented for Beakerhead, a local science programme: I worried that at Telus SPARK, I would need to implement a different type of projection to create a 3D view for the geodesic dome.

  • Fortunately, we only needed standard projection, and having built the Unity project in a way to be extensible, I had no trouble with configuring it for the Beakerhead presentation requirements. The two performances for the Beakerhead Giant Walkthrough Brain were to sold-out crowds on both evenings and was a complete a success by all definitions. Watching the Beakerhead performance was every bit as rewarding and thrilling as seeing the culmination of Wakana, Konatsu, Sawa, Taichi and Atsuhiro’s final performance, a superb musical that combines drama with singing that acts as a swan song for both Tari Tari and the high school’s final graduating class. The weather transitions from a moody and rainy day shortly before the performance: the sunny breaks acts as a visual metaphor for the beginning of a new era, a well-lit one characterised by hope.

  • The Giant Walkthrough Brain came to represent what was possible with computer science, and set me down the path towards my graduate thesis project. Like the Choir-and-sometimes-Badminton Club’s successful magnum opus, I count the Giant Walkthrough Brain to be one of the things I’m most proud of having done in my youth, and for my contributions, The Giant Walkthrough Brain project would earn me an city-wide award for “exceptional extra-curricular contribution of computer science skills to the community”. These are the sorts of contributions I hope that all youth have a chance to make: using their skills to tangibly and positively impact their community: there is a skill component (it takes a bit of patience to learn a system like Unity), but it should be clear that the results are well worth it.

  • Tari Tari‘s use of light is meant to evoke the idea that as light reaches even the darkest, out of the way spots, it casts these places in warmth and gives them hope. Wide windows allow light to permeate the buildings, and similarly an honest, open dynamic amongst the characters allow them to support one another and find hope where it appears all is lost. It is therefore appropriate that Wakana and Naoko share their thoughts with one another beside a window as sunlight streams into the room: while the empty classroom creates a sense of melancholy, the warmth in the scene comes from Wakana and Naoko coming to terms with Mahiru’s death together: both Naoko and Wakana can depend on one another to cherish their memories of Mahiru and continue advancing music in her memory, as well as for their own futures.

  • In the end, everyone reaches their graduation and prepares to step into their own futures. Sawa’s already taken off to attend an equestrian school overseas, having been accepted into their program, but is granted a diploma anyways for having completed all of the requirements. As Tari Tari drew to a close, I entered my honours thesis year: seeing the sort of determination spurred my intentions to complete a journal publication during the summer, after the project had fallen by the wayside during term. For our troubles, we were accepted into the publication, and this accomplishment also helped one of my colleagues make the honours thesis programme. Their GPA had just missed the minimum requirements by a small faction, but having a publication proved to the department they were qualified for the work. With this and my supervisor vouching for them, they were reinstated.

  • This final year stands as my favourite undergraduate year, as we each worked on our own projects, supported one another and ultimately, defended our work the following April. I don’t think anyone in our year failed our thesis projects. For me, Tari Tari has many moments that are memorable, being attached to pivotal moments during my time as a student; this contributes to a bit of my bias as to why I found the anime so moving and enjoyable. Viewers have longed for a continuation, and while no sequel anime ever materialised, a special OVA set during the winter was released with a commemorative BD collection, and in 2018, a novel, Tari Tari ~Mebaitari Terashitari Yappari Tokidoki Utattari~ (Tari Tari ~Budding, Shining, and Sometimes Singing~) was announced.

  • This novel is set ten years after the anime’s events, and sees the characters reunite to help Yukine, a high school student who is still searching for her way. Unfortunately, I’ve not heard much at all about this project: the first chapter was originally published on August 1, 2018, and new chapters were supposed to be published bimonthly, but I’ve found nothing of the project as of yet. However, while we may not have the full story from the sequel, Tari Tari portrays Wakana walking along the same path she normally walks, sporting a longer hairstyle similar to Mahiru’s. She smiles warmly, bringing Tari Tari to a close and assuring viewers that, with everything she’s experienced, she’s in a much better place now and ready to seize the future.

Tari Tari is often overlooked where discussions of P.A. Works’ anime are concerned: this is, after all, the studio that has brought viewers the likes of Angel Beats!, Hanasaku Iroha, Nagi no Asukara and Shirobako, each of which are veritable masterpieces in their own right for excellence in capturing the viewer’s interest with their characters, setting and premise. However, Tari Tari‘s contributions to P.A. Works’ repertoire of productions cannot be understated. As the production following Hanasaku Iroha, Tari Tari inherits many elements from its predecessor, especially a cast of characters of different backgrounds that each share a common goal. However, whereas Hanasaku Iroha required a full twenty-six episodes to tell its story, Tari Tari managed to condense that experience down into half the runtime. The success in Tari Tari, then, was demonstrating that even with a reduced episode count, it was still possible to draw upon the elements that made Hanasaku Iroha so successful, and moreover, P.A. Works now had two series that were successful following a busier, more multi-faceted set of characters in a coming-of-age setting. Tari Tari‘s legacy is therefore understated; in addition to being an exceptional anime, Tari Tari confirmed that P.A. Works had a winning combination that could fit into a thirteen or twenty six episode format. confident that series with a large number of characters each working towards the same objective can captivate audiences, P.A. Works would go on to create outstanding experiences through Shirobako, Sakura Quest and Irodoku. Each of these series have proven to be immensely enjoyable in their own right, taking the concepts from Tari Tari and successfully applying them to different settings, from the anime production workplace, to a remote town and even a world with magic to create captivating series well worth one’s while.

Insights in Character Songs from Glasslip: A Refrain to Sachi Nagamiya (Kimi e to Refrain Lyrics)

“Life is really simple, but we insist on making it complicated.” —Confucius

Released late in October, the Glasslip character song album, Utagoe no Kakera (Fragments of Singing Voice) featured performances from each of the characters in Glasslip; while Glasslip itself proved to be a disappointment on multiple fronts, from an inconsistent narrative to misleading symbols and unclear character goals, the anime’s audio and visual aspects were particularly strong. Glasslip‘s musical score served to project a particular atmosphere and mood where character dialogue and actions were inadequate; the soundtrack’s combination of classical pieces with incidental tracks work in conjunction to convey a sense of wistfulness and confusion that invariably accompanies love. As a character song album, none of the vocal tracks in Fragments of Singing Voice would have made it into Glasslip proper, but each song serves to do what the anime could not: they provide more insight into each of the characters and their personalities, beliefs and desires. Of the tracks on Fragments of Singing Voice, the one that stood out most was Sachi Nagamiya’s Kimi e to Refrain (君へとRefrain, “A Refrain To You”), performed by Risa Taneda. In contrast with Sachi’s characterisation as a quiet individual fond of books, Taneda’s delivery of Kimi e to Refrain is spirited, upbeat and sexy, giving another perspective of one of Glasslip‘s least explored characters. It is easily my favourite song on the Fragments of Singing Voice album, and curiosity led me to translate the lyrics, which yield a considerable amount of insight into Sachi’s character well beyond what viewers saw in Glasslip.

Japanese Lyrics

  • Whenever Kimi e to Refrain plays, I think about long summer days, endless blue skies and a sort of excitement associated with the prospects of a full day to myself. The rhythm and composition of this song also brings to mind the atmosphere surrounding high school as the weather warms. Curiosity about what this song entailed led me to talk to some of my friends, and with their help, we transcribed the lyrics and worked out what the song was about. It turns out that this is indeed a song evocative of summer, a season I feel to be most appropriate for discovering new love. Here’s a copy of the song for all interested readers’ listening enjoyment.

Kanji

​紡がれた言葉に閉じ込めた気持ちを
読み取るように今日もまた

行く当ても分からず心は旅に出る
いつかはたどり着くのかな
決めるのはいつだって自分なんだって
眩しさに歪む明日へと迷わずに行きたくて

変わらない笑顔とやだしさに包まれ
何かが変わって行く子に季節を越えて
抱えきれない思いのかけらキラキラ君へとリフレイン

不確かでもいい素直なままで心逸らさないで先へ

線香花火から落ちた赤い雫
熱く儚く弾けた

どうしても見つからない場所があった
君の名を呼ぶその度に吹き抜ける風がいた

些細なざわめきに心は揺れ動き
もどかしさを抱え理由を探してた
忘れたくないこの瞬間がいつか答えになるんだと
今は先へと進んでみよう君の隣で笑ってたい

見上げれば幾千の星のストーリー
約束の場所から明日へと迷わずに行けるから

変わらない笑顔とやだしさに包まれ
何かが変わってく子に季節を越えて
抱えきれない想いのかけらキラキラ君へとリフレイン

不確かでもいい素直なままで心逸らさないで先

君の (君の) 側で (側で)

Romaji

​Tsumugareta kotoba ni tojikometa kimochi wo
Yomitoku you ni kyou mo mata

Yukuate mo wakarazu kokoro wa tabi ni deru
Itsuka wa tadoritsuku no kana
Kimeru no wa itsudatte jibun nan datte
Mabushisa ni yugamu asu e to mayowazu ni yukitakute

Kawaranai egao to yasashisa ni tsutsumare
Nanika ga kawatte iku kono kisetsu wo koete
Kakaekirenai omoi no kakera kirakira kimi e to refrain

Futashika demo ii sunao na mama de kokoro sorasanai de saki e

Senkouhanabi kara ochita akai shizuku
Atsuku hakanaku hajiketa

Doushitemo mitsukaranai basho ga atta
Kimi no na wo yobu sono tabi ni fukinukeru kaze ga ita

Sasaina zawameki ni kokoro wa yure ugoki
Modokashisa wo kakae riyuu wo sagashiteta
Wasuretakunai kono shunkan ga itsuka kotae ni narundato
Ima wa saki e to susunde miyou kimi no tonari de warattetai

Miagereba ikusen no hoshi no story
Yakusoku no basho kara asu e to mayowazu ni yukeru kara

Kawaranai egao to yasashisa ni tsutsumare
Nanika ga kawatteku kono kisetsu wo koete
Kakaekirenai omoi no kakera kirakira kimi e to refrain

Futashika demo ii sunao na mama de kokoro sorasanai de saki e

Kimi no (kimi no) soba de (soba de)

English Translation

  • During the translation process, I’ve done my best to choose words that are able to flow with the rhythm of Kimi e to Refrain, and as I’m no songwriter, what we’ve got here is an approximation at best. While I’ve modified some of the phrasings and word order to make the lyrics sound more natural in English, I think that the meaning from the original Japanese lyrics are largely retained despite these changes. Doing this post has also led me to learn that the reason why Cantonese songs can be readily covered from Japanese is because Cantonese is mono-syllabic. Consider just how well Seiko Matsuda’s 大切なあなた (Romaji “Taisetsu na Anata“, “Important You”) is performed by Vivian Lai in the Cantonese equivalent, 陽光路上 (Jyutping “joeng4 gwong1 lou6 soeng5”, “Sunshine Road”).

​Feelings that were trapped in woven words
I’ll try to decipher them again today

My heart goes on a journey with no destination
I wonder if it’ll arrive someday
The one who decides that is always me
I want to enter without hesitation into a tomorrow distorted by the brilliance

Surrounded by an unchanging smile and kindness
Something starts to change beyond this season
An emotion I can’t contain, a sparkling refrain from you

Be straightforward, it’s fine if it’s uncertain, my heart won’t waver as it moves forward

Red sparks that fall from the sparkler
Burst with warmth fleetingly

A place I couldn’t find no matter what
There was a wind that blew whenever I called your name

A trivial rumour sways and moves my heart
Finding the reasons for my frustration and embracing it
I don’t want to forget, this moment will become the answer
I want to move forward, I want to laugh beside you

If we look up, there are thousands of stars with stories
We can move from the promised place to tomorrow without hesitation

Surrounded by an unchanging smile and kindness
Something starts to change beyond this season
An emotion I can’t contain, a sparkling refrain from you

Be straightforward, it’s fine if it’s uncertain, my heart won’t waver as it moves forward

By your (by your) side (side)

Kimi e to Refrain speaks of Sachi’s worldview: fond of reading and quiet environments, Sachi feels that she has troubles understanding how she feels about those around her. Tempted by her desire to move into the future but also being tempered by her doubts about the unknowns, Kimi e to Refrain juxtaposes these conflicting feelings, and the lyrics shows that Sachi is the sort of person who ultimately can move forwards as long as she is with someone to support her. In Glasslip, Sachi frequently leans on Tōko for emotional support until Tōko dissolved a promise where their group of friends would remain such. Subsequently, Hiro begins spending more time with Sachi, acting on his feelings. Kimi e to Refrain is seemingly ambiguous as to whether or not the person Sachi most wishes to spend her future with is Tōko or Hiro; the lyrics have a certain degree of romance to them. In the song, Sachi expresses that these feelings are as beautiful and transient as fireworks, and that as others have undoubtedly shared this experience previously, she’s willing to seize the moment and make the most of things. In describing the romantic and transient nature of her feelings, Sachi is likely referring to the moment in Glasslip‘s tenth episode when she expresses her feelings for Tōko and Hiro. Despite having long felt protective of Tōko and hating Kakeru for disrupting the status quo, Kakeru’s actions indirectly result in Hiro acting on his feelings for Sachi, beginning the start of a hitherto unexplored dynamic between the two.

  • It’s been quite some time since I’ve done anything related to Glasslip, and this post deals predominantly with Sachi. Folks continue to believe that Sachi and Tōko were more than friends, but after taking a look at Kimi e to Refrain, it becomes clear that while Sachi greatly treasures her friendship with Tōko, she is also willing to step into a world of uncertainties. Throughout Glasslip, Sachi’s propensity for few words means that her feelings aren’t always made known to viewers.

  • Quiet and studious, Sachi’s favourite pastime is reading – she spends her free time by the window with a book in hand. Her interests are the most similar to my own of anyone in the cast, and she’s my favourite of the characters in Glasslip. I recall a ways back, I did a thought experiment on what my ideal first date would look like – with Sachi, taking her to a bookstore would likely be a fantastic starting point. The larger bookstores from my part of the world usually are close to a coffee shop, and back during the summer, I fondly recall an afternoon where I spent an afternoon at the bookstore, browsing through their vast inventory, before sitting down for a caffè mocha.

  • I’ve not thought about it, but it looks like that doing this sort of thing constitutes as ‘taking myself on  a date’. Admittedly, it is fun to sip a caffè mocha and watch as the world proceeds with their business: when I think about it, a bookstore-coffee shop combination is actually not a bad place for a date. Of course, this is just me, and I imagine the odds of finding someone who shares this particular perspective will be a nontrivial task.

  • Sachi seems to be a bit more on the frail side: midway into Glasslip, she is admitted to hospital. Whatever other faults Glasslip may have had, the visuals within the anime were top-tier, matching those seen in Tari Tari. Whether it be the play of light in glass beads, warm colours of a summer afternoon or the details in the town, everything in Glasslip was stunning to behold; this is one of the reasons why I persisted through the anime.

  • I watched Glasslip the same summer that I watched GochiUsa, and speaking to her skill, it’s not immediately apparent that Rise Taneda voices Sachi, so different is her delivery of Sachi’s lines in Glasslip against her presentation of GochiUsa‘s Rize Tedeza. Most know Taneda best for her performance as Your Lie In April‘s Kaori Miyazono. However, in Kimi e to Refrain, Taneda’s singing voice is most similar to how she performs Rize’s character songs.

  • Over the course of Glasslip, Sachi and Hiro begin spending more time together, both during awkward moments where Hiro must escape before Tōko discovers what’s going on, and later, once things settle down, the two go on a few dates with one another. The pairing in Glasslip that left viewers with the strongest negative impression was Yanagi and Yukinari; Yukinari has feelings for Tōko, while Yanagi has feelings for Yukinari. She makes his feelings known to him, and while the two remain on cordial terms for the remainder of Glasslip after he turns her down, Yanagi takes up running herself and from my perspective, exudes a sense of melancholy despite doing her best to stay positive.

  • Glasslip wraps up at the end of summer vacation, with everyone returning to classes. Looking back, Glasslip is something that likely would have been more clear with its symbols and motifs had it a bit more time to flesh these elements out. Additional time would have also given opportunity to explore the growing closeness between Sachi and Hiro, while also showing how Yanagi and Yukinari move on in their own ways. However, given the overwhelmingly negative reception directed at Glasslip, reflected through the fact that Glasslip had the lowest BD sales of any PA Works anime, it is unlikely that Glasslip will receive any sort of continuation or expansion.

Because notions of journeys, heading into the future and moving forwards are so prominently mentioned in Sachi’s Kimi e to Refrain, the song strongly suggests that this person she wishes to rely on, to walk the future with, is Hiro. Things began changing under the fireworks for the pair, and rumours of a romance between Hiro and Sachi definitely circulate, which Kimi e to Refrain references; because Tōko’s friendship with Sachi is an older one, Kimi e to Refrain is not likely referring to her. Instead, it is these newfound feelings that prompts Sachi to want to seize the future with more confidence even as she hesitates, owing to her old friendship, and Kimi e to Refrain‘s final stanza suggest that the brilliance of these emotions that lead her to want to move on. Consequently, through Kimi e to Refrain, it becomes clear that Sachi is able to let go of her reliance on Tōko and wholeheartedly pursue her relationship with Hiro, whereas previously, she was struggling to understand how she felt about both Hiro and Tōko. This is evident in the progression of events in Glasslip, where Sachi begins spending more time with Hiro, pursing the future that she’s so uncertain about. While existing perspectives remain adamant that Sachi has feelings for Tōko, Kimi e to Refrain clears up one of the elements that Glasslip began exploring, and it is quite apparent that Glasslip could have succeeded in illustrating the turbulent nature of relationships as youth begin exploring them had the anime chosen to focus on these aspects sans any supernatural, Newtype-like phenomenon.

Shelter: Reflections On A Collaborative Music Video Between Porter Robinson and A-1 Pictures

“Collaboration is important not just because it’s a better way to learn. The spirit of collaboration is penetrating every institution and all of our lives. So learning to collaborate is part of equipping yourself for effectiveness, problem solving, innovation and life-long learning in an ever-changing networked economy.” —Don Tapscott

Shelter is a six-minute short that illustrates a small section of seventeen year-old Rin’s life in a simulated reality. Although her life is one of infinite tranquility, it is also an immensely lonely experience. As she creates worlds through a tablet, the simulator gradually exposes Rin’s own memories: she was seven when a moon-sized celestial body is discovered to be on a collision course with Earth. Her father, Shigeru, constructs a spacecraft to preserve Rin’s life, while making the most of their remaining time on Earth together. Despite its short length, Shelter is quite haunting: this effect is a consequence of the stunning visuals in the short. As Bill Watterson had done with his Calvin and Hobbes comics, Shelter is able to tell a succinct story in the absence of dialogue. An entire world and its story is conceived and explored in the space of six minutes — in fact, the possibilities of such a world have resulted in some viewers yearning for a longer feature that more completely describes Rin and her experiences. Through the visuals alone, Rin is infinitely creative and inquisitive, crafting the wonders of the world to explore as she passes her solitary days. Whether it be vast fields of verdant grass as far as the eye can see or an Aurora Borealis filling the skies, Rin counters her loneliness through creativity. This would be the theme that lies at the heart of Shelter: individuals can create highly compelling works when they are alone, and this act gives them hope, allowing them to find fulfillment in an alternate avenue.

While Rin’s situation seems to be one of melancholy, a bit of reasoned speculation, coupled with Porter Robinson’s upbeat performance, suggests that Shelter is not meant to depict Rin as the last human alive. The music’s lyrics, speaking of how people can be together even if they’re not physically together, plus the overall tone the song conveys, is meant to be a positive one. Consequently, it yields an optimistic tone that permits discussion to wander in a direction that suggests Rin’s loneliness is not infinite. Such a perspective is further augmented by scientific elements: the music video plainly depicts a moon-sized object on the verge of impact with Earth. There are presently few objects of that size in the solar system (the largest object is the dwarf planet, Ceres, which has a diameter of 945 kilometers), and as such, any object with a collision course with Earth would be readily spotted. This in turn allows Earth’s inhabitants a substantial window to prepare, and in a science fiction setting, it is very unlikely that a population would idly allow their species to go extinct, knowing that such an object exists. Barring the more outlandish course of action (i.e. destroying the object), humanity could construct spacecraft and organise a mass exodus from the planet prior to its destruction. Assuming this to hold, there are likely other survivors in this universe, and so, the possibility that Rin is found would be non-zero.

Screenshots and Commentary

  • One of my friends remarks that the possibility for missing out on examples of superb animations is a botheration, although I’ve remarked to him that it’s more about chancing upon the good ones that make things worthwhile. For this talk on Shelter, I’ve got the usual twenty screenshots, and that comes out to around 3.3̅… screenshots per minute, which isn’t quite as high compared to something like Utopia or Cross Road.

  • One of the questions that were fielded by other views is whether or not Shelter could have worked if the individual in the simulation were male rather than female. The answer is “yes”, since the concepts about creativity and loneliness, as well as parental love, transcend gender. These are universal values people share, so whether or not the protagonist is male or female wouldn’t change the fact that Shelter would have solid animation and music that brings out the moods.

  • One of the reasons I’ve grown fond of anime is because of the fact that landscapes and worlds are so vividly created: through the course of the six minutes, a range of locations, both abstract and extraordinary, are shown. These worlds, created through Rin’s tablet, are fluidly created: the control that she has over these worlds is akin to playing an ultra-high fidelity version of Minecraft or similar.

  • With technology’s pacing, I would not be particularly surprised if virtual and augmented reality technologies capable of creating images that the mind do not reject become commonplace within the next decade. The release of increasingly powerful graphics hardware, coupled with decreasing power costs and efficient algorithms for rendering and shading means that there could be a future where phones and wearable headsets carry GPUs surpassing even the modern-generation GTX Titans in performance while allowing for extended periods of wireless usage.

  • I watched Shelter about a week ago, but things have been rather busy: I was able to do my weekly discussion for Brave Witches owing to a fortuitous break in my schedule, and then on Friday, I attended a stand-up comedy evening with my coworkers, enjoying both the smoked ribs and fries dinner as well as the show itself. I spent most of yesterday playing through Deus Ex: Mankind Divided, and finished the Golem City story mission before visiting a local Chinese restaurant for dinner (beef short ribs in a pepper sauce, Peking-style pork chops and crispy chicken, among other dishes). As such, yesterday saw limited motivation to write.

  • However, I’m back in full force today, and so, this review will be done before I forget about it. Back in Shelter, in a beautiful field stretching as far as the eye can see, Rin recreates a single tree with a swing on it, then vaguely recalls getting hurt on a swing. Her old memories start manifesting as she begins recalling memories of a distant past, and hints that her reality is not what it seems begin appearing via flashbacks.

  • For the most part, reception to Shelter has been positive, and I am in the camp that believes that Shelter is worthwhile. I’ve come across a particularly asinine review from “Zergneedsfood” that purports Shelter to be “utterly trite” for “undermining” the viewers with its supposed lack of “emotional resonance”. From a personal perspective, that was never the point of Shelter to begin with, so the review becomes rather disingenuous for trying to academically critique something for a theme it does not intentionally portray. Compare the chap who wonders why he cannot fulfill the role of a counter-sniper with a shotgun.

  • How does one differentiate an honest review from one that is psuedo-intellectual in nature? The answer is surprisingly straightforwards: a psuedo-intellectual review is excessively critical, with a propensity for sesquipedalian loquaciousness. In short, a psuedo-intellectual author believes that a complex vocabulary somehow elevates their argument’s value. When writing, one should not require a dictionary every five words because the author had multiple tabs to Thesaurus.com or were using Microsoft Office’s built-in thesaurus to replace terms in their prose. These individuals hide behind a veneer of sophistication, forcibly enforcing their own narrow world-view upon others with the intent of impressing or intimidating other readers.

  • Whenever such nonsensical reviews are encountered, I make it a point to remind readers that the opinions of someone with a blog or an uncommonly diverse vocabulary do not confer any additional weight towards their argument. This probably is the reason why this blog gets the same traffic in a day as theirs does over a month. This goes both ways: if I say something that does not align with your own views, that’s perfectly fine. Back in Shelter, Rin strolls through an abstract field of trees adorned with emissive cube ornaments.

  • I’ve often joked that I could be quite happy with any size of home provided I’ve got a stable power supply and powerful internet connection, since when I’m at home, I tend to be hanging out on a computer of sorts. On pleasant days, I take to the parks nearby for a stroll, preferring to enjoy the sunshine and blue skies (or minimally, a lack of temperature extremities or precipitation). One of the strongest features of my city is the relatively large number of pathways and parks.

  • Admittedly, for me, the music in Shelter was sometimes eclipsed by the visuals: I’m very much a visual person, having a fondness for figures, diagrams and charts. I learn fastest when a procedure is illustrated step-wise as a diagram, and as such, when it comes to most entertainment, I also keep my eyes on the visuals. Smooth and well-done, the animations in Shelter were produced by A-1 Pictures, who also did work on Garakowa: Restore The World (accounting for the similarities in style and atmosphere).

  • While the first half of Shelter is illustrating Rin’s everyday life as she passes the time creating new worlds to explore, the second half arises after old memories begin manifesting: she recalls events that happened in her childhood as the simulation taps into her mind. I recall reading a text about the limitations of human intelligence, and one postulate put forth the idea that humans do not universally have eidetic memories is because that such a capacity would allow one to recall highly painful memories with ease.

  • This could be detrimental, and I count myself as thankful that I cannot recall with a high precision all of the negative things I’ve experienced (usually, just the lessons associated with them). This is merely a theory, and from an evolutionary perspective, the practical reasons why humans cannot be more intelligent (assuming a common definition of intelligence to exist, of course) is that a larger mind would make passing through the birth canal more difficult: infants are born with their heads very nearly at adult sizes.

  • Rin receives a stuffed bear from her father as a gift during Christmas. It strikes me that, after the Remembrance Day long weekend and my convocation, I will need to begin Christmas shopping. I glance at the calendar and remark that already, a week of November has very nearly elapsed. Daylight Savings ended yesterday evening, requiring that clocks be rolled back an hour, and I got an extra hour’s worth of sleep. The skies are noticeably darker now than they were a week ago, and winter will nearly be upon us.

  • Rin traversing her old memories brings to mind how the Pensieve in J.K. Rowling’s Harry Potter operates. An apparatus for storing memories, such a device could be quite useful for recalling different memories and giving the brain additional storage. While initially a curiosity, Pensieves become a major element within the novels, as Harry utilises them to understand Voldemort, as well as Snape.

  • As this moon-sized object draws closer, its interactions with the Earth’s atmosphere would cause the surface to heat up considerably well before it contacts the planet, accounting for why it looks more like a gas giant than a rocky object. An object of such size would hit with enough force to displace the whole of the lithosphere and generate enough heat to create a world-wide firestorm. Volcanic activity would increase on the surface, and once the debris settles, the entire planet would be seen as one large lava field from orbit.

  • To ensure that his daughter survives, the scientist creates a specialised spacecraft, to send her off. It’s a tearful farewell. Owing to the scope of Shelter, nothing else is shown, but this premise has been mentioned to be an excellent starting point for an OVA or even a full-fledged movie. Like countless viewers before me, it would definitely be worth checking out if a full length narrative was to be created, although similar to Star Wars Madness and Cross Road, I imagine that this probably won’t be the case.

  • This image shows the object colliding with the Earth’s surface, and the results are consistent with those seen in an animation portraying the effects of a hypothetical body of 500 kilometers in diameter impacting the Earth. While such scenarios are often used in science fiction, that there is intelligent life on Earth is the surest sign that such objects are rare in the Solar System: in the Earth’s early history, impacts would have been very common, but as the planets coalesced, the number of smaller objects decreased in number as they were absorbed into larger entities.

  • The end of the music video is viewed by some to be on the pessimistic side, since the final shot is that of Rin tearing up while in the spacecraft. It may have been more fitting to conclude with search lights shining upon her in the pod, which could have lessened or even eliminated the ambiguity, but other than that, this was a rather fun music video.

  • I’ll be resuming regular programming shortly after: ahead of time, I’ll be doing a talk on Mankind Divided now that I’ve finished talking with Talos Rucker. There will be some special post coming out later this week related to Remembrance Day, as well as a short reflection on my convocation from graduate school, in addition to the scheduled post for Brave Witches.

Fluidly animated and remarkably well-produced, Shelter is a visual treat to behold: Robinson’s performance complements the visual components, although there are points where the visuals seem to even eclipse the song. This collaborative project was a remarkably enjoyable watch despite its short length, and as remarked by countless others, its biggest shortcoming seems to be its short length, wondering whether or not there could be a more substantial story that carries on the narrative in the future to either show more of Rin’s backstory or her future experiences. It’s not very often I do standalone talks for music videos, but Shelter‘s execution is quite remarkable. As a collaboration between Eastern and Western artists, some audience members have remarked that Shelter could be an exciting beginning for international works. In light of some articles, such as one at Anime News Network discussing whether or not Japan’s projected population decline, these individuals feel that cooperation is very much welcomed to both bolster creativity and address the unsustainable aspects of the Japanese animation industry. Both components are quite important, and I very much welcome prospects of increased collaboration.

Being cloudy, shining, singing again someday: Revisiting a review of the Tari Tari OVA

“God has given us two hands: one to receive with and the other to give with. We are not cisterns made for hoarding; we are channels made for sharing.” —Billy Graham

Released on December 17, 2015, the Tari Tari OVA has proven to be the most elusive OVA encountered in living memory. Straying out of thought and time, the OVA was alone, forgotten, without escape from the dark corners of the world. The stars wheeled overhead, but it is not the end. I will recount the OVA account, and share it for my part. In my earlier talk, I briefly summarised the OVA, where Wakana, Sawa and Konatsu wonder what to do as the winter holidays approach. While Konatsu is itching towards karaoke as the group cleans up their club room, the others feel it is prudent to study. It isn’t until later that Sawa decides to gather everyone together to sing a song that commemorates their time together. This song, titled “いつまでも輝きを” (Shining Forever) is featured as the OVA’s ending song and has a runtime of around four minutes. While it’s not a sequel that depicts the character’s fates following their graduation, it does nonetheless represent a welcome piece of Tari Tari: when it had aired back in 2012, I found Tari Tari to be a wonderful anime that depicted the thoughts and emotions of a group of friends on a cusp, as they begin the transition from one stage to the next. It was a story that numerous viewers (should be able to) relate to, and coupled with exceptional artwork, has been one of P.A. Works’ more memorable titles.

The main point of interest surrounding the OVA is where it things are chronologically set relative to the remainder of Tari Tari, if it is not a sequel. Wakana mentions that it’s December early on in the OVA, and the Choir-and-sometimes-Badminton club are cleaning up their clubroom in preparation for the winter holidays. Later, while lying in bed, Sawa reminisces about the day where she and Wakana, Konatsu, Taichi and Wein performed one final time during the autumn period prior to their school’s closure (construction crews do not begin preparing the site for demolition until March of the following year, during the same time as the graduation ceremony). Therefore, it is possible to say with complete confidence that this OVA takes place during the final episode, during the eyecatch at its halfway point; the OVA depicts a brief snapshot of a period after their performance and before graduation in March. Thus, the eyecatch skips a period of around half a year, and the fact that P.A. Works chose not to depict what happened during this time suggests that Wakana and her friends were busy preparing for their entrance exams and pursuit of their post-secondary plans, although this brief moment during their winter break was meritorious of additional mention. It is interesting to note that by this point, Sawa’s parents still exhibit some doubts about her career choices, in spite of their determination to support her earlier on in the series.

Screenshots and Commentary

  • Because of how difficult it’s been to find anything on the Tari Tari OVA, I’ve optimised this post to be hopefully more searchable by referring to the OVA as such, rather than by its full name (Kumottari, Kagayaitari, Mata Itsuka Utattari). To improve things further, each image here links to a 1080p full-sized copy that can be easily downloaded. I’ve updated my previous talk on the Tari Tari OVA so the images there can be viewed in full-resolution, as well. The decision to do a second post within a half-year was not lightly made, and this talk aims to provide a definitive answer as to when the events of the OVA are set, as well as provide the highest possible resolution images of this OVA.

  • Although the Tari Tari OVA does not particularly offer much in the way of anything new, it was nonetheless quite pleasant to see the characters return again. I consider Tari Tari to be one of P.A. Works’ best slice-of-life anime; it wasn’t about any one thing in particular, dealing with Wakana, Konatsu and Sawa’s aspirations as high school drew to a close. Appropriately, its title, “Tari Tari“, is used as a suffix in Japanese to indicate doing “stuff”, being quite similar to “-ing” in English whenever an action is being performed in present tense.

  • As noted in the previous discussion, there is a bit of melancholy in this OVA: besides being projected by the lighting at dialogue in-show, said melancholy can also be felt owing to the audience’s knowledge that this short OVA is very likely the last we’ll see of Tari Tari, given that P.A. Works does not do sequels. Their past records show that any continuations they’ve done depict events set in the middle of a series.

  • Consequently, it is most unlikely that Wakana, Konatsu and Sawa’s fates will ever be given solid closure. One thing I would’ve most like to see was what ultimately happened to Sawa and Taichi: subtle signs were present throughout Tari Tari that the two shared unspoken, mutual feelings for one another, and while the scene at the airport was devoid of dialogue, it’s very likely that Taichi confessed his feelings to Sawa here.

  • Despite being a seven-minute long feature with a four-minute long montage using footage from the original anime, the Tari Tari OVA has lost none of its visual fidelity. Being three years old does not change my claims that Tari Tari easily has the best visuals out of any P.A. Works titles, even beating out Glasslip and Nagi no Asukara. The reason for this is the delicate balance of colour that allows the anime to depict both vivid and brooding environments to augment the atmosphere surrounding each moment: none of their other titles does this quite as well, and in fact, recent titles like Shirobako seem a little underwhelming by comparison with respect to the visual aspect.

  • I still recall the previous year in August, during which I published a talk on Sabagebu! after having a steak-and-lobster dinner at The Keg. This first weekend of August, I celebrated a year’s of aging with a dinner at Tony Roma’s: I had the wish for a good rack of ribs and ordered what is known as the “Ultimate Grill Power”, which added an eight-ounce sirloin steak and skewer of grilled shrimp with the ribs. My standard for assessing the quality of ribs is by how easily the meat falls off the bones, and their ribs pass this test nicely, being tender and tasty.

  • The eventual fate of Taichi’s feelings is left unknown, leaving a somewhat unpleasant feeling amongst the audience, most of whom wished that more time was directed towards following Sawa and Taichi’s growing relationship. However, I contend that the decision to leave this aspect in the sidelines, and merely illustrate it subtly, allowed Tari Tari to focus on the character’s futures and not devolve into an ill-executed love story.

  • I’ve been in Taichi’s shoes before, and in both instances, there were no storybook endings. With that being said, life’s too short really worry about these things. Realistically, even if Taichi’s feelings went unanswered, the possibilities in life remain limitless, and while I’ll earn some disdainful looks from some, I contend that the things that are truly worth having hardly ever come easily, so a good relationship is no exception.

  • The weather today finally decided that the time was ripe for a change from the sunshine we’ve been fortunate to enjoy, and this morning, the rain began falling in earnest, bringing a much-needed downpour and the associated cooling to the city. While it stopped briefly, it’s back now in the form of an evening thunderstorm. The past weekend was quite eventful: I paid a visit to the local bookstore to check out Tom Clancy’s Full Force and Effect before settling down to a summer evening of fried chicken, and yesterday, celebrated several birthdays with family. The weather had been quite hot, compounded by the stagnant air, making perfect weather for being out and about, and with the work week resuming, it’s nice that we’re getting rain.

  • It’s quite easy to see why Sawa’s father disapproves of her being a jockey: in the United States, the average jockey makes around 35000 USD per year owing to the fees a jockey must pay out to their agent and valet. While there are exceptional jockeys who make a substantial income, they are rare, hence her parent’s apprehension into allowing her to pursue her interests.

  • Sources out there state that the average height of a jockey ranges from 4’10 to 5’6, and an average mass of 108 to 118 pounds. Sawa is 5’6 and weighs 121 pounds, which puts her at the upper bounds for the recommended physical characteristics for a jockey: her arc in the original anime illustrates her determination to become a jockey, even going to extremes by dieting in an attempt to lower her mass. Once her friends and parents realise this, this do their part to support her to the best of their ability.

  • Doubting her plans for the future, Sawa scrolls through her phone and finds a photograph of their performance together, evoking memories of how much fun it had been to perform one final time together for a large audience. This performance acted as a swan song for the Choir-and-sometimes-Badminton club, with their determination to see things through being sufficient to motivate other students to help them out, even as their school was slated for closure.

  • Of her friends, only Sawa wields a smart phone with a touch screen. In North America, smart phones are the dominant phone on the market owing to their versatility, but in Japan, flip-phones are still widely used. Despite lacking the raw processing power and hardware of a smart phone, Japanese flip phones are capable of video playback, running some mobile applications and connecting to the internet. Their dominance in Japan arises from highly expensive plans for smartphones: flip phone plans are much more affordable, suggesting that the Okita family is relatively wealthy.

  • While flip phones are making a resurgence in Japan, back over in North America, smart phones are continuing to march on, with each successive generation sporting improved hardware. The present trend seems to be that, with the lessening gap between mobile and computer operating systems, phones may eventually replace PCs and become full-fledged computing solutions in their own right. So, if one wanted to use their phone as a computer tower, they’d merely need to attach it to a dock for power, connect it to an external display and add a keyboard/mouse.

  • The Tari Tari OVA takes on a Christmas theme to tie in with the fact that the BD box set was released in December, just in time for the Christmas season. During this time, I was gearing up to go on a vacation in Taiwan and Hong Kong, marking the first time I traveled abroad during the winter season. Things like snow, eggnog and Christmas dinner was swapped for enjoying the sunshine of Southern Taiwan and watching the New Year fireworks in Hong Kong’s central district, which was, while quite different, not unwelcome.

  • This spot is likely the near the Samuel Cocking Garden, underneath the Enoshima Sea Candle. The original garden was founded in 1880 by British merchant Samuel Cocking as the Enoshima Botanical Garden, and featured a greenhouse where he collected tropical plants. The greenhouse was destroyed in an earthquake, and in 2004, a new garden was opened in the area. The Enoshima Sea Candle is a private lighthouse that was completed in 2003. Built for the 100th anniversary celebration of Enoshima Electric Railway, its observation deck can be accessed by a series of escalators. With a height of 40 meters, the observation deck provides a stunning panoramic view of the area that, by nightfall, is considered as the sxith best “Japan Heritage Night View”; the tower itself is illuminated by a solar power generation device installed on the south side during the hours of darkness.

  • On the morning of their gathering, the skies are grey and moody. However, it is still quite warm in Enoshima: the average temperature in the area is around 13°C in December, which is my city’s average temperature in June, and in December, we average -7°C. Consequently, whenever I hear any talk that it becomes “cold” in some regions of Japan, Taiwan and Hong Kong, I’m quick to dismiss it, for their weak winter is no match for Real Canadian Winter.

  • When Wakana arrives, it turns out Wein and Taichi are already there, performing a Christmas variant of the Ganba Red song. One must admire Wein’s boldness, which leads Konatsu to become embarrassed, but Wakana quickly tunes in to the Christmas spirit and begins singing “Forever shining”, after which everyone else joins in. The song clocks in at four minutes, and is very soothing in tone.

  • There were two major themes in Tari Tari that figured prominently: the importance of openness in friendship, and the impact of taking the initiative to do something meaningful as one journey of life draws to a close. In both Wakana and Sawa’s cases, opening up allowed the others to help them overcome their troubles, and by the end of Tari Tari, Wakana is much friendlier than she had been at the series’ beginning.

  • After “Forever Shining” comes to an end, a still of the plaza under a light dusting of snow is presented. Although rare, snow can fall here, as it did during February 2013, lending itself to a scene distinctly feeling of Christmas: it’s clear that the Tari Tari OVA issomething that is best watched during the Christmas season, and on that remark, this post comes to an end.

Though it might be brazen for me to say so, I conclude that viewers are unlikely to be missing out on much even without the Tari Tari OVA. I justify this claim by saying that, since the OVA was not a continuation or epilogue, and its keystone is the “Forever shining” song set to flashbacks of the events in Tari Tari‘s main story, rather than any new footage. Consequently, though welcomed as an opportunity to see Wakana, Konatsu, Sawa, Taichi and Wein perform together again, the OVA does not contribute anything new to Tari Tari. With that being said, it is a strange fate that audiences would be held in the dark for so long, over so short and simple an OVA. More than a half-year has now elapsed since the original slated release date, and there are still no avenues to access this OVA for viewers outside of Japan. According to sales figures, 1923 copies of the Tari Tari Complete Box were sold in Japan within four days of the BD volume’s release. With a price tag of 295 CAD, one wonders just how many of these sales were motivated by the want of a seven-minute short, and whether or not this price tag might be the explanation behind why the Tari Tari OVA continues to remain inaccessible to audiences outside of Japan.