Project Winter is Better than Among Us: A Rant

If you’re reading this, then the unthinkable has happened: One of the biggest gaming trends of 2020 has managed to stay trendy into an entirely separate year. Yes, even an uncultured swine such as myself has been aware of Among Us, the game that coined the term “sus”, which is a shortened version of the word “suspicious”. As to be expected, things that are trendy tend to be inferior to a more niche product of its ilk. In this case, an online multiplayer deception game known as Project Winter is significantly better, and I will detail why.

Just take my claims with a grain of salt; I have not played either game myself. One of my biggest gripes with online multiplayer games is that they’re considered so great, despite the fact that you need eight or more friends in order to play them at all. That kind of hurts what little confidence I have; it’s as if having over eight friends is NORMAL in life. Personal issues aside, I at least have some confidence in this post because I have watched many-a gaming video of both games, specifically those uploaded by ZeRoyalViking and ChilledChaos (who you should watch by the way because they have really good multiplayer gaming videos). 

How to Play

Before getting into the topic at hand, I must explain the basic mechanics of both games, just in case someone is as uncultured as I am. In Among Us, you are a bunch of little bean astronauts who are marooned in a base that needs fixing. They all must fix the various areas of the facility to win. However, there are two imposters who can kill crewmates. No one is able to speak while walking around in Among Us, except in two circumstances: either someone reports a dead body, or uses one of their limited uses of the Emergency Meeting button. This triggers a brief period where the players can talk to one another, and eject a player through voting; their only way to defeat an imposter. If the crewmates finish all tasks or defeat all imposters, they win. But if the imposters kill enough people so that there is one crewmate left for every imposter, then the imposters win.

In Project Winter, a group of people are stranded in a randomly generated frozen world. In half an hour, a giant blizzard will appear and snuff the life out of them. They must quickly craft, hunt, and repair in order to call a rescue vehicle to save them. However, there are two traitors in the group, who must try to stop the survivors’ efforts. Both traitors being felled DOES NOT declare survivor victory; the only way survivors can win is for at least one of them to escape. Traitors must see every survivor fall; even if they themselves die, it still counts as long as they bought enough time for the Mega Blizzard to finish off the survivors.

Among Us: Pros

Among Us is the more accessible of the two games. It can be played on pretty much any system, including mobile devices. That makes it so anyone can play! It’s also a lot simpler, since you don’t talk to people for that long. 

What makes Among Us fun is the lack of communication. Imposters must take advantage of what the crewmates know or don’t know in order to build abilis for themselves. Both sides have a good number of tools at their disposal. Imposters can use vents to quickly travel around the map (as long as they aren’t seen), such as getting a kill and quickly escaping the crime scene so that no one’s like “Uh I saw that guy walking away from the body”. They can also shut off the lights, or trigger a nuclear explosion that instantly gives them the win if two people do not stop it together, which also gives the imposters an opportunity to off two people. 

It would be too easy if imposters could just kill willy-nilly. Both imposters have a kill cooldown, and they need to try to act as “un-sus” as possible during that time. Crewmates also have access to cameras, which can be decisive evidence if a killer is caught in the act. Imposters can talk during the meetings to spread discourse among the crew. They can also stick with players for long periods without killing them in order to “marinate” them. Crewmates will need to be clever, and observe every insignificant detail of the players’ pathing; one of them could’ve used a vent (or you could be Ze who gets accused just by walking around).

Among Us: Cons

I don’t know if they fixed it, but one of the dumbest things in Among Us is the fact that the codes for private lobbies are constantly displayed at the bottom of the screen (and since Ze and Chilled have not moved their webcams from that spot, I assume the issue’s still there). That’s just plain dumb. 

As far as gameplay is concerned, things can get stale fast. I don’t know if playing Among Us is better or worse with experience. Rookies are likely to play with settings like Visual Tasks, which show animations to all players and can guarantee someone as a crewmate, or Confirm Ejects, which will tell you if you offed an imposter through voting. With those disabled, the game is more fun… or is it?

In an experienced lobby, there are so many nuances that are just understood that it almost puts an unfair advantage in favor of crewmates. Imposters usually spend time standing next to a task to “fake” it. But when you’re a veteran, you know the exact amount of time—down to the second—that it takes to finish a task, and there aren’t many that they can defend themselves with (like the asteroids or card swipe tasks). It’s also understood that the imposters will clarify whom the crew is voting against during a meeting, just so they can off a crewmate. Experienced players also have a system on when to vote and when to abstain based on the amount of people left, which can be used against them by imposters, but still makes games redundant.

There are also a lot of little “cheap” things that anyone can do. The Emergency Meeting button cools down faster than the Imposters’ kill button, but the Imposters’ sabotage ability is ready to go right after a discussion. With good timing, imposters can kill the lights or set off the reactor to where their cooldown is complete before the crew can fix those areas (since the Emergency Meeting won’t work during a sabotage). If they only need one kill (or two if both are still alive) in order to win at that point, then they win. The only way for crewmates to prevent a double kill is for one of them to mash the shortcut key for interacting with something in order to potentially report the first person’s body the instant before they themselves are killed, but it’s not always possible.

Crewmates also have annoying perks. They can stick together, making it impossible for imposters to win unless they get the rare “stack kill” (but even then, it’s possible to tell who did it because of subtle details with the server’s latency). The crewmates can also have someone camp the light fixtures, instantly fixing them as soon as they go out, disabling the imposters’ best tool. There’s also a rock in one particular map that someone can hide behind and catch someone using the nearby vent. Overall, I feel like Among Us can quickly devolve into the same thing over and over again. The whopping three maps don’t help its case either.

Project Winter: Pros

Unlike Among Us, everyone talks constantly. However, Project Winter has proximity chat; a piece of 21st Century technology that dynamically adjusts the volume of players’ voices in the call based on their distance. Things get more interesting thanks to the radio items. By pressing the CTRL key, you can talk to anyone who has the same color radio over any distance. Traitors also get a free red radio to coordinate on. 

Project Winter plays like Minecraft; you have to worry about hunger and warmth along with your actual HP. You can cook food, and craft weapons and resources. Every game of Project Winter requires you to fix two facilities located somewhere on the map. These can require sets of mechanical parts, electronic scrap, and gasoline, or batteries and buried pieces spread throughout the world.

What makes Project Winter fun for traitors is having to hold a conversation with the survivors, while also coordinating with each other over their radio. Imposters get better firepower and items through traitor-only boxes found throughout the map, but obviously, they cannot be seen opening them. The ideal strategy for traitors is to spread discourse among the survivors. While they can try to get survivors alone, it would look extra sus if they were the only one of two people to return to the hub area. If tasks are being done, they can try to sneak a sabotage on the repaired objectives. Unlike Among Us, traitors can still try to win even if caught. There is a voting system to exile them from the hub, but they can easily live off of traitor crates around the world. 

Nature itself will try to mess with the crew. Wild animals will attack, for starters. Also, random events will occur. They can scatter boxes throughout the map, or do things like make everyone go crazy, turning them into bunnies who look indistinguishable from one another (a perfect opportunity for a traitor to launch a surprise attack). While not nature-related, there’s also the possibility that an escape pod will spawn, allowing one player to abandon the mission and secure a win for themselves (like Ze did in that one video).

I’ll admit that Project Winter wasn’t at its best in earlier versions, but it gets a lot more depth with current patches. One notable addition is that of roles, special abilities that both traitors and survivors can have. You can have a scientist, able to bring a player back to life at a special area on the map (although that player will be muted), or a hacker who can open bunkers by themselves. There’s also the defector, a survivor who can open traitor crates; an easy alias for traitors to claim.

Project Winter gets even MORE interesting with its new Blackout mode. In the Blackout, there is only one traitor. However, that traitor can convert survivors to traitors in one of two ways: as a Demon, they can revive a downed player to convert them, and as a Whisperer, they can use an AOE attack to slowly fill up a traitor gauge and convert players. It’s a really good, long-con style mode that can go south for the survivors if the traitor manages to convert several people (although one of them could accidentally throw when they get converted for the first time by yelling out “They made me a traitor!” in a panicked stupor). There are also some scary new events, like darkness covering the whole map (except for traitors, who can see with “red vision”), and sending the spirits of all the animals that players have killed against them. Blackout also has the yeti, a neutral role who cannot be converted, and must merely live to the end of the game to win, even if it means siding with the traitors.

Project Winter: Cons

Since I obviously like this game better, there aren’t as many issues. One annoying traitor tactic is the ability to steal necessary parts to repair facilities and hiding them behind structures (which cannot be seen due to the fixed camera). There’s also the fact that dead players can use their chill ability on the traitors to send a message from beyond the grave. This isn’t necessarily a flaw, as dead traitors can also use this to spread discourse, but I doubt it was the dev’s intention for the dead powers to be used this way. Inventory management is also abysmal, even by survival game standards. 

The Most Important Ingredient for Both Games…

The thing with online multiplayer games comes down to one simple monniker: they are only as good as those you are playing them with. The digital world is full of toxic people. But even in private lobbies, you get bad games of Among Us AND Project Winter, even with your personal friends. This passage is probably because I’ve only watched YouTubers play these games. I get that they’re entertainment, but it’s annoying when they throw “for content” (even if Tay killing everyone because of Chilled getting her to write Ze’s name from beyond the grave was pretty hilarious). 

I’ll admit that a bad Project Winter match is worse than a bad Among Us match. Everyone in Ze’s group has good enough experience in Project Winter to know exactly what to do, yet Ze tends to be the only one who actually tries to help, even as a traitor! The others, even as crewmates, will just mess around, and sometimes consider offing someone for shits and giggles (however, I’ll admit that the one time Chilled made poison berries and stuck them in the community chest was pretty funny). It’s unfair for both sides, because the survivors would be losing a valuable person, or they could just get a lucky BS shot on a traitor. While it does capture that “survival drama” feeling really well, it’s annoying to see only one person (i.e. Ze) carry the game EVERY SINGLE TIME. 

Overall, Project Winter at its best is a really fun experience. There’s more opportunities for role-playing, which can be really fun if you have really good friends. The random maps make it to where you can’t just memorize everything like in Among Us, requiring players to not just play fast, but learn fast. And even if the traitors get a really good gun, it’s possible for a survivor to win with just punches (even if it’s unlikely). 

Conclusion

It’s pretty consistent in popular culture: the less depth, less thinking required, and more accessible something is, the more popular it’ll become. Project Winter takes a lot to get used to—but dammit—it’s better than Among Us by a longshot! Well, that’s another item on my list of popular things I don’t like. I think the lesson learned is that gaming is better if you have eight or more friends… Man, there goes my confidence again.

I Miss Hard Science Fiction: A Rant

Honestly, I don’t even know if I wanna post this, but it’s something that’s bothered me for a couple of years and I wanted to get off my chest. If you’re familiar with my other rants, you’d know that I had very different tastes back when I was a teenager. I was SO edgy, I did things that not even edgy kids did. For music, I only listened to classic rock. For movies, I only watched old movies; from classics like Dead Poets Society to freaking Spellbound (which is a boring slog that’s only any good in the climax). And for books… I read hard science fiction. 

Hard? Haha, like a—

I know it’s a euphemism, but hard science fiction is a genre. Think of popular science fiction like Star Wars. Epic battles, witty dialogue, memorable characters, spectacular spectacle… Now, think of the opposite of all that; think of Star Wars’ rival older cousin, Star Trek. Slow pacing, tons of dialogue, tackling some very difficult ethical issues… That is hard science fiction. 

As implied by the title, hard science fiction is meant to read like a history book of the future. And also implied by the title, it’s difficult. Perhaps more difficult than any genre to comprehend. They really pour everything into trying to make their worlds as immersive as possible, and it’s a damn undertaking. Tolkein was impressive enough with his Middle Earth. But hard SF authors had to do the same thing, only with multiple star systems, each with as much history as Middle Earth itself. Most adults would have a hard time reading it, and as a teenager, well… Results varied.

Greg Bear

Okay, so, technically, my first hard SF novel was Hitchhiker’s Guide to the Galaxy. But, well, that one is just technically a satire and definitely not meant to read like a future history (right?). However, when I first bought it, I saw some books by a Greg Bear next to it. And, well, after finishing Hitchhiker’s (and almost having my brain fall out), I tried out some good ol’ Bear. You saw the last two words of the previous passage, right?

The first novel of his I read was called Darwin’s Radio. The premise was simple.: Sscientists discover ancient cave drawings (or something) that show that mankind has been slowly evolving into a new species. There was a lot of dialogue, a lot of which was just buildup to the revelation that mankind has been evolving in the first place (oops, spoilers).

As expected, racism is the immediate public response (side note: one of my most distinct memories is Bear actually writing in dialogue from a certain someone who I can’t name because he was a celebrity until people realized he was a rapist. But it’s still funny how it makes the novel dated due to whom Bear chose). This isn’t “racism” as we know it today; unlike people with other ethnicities, this is a legit new species. And another curveball is that mankind had a decent basis to become racist. Due to how evolution and natural selection works, Homo sapien was essentially going to go extinct due to this new species, and thus they respond in fear, which is expressed in the form of racism. 

I remember being both bored and engaged with the novel at the same time. It was weird, but I loved it. There was also a sequel, Darwin’s Children, but all I remember is that there’s some kind of concentration camp for kids of the new species and it’s supposed to make us, the readers, angry that they’re being treated that way. One big issue with both novels is that they had incredibly loose endings. To this day, I have no idea if Bear wrote a third book (or if he even still writes). 

The Bear doesn’t stop there! I was hooked enough on his writing prowess to read a rather thick standalone novel: The City at the End of Time. This book went places. What I remember most is that there were these people who had these emblems and had to stop… something from happening. It was nonsense for the sake of nonsense, from the objects getting folded and crumpled into incomprehensible shapes, to cats guiding some guy through some weird castle. Beautifully written, but with no purpose nor meaning. After this, I would read several pretty lackluster standalones from Bear, and then…

I read Queen of Angels. A lot of positive reviews consider this his best novel, and I definitely agree. It had two different plots going on at once. Half of the book focused on this old guy (that I remember picturing as Jerry Stiller for some reason) who was supposed to investigate a murder, which would eventually involve entering the accused’s consciousness, and the other half was about some other guy who had to help an A.I. attain sentience. It was an amazing mess, with themes focusing on mental health and what constituted as being sane in the first place. It iconically ends with an entire page of I’s spelling out a giant capital I. Hilariously enough, it’s actually part one (or even part two) of a four-book series, and I didn’t know that because it ended so loosely, like all of Bear’s other books. I have not read Queen of Angel’s sequels to this day.

Kevin J. Anderson and Stephen Baxter

I was mixed towards Greg Bear. Afterwards, I would try to read Isaac Asimov’s Foundation series, and fail spectacularly. It was too large in scope for me to handle, and I have always wanted to re-attempt at reading it to completion someday. However, after having given up the ghost with Foundation at the time, Kevin J. Anderson and Stephen Baxter would help hook me on hard SF.

Anderson writes books closer to Star Wars in pacing and action, but with more hard SF scope and mind-bending concepts. His epic series, Saga of the Seven Suns, was the first long book series I was able to read to completion (yes, before Harry Potter), and I remember it being great. I also read the much more recent sequel trilogy, Saga of Shadows, but I don’t recall it being as good.

If Anderson was the weak attack that staggered me, Stephen Baxter was the heavy finishing blow. I only read two novels from him, but they were bangers. I forgot their names, but I definitely didn’t forget what they were about. In one, the main character is trying to find his missing ex (or something), and stumbles upon a secret cult of women who have lived underground for so long that they evolved into an entirely different species. The other one is supposed to have been that book’s sequel, even though it’s set about a million years in the future, and involves some guy who needs to fight aliens… of some kind. Baxter wrote a lot of wild stuff, but my library decided not to stock them. He would’ve become one of my favorites if I had more access to his bibliography.

Alastair Reynolds and Peter F. Hamilton

Now I was getting into the good stuff! I recall Alastair Reynolds and Peter F. Hamilton being real good at incorporating crazy ideas in ways that were relatively easy to comprehend thanks to their writing prowess. Their novels felt like narratives, and not history books. 

My library had a lot of stuff from Reynolds in particular, so I was more familiar with his works. He was definitely the more imaginative of the two authors discussed in this section. To list off a few examples, Reynolds’ novels include but are not limited to: a disease that fuses people with nearby machines, a mad scientist plan of reversing a planet’s rotation, someone getting cut into 150 individual pieces while still being alive (sort of like Law in One Piece), and some alien race’s simulation of an alternate 1950s where WWII never happened, which was also infested with mutant five-year-olds for some reason. 

Peter F. Hamilton is a guy who thinks big. He’s written a lot of books set in various eras of his fictional Commonwealth world. I mainly read the Void Trilogy. It was… complicated, but I remember it being about this guy who dreamt of a parallel dimension where some wizard boy is supposed to do… something. There was also some android girl being chased by an assassin, maybe? I always wanted to read his gigantic Night’s Dawn Trilogy. But since I have this blog, and that series is about 4,000 pages in total, I think I will not be able to fulfill that desire.

Kim Stanley Robinson

Things got iffy again with Kim Stanley Robinson. From a literary standpoint, his books are absolutely phenomenal (at least out of the ones I read). They are among the most realistic-feeling science fiction novels I’ve experienced. He’s most known for the Mars trilogy, which is an incredibly well-thought out epic showcasing mankind’s colonization of Mars. It felt so real it was like reading an actual history book from the future.

But given what I think about realism, Robinson’s books didn’t do it for me. They were so real, so human, so grounded in reality, that I couldn’t get emotionally invested. I just don’t like people very much, and the characters all felt like people. Also, the hypothetical politics regarding things like preserving the natural beauty of Mars, to a parallel of the United States declaring independence from Britain, felt so real that I hated them as much as regular politics. If you can get into this guy’s stuff, then you’re a lucky duck.

Ending on a Great Note

I read one or two books by several people for a while, all with varying degrees of success. The last hard SF media I’d consume would be the best of all of those previously discussed. It was written by Cixin Liu, a Chinese SF author. I know, controversial little China.

Yep, I’m talking about the Remembrance of Earth’s Past Trilogy, better known by the individual novels: The Three-Body Problem, The Dark Forest, and Death’s End. THIS was a thing! Remembrance of Earth’s Past is a simple first contact story, but with none of the tropes and all of the innovation. It begins when a Famicom-style adventure game is released, and is meant to test people on how to solve the titular Three-Body Problem. Those who solve it are roped into a secret first contact cover-up that ends up being publicly revealed anyway (I forgot exactly how). I will be spoiling the rest of the trilogy from here!

It starts off slow, but gets REAL crazy. In the second volume, the aliens have more-or-less announced their presence, and the government—in desperation—assigns five random people, offering all the resources that can be provided to stop the aliens. These people cannot actually communicate what they come up with, or else the aliens will know. Almost every single person comes up with something unethical, like destroying or brainwashing humanity along with the aliens. The one guy who spends most of his money on a summer home with his girlfriend (I think he actually bought the girlfriend too I.I.R.C.) comes up with the best solution. The basis for the solution is the Dark Forest theory, which I think deserves to be recognized as the best hard SF theory since Asimov’s Laws of Robotics. From what I recall, the Dark Forest states that all civilizations are hunters in a dark forest; they try to keep themselves hidden, and indiscriminately pick off any sign of life they see. In galactic terms, this means that aliens will not attempt first contact in the grandiose way you see in movies; no, they will fire a probe and end it stealthily. No peace, no war. The guy’s solution is a thing that will alert other aliens to Earth’s existence, which will scare off the current aliens, but doom mankind.

It’s cynical, and if you’ve read a lot of my blog, you’d know how I feel about cynicism. However, Liu does cynicism in a way that’s almost beautiful, and Death’s End shows it. It does start off confusing at first, because its main protagonist is a diplomat sent to the aliens during the events of The Three-Body Problem. All this time, he’s been schmoozing the aliens. But in the meantime, the aliens have pulled a 2112 and assumed control over humanity. A butt-ton of the human race gets killed off (by androids or something), and it’s at this point that the Dark Forest Flaregun thing is used. After a series of reality-bending events, we learn that the weapons that various alien civilizations have been using on each other have been slowly reducing the universe to nothing, one dimension at a time. Again, it’s cynical, but beautiful. This is hard SF at its finest. You should be able to see why I miss this genre so much. 

But… Do I Really Miss It?

I’ve been thinking of getting back into hard SF. But at the same time, I don’t know if I can. Since finishing Liu’s books, I have become fully immersed in the otaku world of manga and light novels, while also focusing on kids’ and teens’ literature in general. 

As an example, I already made an attempt to return to the genre as recently as 2019. I read the self-titled opener of Peter F. Hamilton’s newest series, Salvation, only a few months after it came out. I did not like it. It started out with your usual premise: aliens send spies to live among humans, yadda-yadda-yadda, and some ship crashes in Antarctica or something. I know that setup is a thing, but Salvation is 99% the backstories of the main characters with 1% alien intrigue, and only two of the characters’ stories are actually plot relevant I.I.R.C.! The reviews on GoodReads were smarter than usual, and they mostly checked out positive. As such, I blamed myself. I was dumbed down by otaku culture, and could no longer enjoy hard SF. I no doubt would have loved it if I had read it as a teen, but ironically, I didn’t love it as an adult.

The way I look at things from a writing perspective has changed. I attribute long bits of dialogue as infodumping, for example. I’ll criticize lack of action, too. Also, ever since reading stuff like Monogatari, I probably would attribute any themes explored in hard SF as pretentious bullcrap. But most importantly, I have realized that those books contained an excessive amount of… sex. People say ecchi is bad, but there’s entire markets here in the good ol’ US of A that revolve around sex. I hate confessing this, but, er… this is how I first learned about the process. It wasn’t like watching “that video” in health class, but it was pretty close. I recalled not being disgusted as much as confused.

But there is one glimmer of hope, that I probably shouldn’t bother hoping for, and that is the impossible union of hard SF scope with the youth and accessibility of children’s media. As far as I know, it has been attempted thrice. The first time is the famous Time Quintet, starting with the iconic A Wrinkle in Time. It’s kind of… something. While the application of hard science is good enough, it has some of the usual bullcrap. The main protagonist, Charles Wallace, is one of those “special-for-no-reason” characters, and good ol’ nakama power ends up winning the day. Other than that, there’s the usual ham-fisted commentaries against Communism that show that the author grew up during the Red Scare. I think the series has aged relatively poorly, overall.

However, the glimmer of hope shown once more in two obscure and modern series, the first of which is called Randoms. It was a trilogy that started off like a typical wish-fulfilment fantasy, but ends up going into Star Wars Episode I-levels of space politics. I was very interested, but a lot of very arbitrary and forced drama scenes would come up starting in the second book and make me really livid. I actually haven’t finished the series, but since book three is the shortest, I might just push myself for the sake of discussing it in more detail.

There was also hope in The Chronicle of the Dark Star Trilogy. I read this one to completion only a few months before starting this blog. It had scope, it had hard science, it had youth, it had ethical quandaries; this one was a winner! It handled the ideas of time travel and multiple universes in ways that made it easy for kids to grasp. It only had two problems, the first of which was that the main protagonist was just as special as Charles Wallace (the characters literally say stuff like “Wow, you’re the only human who can time travel without exploding!” and it never gets explained). I also did not like how the series resolved. In the final book, the plot basically becomes a Star Trek episode, where the characters find this weird thing, and endlessly discuss how weird the thing is. In the climax, it ends up being almost a clone of the climax of Wrinkle. And similar to that, the main character ham-fists those American values of “individuality is more important than survival of the whole race!”, and leaves no room for debate nor interpretation. And of course, everything ends happily for all those involved. This could’ve been something to raise ethical debates, but like in The Giver and Arc of a Scythe, it reinforces the same viewpoints that readers have grown to understand instead of making them question those viewpoints. I know of no other hard SF series for young’uns, and if there are any, tell me in the comments!

In conclusion, I—to this day—have no idea if I want to try hard SF ever again. It takes me all of my free time just to keep up with manga and light novels, even after I get more gung-ho with DNF’ing stuff. This is something that will haunt me to my dying day, that’s for sure. In any case, if you’ve made it here, you’re amazing! If you’d like, leave a comment on your sci-fi experiences and tell me if there’s anything in this ballpark you’d recommend.

I’m a Big Weeb, But I Don’t Like Anime

Anime has been a leading force in the influence of Japanese pop culture extending to the rest of the world. I’ve come across a lot of people who view the medium as their lifeblood. But me? I don’t get it. As someone who’s read Japanese comics, played Japanese videogames, listened to Japanese rock bands, and studied Japanese culture, I do not get anime at all. In this article, I’ll illustrate why.

Pick a Streaming Service and Pray

I feel like anime streaming has become a blessing and a curse. While it’s amazing that you can pay a negligible monthly rate to be able to watch hundreds of anime, some of which have simulcasting available, the actual execution is not the best.

The first reason is the anime industry itself. Anime is a quantity-over-quality world. And under the assumption that you are—in fact—sane, you will likely look at the lineup for the next anime season and look forward to one or two (or five on a great season) shows. Since the majority of the anime demographic is teenagers who have no jobs, let’s assume that you can only watch shows from one streaming service for your whole life. If this is the case, you’ll have to be lucky that your one streaming service will air that one show, because you’re not gonna watch the other 90% of crap.

It’s not a fun time. My worst luck was the Winter 2020 season. I was planning on watching five shows- a record for me- and ALL of them ended up on Funimation, while I had Crunchyroll. It wasn’t that big of a deal because I already read their source versions, and the adaptations were likely to be bunk anyway, but it was still sad to see that the one service I used didn’t get a single one of those shows. That’s what anime streaming is. If I know this community, only a small handful of shows get any traction, while thousands of other shows vanish into the ether. 

And the services themselves are debatable in quality. Crunchyroll is more-than-functionable (without bringing up the political upheaval they caused with a thirty second teaser trailer in 2018), while all I know about Funimation is the whole “Kick Vic” incident. I’ve even heard horror stories about how Netflix and Amazon explicitly disrespect anime culture. I don’t know if that’s true, but I do know that the former doesn’t stream shows until well after they air (well after they have been forgotten in the community), and the latter doesn’t even bother marketing them. A whole fandom died inside in spring (or was it summer?) of 2019, when the epic historical fiction manga, Vinland Saga, got its long awaited adaptation, from a great studio, and got licensed to Amazon. It could’ve been a cultural phenomenon, but no… it might as well have not existed, and Kimetsu no Yaiba blew up instead.

I have no idea why anime streamers are like this, versus manga publishers. Manga publishing has come a long way from when Viz and Tokyopop freakin’ mirrored the manga. I buy material from every major manga publisher in North America equally. They actually care about manga (and market them, too!), and have very high quality translations and whatnot. For argument’s sake, if Kodansha, Yen Press, and Seven Seas joined Viz in launching a subscription service of their whole catalogues, I’d subscribe to all of them in a heartbeat. The combined monthly rate would surely be less than the flat rates I pay, and I would actually use each of them all the time, as opposed to anime streamers, whom you’ll only have the time and sanity for a couple of shows per season.

Money Is VERY Much an Object

It’s no secret that anime is a BIT on the downgrade. Anime studios tend to have big budget issues, sometimes being forced to file for bankruptcy. Animators are notoriously underpaid at these jobs, to the point where being a straight-up salaryman is probably a better option. But money isn’t only affecting real people, it’s affecting the products.

For starters, the chances of an anime finishing are next to nil. A lot of anime, even successful ones with high incentives to continue, end without a follow-up, and my personal assumption is a lack of funding, even for successful ones. That’s just how in the red they are. Even when they do get new seasons, they tend to degrade in quality, like—most famously—One-Punch Man in its second season.

That lack of funding also makes anime artistically hideous. Most of them consist of flat textures and solid colors, with only one basic shader or highlight at a time (if you’re lucky, you’ll see a shader AND a highlight in the same shot). These studios take any semblance of artistic identity that their source material had and makes them all look exactly the same.

But what’s worse is the actual animation itself… or lack thereof. Most of the time, any given shot in an anime consists of just the mouth opening and closing at regular intervals. And sometimes, you’ll have a thirty+ second long shot of nothing moving at all. It’s also common to see flashbacks to something that happened earlier in the same episode. There are some moments of excellent animation, but they are exceedingly rare (although I heard that Mob Psycho 100’s second season is surprisingly consistent), and to me, not enough of a payoff. Also, pretty much every anime I’ve seen feels like they’re all directed by the same person.

A lot of people are used to these quirks, but I can’t stand it. And honestly, you can blame me for being a filthy normie on this one. I’ve grown up with Disney my whole life. Disney has an incredible eye for detail (at least when they actually TRY), and I’ve gained a habit of appreciating all of those details. Their characters emote and express themselves in ways that feel alive and give them substance. They have had multiple characters on-screen, all animated and emoting simultaneously. Thanks to my autistic logic, I’ve gained a habit of looking for those same details in animated mediums. And anime, naturally, completely lacks those details. Anime feels dead and empty without those subtle gestures of emotion. Even when something emotional happens, the eyes end up being the only things that animate. I don’t need these details in manga, since it’s a still-image medium and they have entirely different ways to convey moods than anime. But nope, when something’s animated, I need fluid animation and expressive faces or else I am not engaged. And for the record, I do know about Kyoto Animation, but all I’ve come across from them are sappy love stories that I have no interest in.

Feature Films are Great… Good Luck Seeing Them

Most of my complaints have been regarding TV anime; feature films are another story entirely. With less hours of content to produce, no deadline to produce it, and more money to produce it with, anime feature films are where all the talent in the industry has gone. Many anime enthusiasts know famous directors like Hayao Miyazaki of Studio Ghibli, and the more recent Makoto Shinkai, director of Your Name and Weathering With You

I’ve only seen a few anime movies: Spirited Away, Summer Wars, and The Tale of Princess Kaguya among others. They were all great (well, not so much Summer Wars because it was just a boring family drama disguised as The Matrix, but that’s an argument for another day), and they gave me a light of hope for the industry. I’d love to watch more movies and write about them.

The problem is that seeing them is a bit tricky. A lot of them are available on streaming, but not on anime streaming services. They’re all stretched thin across a lot of “normie” streaming services, from Netflix to HBOMax. As much as I complained about anime streaming before, these other apps are an entirely different rabbit hole. I’m not someone who likes Western shows, and it’s not worth paying for an amount of movies I can only count on my fingers. 

“Well, just buy them, you cheapo,” you say. I just looked on Amazon and GKids’, and one anime movie costs about $20 USD each. “That’s not so ba—” That’s for one movie. There are a lot of anime movies out there, and building a collection would easily inhibit my ability to cover the usual material I cover on this blog. As much as I want to see more anime movies, I’m not a movie guy, therefore anime movies are of low priority.

My one sole hope is in events like GKids’ Ghiblifest, or actual anime premieres themselves. I only need to pay $8 USD to watch them once, which is all I’d have time for anyway. But there’s still a drawback: the distribution. I was able to watch Kaguya in a theater that was a stone’s throw from my house. However, when Weathering With You came out, I was tempted to watch it because I was low on post material for January and I thought, “Eh… why not? I think the movie’ll be stupid, but I just don’t hate myself enough.” Regardless of whether or not I would’ve liked it, I was still butthurt that the closest theater for THAT was forty minutes away from my house, and since I would’ve seen the subbed version like a true weeb, I would’ve been up until midnight when I got back home! That’s a no-go for someone who had to be awake at five in the morning to be able to report to his full-time job that’s paying for his blogging career.

Man, if only there was a place to RENT movies. If I didn’t like it, I could just bring it back tomorrow, and no money will have been wasted. It could’ve been called “Movies That Are Expected to Make a Lot of Money in the Box Office” or something. Oh well, an idea so ridiculous couldn’t possibly exist!

Conclusion

Watching anime is tough. Really tough. Much tougher than reading manga. Anime is more affordable, but you get what you’re paying for: low-budget, cheaply made, overly-abundant crap. A haystack of BS that you need to scour in order to find the needle. Then when that anime season is over, you lather, rinse and repeat with the next season. To me, it’s a nightmare, and that’s why I bowed out of it. 

I must ask the following question, specifically to the veterans who’ve made anime their life, and have literal hundreds under their belt, to the point where they’ve self-taught themselves fluent Japanese just by watching them with subtitles: What is so appealing about anime? It can’t be just because it was the first medium you were exposed to, because I myself was actually converted from a TV junkie to a book junkie over the course of my life. I dunno, maybe it literally is just because of the aforementioned reason, or maybe I could stop speculating and just let you answer the question in the comments (I really want to know)!

Why It’s Okay for Disney to be Mainstream: A Rant

I’m not one to enjoy massively popular media, so you’d naturally think I’d despise the Walt Disney Company, at least in their current, mainstream-savvy form. Despite that, I ended up giving Frozen 2 and Onward overall positive scores, in complete disregard to how much I criticized them. Why is that? Get ready for a rant!

The main reason for my claim is that most of their movies- at least the good ones- have a lot more substance than most mainstream content. There are a lot of popular things I’ve consumed that basically go down a checklist of what people inherently love and don’t do anything remotely inventive. One manga example is Kimetsu no Yaiba, which barely gets the benefit of the doubt because the author ended it when it was at its peak (relatively speaking) instead of milking it.

Although their main demographic is children, Disney at least saw ahead and made sure that those same viewers would enjoy their movies in adulthood. This is something I learned five years ago, when I watched The Incredibles during a Movie Under the Stars event at Walt Disney World. As a kid, I had seen it so many times, I basically had the movie memorized. However, when I saw it at age nineteen that night, I saw it for the first time ever. As an adult, I was actually able to understand what makes it one of the best Pixar movies of all time, in ways that I couldn’t have comprehended as a kid. It was an amazing experience, and it stays across most core Disney movies (MOST of them; Snow White, Sleeping Beauty, you haven’t really aged well, narratively speaking…). 

One of the things that makes Disney movies enduring is that they have strong supporting characters besides the cliched main ones. I don’t really like Snow White or Ariel as much as some of my actual waifus, but the Seven Dwarves and Sebastian are timeless. There’s also characters like Olaf, the ultimate Disney husbando. And of course, there’s nothing like a good Disney villain. They have iconic personalities and exude intimidating auras thanks to their brilliant animators. The Evil Queen, Maleficent, Lady Trumain, Ursula… and also Hades and Yzma, who have gotten a billion times more popular in recent years; they are among the most memorable antagonists of all time (except Hans in Frozen). These days, most people are probably looking forward to them more than the good guys (who actually watched The Little Mermaid Live for any reason other than fangushing at Queen Latifa?).

And of course, there’s the MUSIC. Disney has had master songwriters that don’t get talked about too often, but they’re real geniuses, writing songs that people still sing to this day. I don’t think the ENTIRE Disney discography is perfect, but a lot of it—especially the newer stuff—is really, really good. The other important factor is that ever since they had the brilliant Howard Ashman work for them, the songs also contribute to plot progression in a very Broadway-esque manner. I still listen to songs from Frozen casually (PS: ‘Let It Go’ deserves all the praise it got, fight me), and that’s just the tip of the iceberg (no pun intended). And just when you think they’ve run out of ideas, something like ‘Lost in the Woods’ from Frozen 2 comes up. I remember thinking, “Oh boy, a bad, melodramatic Krifstoff song shoehorned into an already shoehorned subplot”, at first. But when you hear that eighties guitar riff out of nowhere, it’s like, “What the crap?!” It’s safe to say that Disney would have not made it this far if they didn’t turbo-charge their films with amazing music! 

I also love the Walt Disney Company itself, more so than the movies. For starters, they are pretty much one of the few bastions of goodwill left in the world. I’m sorry, but that’s how it is. Most other companies are too selfish and/or corrupt to even try to do better for the world, and others have pretty much given up on even trying. They don’t just make movies, they help animals and the earth through the Disney Conservation Fund, the use of environmentally friendly buses, and massive solar panel farms. To accomplish so much, they need a LOT of funding. These people don’t just need movie budgets, but they need to be able to manufacture merch of literally ALL kinds, as well as paying the millions who are working at several theme parks AND cruise ships. So, yeah, some of their movies might be riskless cash grabs, but they kinda need it once or twice in a while. If it weren’t for their vision, I would probably accuse them of pandering just as easily as any crappy hack writer.

And as much as I hate to say it, I must acknowledge the value of being able to relate to the main protagonists. They’re generic to a fault, but they definitely had an impact on cultures around the world. Their arcs (and the narratives of the movies in general) are not marred by any sort of cultural barrier, making them lovable to anyone. I also can’t deny that they have saved a lot of young’uns from torment, especially in the case of Frozen. They also handle wish fulfilment themes in ways that are genuinely good, at least recently. Most of the time, the tropes say, “You’re special for no reason now go be a wizard Harry.” Disney merely says “You’re you,” which is a lot better. In fact, as much as I said I loved good Disney villains, they seem to be moving towards complete abandonment of main antagonists in the favor of developing their protagonists, which I’m interested to see moving forward. But you know what, if you only love Disney movies because of the relatability aspect, then I feel genuinely sorry for you; you’re missing out on some really well thought-out, detail-oriented media.

And seriously, they are detail-oriented, in a way that transcends OCD. It’s made readily apparent if you go to Epcot and look at the architecture. Everything is authentic and accurate right down to the last brick. That same attention applies to their movies. If you watch the behind-the-scenes of some of this stuff, you’ll see them have board meetings over a three-second shot. It sounds excessive, but they need to do it because they know that those details make or break the whole picture, even if it’s stuff that no casual viewer would even think to look at.

So, in conclusion, I’m willing to bet that most people really do just enjoy Disney movies because of their eye-catching visuals, and the audience’s innate desire to see “themselves” in the narrative. But from a professional standpoint, they’re decent movies, with great soundtracks, from a team that’s constantly moving forward. While I still don’t entirely enjoy the wish fulfillment themes that they perpetuate, they at least have substance, and that’s something that makes them stand out from the rabble.

Making Metal Marketable: My Conflicting Feelings with BABYMETAL

I’m a big fan of J-Pop, and I’m a seriously big fan of metal. So, it stands to reason that I’d LOVE the kawaii metal group, BABYMETAAAAAAAAAAAAL! Heh-heh, you saw the title of this post; it’s not that simple, not even remotely. In fact, I only started listening to them over the course of Feb. 2020! Just keep in mind that no matter how critical I get, I don’t straight up dislike the group; otherwise they would’ve been on my Top Five Least Favorite Japanese Music Artists post.

So, what is BABYMETAL? Well, you probably should know, for they seem to be one of the few Japanese music artists that have become known even among those who don’t follow Japanese culture. Formed about a decade ago, they have grown incredibly popular, with performances all over the world. They even have a full bio for themselves and each of their studio albums on Apple Music. That’s how you know they’re a big deal! Their claim to fame is the unusual combination of cutesy idol J-pop and angtsy metal. 

With such a brilliant idea, BABYMETAL should’ve been right up my alley. But in execution, it’s nothing more than the same catchy beats of idol pop, but with an edgy paint job. They’re mainstream in disguise. “Well, you cur, you seem to like risky and eccentric groups,” you point out (Assuming that you’ve read my other music posts up to this point), “BABYMETAL is an incredibly brilliant and ballsy band. You’re having the same reaction as the old farts who hated Elvis Presley and the Beatles because it was different from the crap they grew up with. You’re no different.” 

BABYMETAL is ballsy? Actually, I think the exact opposite is true. My problem with them isn’t that they’re too eccentric for me. On the contrary, BABYMETAL is mainstream to the max. It sounds like an idea that couldn’t possibly fail; by combining catchy, “radio-friendly” tunes with metal’s angry vibes, they are able to appeal to both pop and metal fans at once. And that bothers me to no end. It’s kind of like how a lot of young adult novels are marketed as dark and brooding, but have the same romance tropes as a Disney movie. I suppose what I’m saying is that BABYMETAL is the YA novel of music.

“Well, hang on a second,” you argue once more, “you’re saying that the problem with BABYMETAL is that their songs are catchy, which is typical of most mainstream artists. But isn’t that, you know, THE POINT?!” You cross your arms in defiance. “If BABYMETAL tried to do stuff like- say- prog rock, then they wouldn’t be BABYMETAL. The POINT of BABYMETAL is to BE catchy, because that’s how idol music IS. Are you claiming that a rock or metal band cannot be a rock or metal band without taking some kind of creative risk?! You know, Rob Zombie- an ACTUAL rock artist- loves this band, and I’m willing to bet that he knows more about music than you, bub!” You’re probably correct for the most part. If BABYMETAL has succeeded at anything for me, it’s challenging the very definition of a “rock band”. Like you (or rather, my personification of you) mentioned earlier, they honestly are a challenge to the stuff I liked when I first got into music, such as Rush and Queen, with their continuously changing musical styles and experimental ideas. Despite how “open-minded” I claim to be when it comes to some of the weird music I like (including Queensryche and Genesis to boot), I ended up becoming alienated from mainstream music. It’s funny how the human mind works. However, at this juncture, I have no authority to objectively define “rock”, and honestly, with how much it’s changed since Presley, I doubt ANYONE has that authority. It’s pretty much a matter of subjective perspective at this point; it all depends on how me, you, or Zombie have come to understand “rock” based on our own different experiences.

In the end, though, I do like a guilty pleasure. I’ll admit that some of their songs are pretty darn succulent. Maybe, once in a while, I’ll put on a BABYMETAL song and rock out. But even then, I have to immediately follow-up with a REAL group, like BAND-MAID or Crossfaith. Maybe if they had the same manager as, say, Dempagumi.inc, they’re music would’ve been more varied and better. Heck, some Dempagumi songs, like Precious Summer, are already kawaii metal as it is.

But because I listen to too much music, I’m inevitably going to have to axe BABYMETAL from my life. They aren’t the worst thing ever, but to me, they are severely overrated. I honestly can’t recommend this group to anyone, especially dedicated metal fans. If you want a better version of the same general idea, try Passcode. Or, if you want a different unusual combination of styles that organically mesh together as if it was the most natural thing in the world, try Wagakki Band.

My Problem With the Anisong Industry: An Overwrought Analysis

PREFACE: Yes, I know that I’m complaining about not liking something, when two of those very somethings- nano and MYTH & ROID- are my 1st and 4th (respectively) favorite Japanese music artists of all time as of 12/31/2019. I’ll get to justifying that in the body of this post, so please be patient.


The original topic of this post was going to be: “Top Five Japanese Music Artists I Stopped Liking,” as my J-pop tastes have changed wildly over the course of the few years I’ve been seriously into the genre. However, I noticed a bit of a consistency in most of the people I’ve abandoned… that they’re all a specific type of singer called an “anisong” singer. Based on what I understand, these artists exist mainly to be commissioned to perform the OPs and EDs of any anime that might come into existence. Like with many, these people are the ones who got me into Japanese music as a whole, and yet… I’m not exactly sure they can survive on my playlist after I’ve expanded my horizons. 

If you’ve watched anime, you know of certain songs and artists. The word “anisong” immediately brings particular thoughts to mind: Guren no Yumiya by Linked Horizon, Re:Do by Konomi Suzuki, Sign by FLOW, Crossing Field by LiSA, Error by GARNiDELiA, Hacking to the Gate by Ito Kanako, and more. For years, watching illegal full YouTube uploads of these tracks (or the occasional official full music video) was my only gateway into Japanese music. I always wanted to listen to more of these, but due to the expensiveness of international buying, it was not easy when I didn’t have a job. Konomi Suzuki’s Life of Dash, and MYTH & ROID’s eye’s were all I could manage. But then… I got Apple Music. That was all it took to suck me into a rabbit hole, full of Japanese music artists who don’t do anime. I found BAND-MAID, Crossfaith, Memai Siren, Hysteric Panic, Mili, Queen Bee, and an unhealthy amount more. 

Not only that, but I could also listen to the full discographies of those anisong artists I mentioned before. But… it wasn’t exactly a fun experience. Konomi Suzuki’s 2019 album Shake Up!… I only liked three songs on it. Asaka’s debut album Heart Touch… I only remember two songs on it at all. As for Ito Kanako, the freaking Hacking to the Gate lady, I only like six other songs by her… across two whole studio albums. Compared to the other bands that have been growing on me like parasites, something felt empty about these, even in the best case scenario.

“Well, don’t listen to anything besides the hits, ya idiot,” you tell me. I’m sorry, but that’s not how I roll. For me to consider myself a devout fan of a music artist, I must go through at least 50% of their whole discography; all (or most of their) albums, cover-to-cover. When it comes to the “normie” bands that I’m a fan of, I always end up liking AT LEAST half of every track per album, and that’s just the worst case scenario. For example, I have all but two tracks of Crossfaith’s 2013 album, Apocalyze, in my favorite Crossfaith songs playlist, and that’s just that album alone. This is why I’ve been having a hard time juggling the different people I like, but them’s the brakes. I’ve been working on a Top Fifteen Favorite Music Artists of All Time post, and it’s not going to be ready for at least a year, because I have to catch up with a lot of bands in order to satisfy the condition of “at least 50% of their discography”. So, basically, because I can’t find myself liking more than “the hits” of the anisong artists, I can’t like them, period.

But I’m not going to throw shade. In all honesty, I don’t think it’s their fault. I don’t know what’s going on behind the curtain, but I can use my intuition to infer what my issues with them could be. One thing is that the artist- the pretty face you see- doesn’t necessarily songwrite (I know nano does, but like I said in the preface, we’ll get to that). It’s definitely something that can happen. One example is an article on Anime News Network I read back when Infinite Dendrogram’s anime was being produced. It said that a certain individual (forgot their name) was going to compose the OP for the show, but Aoi Yuuki was going to perform it. So, I’m not crazy, circumstances like this can happen; there’s proof on the Internet. This is definitely one explanation for why the quality of their stuff varies so wildly. 

Another reason that comes to mind is that the medium is too creatively restrictive. They generally need to conform to a catchy beat, with an intro, first verse, and first chorus able to last exactly ninety seconds, as well as lyrics to fit actual story themes of the show. That’s a lot of stipulation. I remember reading a couple of interviews from nano, and IIRC, she said something to the effect of the songs made for anime specifically- with Kemurikusa in particular- being among the hardest for her to compose (don’t quote me on that, though).

The final reason- more so a nitpick- is that they seem to put out waaaaay less music than otherwise. “Quality over quantity, motherfu-” Hang on, I gotta cut you off there! Yes, I get that the quality is what matters the most. But the “normie” bands I mentioned don’t just put out higher quantity releases, but higher QUALITY releases as well. It’s uncanny. For example, nano… man, I love her music to death, but eight years in the industry, and we only get three studio albums and a best-of album? BAND-MAID put out double that in six years; do the math. I don’t know how it works- it’s definitely on a case-by-case basis- but the general idea is that they can only put out new singles when they’re doing an anime OP. That’s not much, honestly.

Of course, of course, there are definitely some exceptions. Obviously, I love nano and MYTH & ROID. These two are definitely much more experimental, and I like their albums (well, album in the latter’s case) much more consistently, even beyond the hits. As a fan, it makes me sad that they’re working under the stipulations of anisong that I mentioned before, and it makes me wonder what their music would be if they were free to work their full creative juices. I’m also fond of UVERworld (at least their newer stuff)… but it’s very hit or miss. I actually abandoned them until I Decided (haha, pun because that’s one of their songs) to try out Unser (which ended up meeting expectations). Two more artists technically fall into the exceptions category, and that’s two of the Bang! Dream bands, Roselia and RAISE A SUILEN. They only count as anisong because their singles get integrated into the Bang! Dream anime, but those two bands at least put some extra oomph into their stuff (even if RAISE A SUILEN is basically Roselia but with Crossfaith’s instrumentation). On a final note, here’s praying that Morfonica doesn’t suck when their first single comes out.

Another thing that I’m probably going to get called out on is the rare time that one of my so-called “normie” bands actually, on one occasion, do an anime OP. I don’t get how this happens sometimes… but I have a couple of things to say about it. First off, the aforementioned stipulations can make someone put out something vastly different from their established style, like with the 2nd OP of My Hero Academia, Peace Sign by Kenshi Yonzeu; he sounded like some unremarkable mainstream J-rock boy, and not the more eccentric style of his usual stuff.

Honestly- and I’m saying this out of jealousy- those “normie” bands don’t get the honor often enough. Well, I say that I’m saying this out of jealousy, but I’m also saying this from a thematic perspective. Listening to some of these guys makes me imagine their songs in anime OPs, and some of them suit certain anime thematically more than the actual person who did it (like I said, the lyrics are supposed to suit it thematically, but it’s not exactly something that a non-Japanese-speaking person can pick up on). Hysteric Panic’s dirty thrashy sound, along with the guttural growl of their backing vocals would’ve been perfect for Dorohedoro. Memai Siren’s melancholy dreariness would’ve suited Re:ZERO. And yeah, even though the song that YURiKA did for Land of the Lustrous was good thematically, Mili would’ve done an infinitely better job at the same thing.

It also doesn’t help that the bands I like can get the short end of the stick. It’s funny that Mili is an example again, for they apparently did the OP of Goblin Slayer, of all things. I haven’t heard Rightfully yet, but however good it might be, it was definitely overshadowed by the controversy of the show; a complete waste of talent. To make matters worse… they also did the EDs of Gleipnir (which will likely be criticized for being too edgy and fanservice), as well as Ghost in the Shell SAC_2045 (which is going to be criticized a LOT for obvious visual-themed reasons). And who in God’s name decided to hire Wagakki Band- of all people- to do the first OP of Twin Star Exorcists (which was also highly criticized due to Studio Pierrot being themselves), when the show, historically, isn’t set in a time where their musical style would be thematically relevant? Sure, once in a blue moon, there will be a great combination, such as- once again- Kenshi Yonezu, but instead performing the ED for Children of the Sea (which I might never get to SEA thanks to the coronavirus). I heard the song at least, and since I already read the manga, I know that Yonezu’s out-there musical style fits Children of the Sea PERFECTLY. I hope Mili does the Otherside Picnic OP… that would be really nice.

In conclusion, I don’t hate these anisong artists; after all, they made me who I am now. But after my horizons have been expanded, they are sorely lacking in the almost everything department. Sure, I still play Re:Do and Hacking to the Gate sometimes, but I can definitely live without those songs. Well, if I ended up expanding your horizons with this post, then you’re welcome. If you don’t agree with my post, then leave some feedback as to why (or maybe explaining how this music industry works). I’m all ears!