emotional soundtrack

The Adventure Zone expectations:
- standard fantasy with elves, dwarves, and such
- lots of just back-and-forth battles with dice
- just four guys talking, not serious characters
- something fun to listen to while I do crafts and stuff

The Adventure Zone reality:
- a complex plot with well-fleshed out main characters
- hilarious moments in and out of character
- lovable NPCs like Angus MacDonald
- floating moonbases, Mad Max style road races, murder mysteries on trains
- Groundhog’s Day style time loops
- inter-dimensional/space travel??
- a running gag where a more competent woman appears and saves them
- many of the competent women are lesbians
- well-paced and authentic romantic subplots between those women
- literally pacing around my room while I listen because it’s SO GOOD
- ”Okay, I’m bored of this fight. I’m going to turn into a T-Rex.”
- very few black and white moral issues, just people trying their best
- wildly tragic backstories played with very genuine emotion
- killer soundtrack that changes styles to reflect each arc

I saw Guardians of the Galaxy 2 again today and noticed a bunch more things on the rewatch.

  • First of all I was expecting to be bored at least some of the time (I mean, I just saw it a little over a week ago), but I never, ever was, not even once. This movie uses every minute so well. (Unlike the first one, where most of the Ronon and Thanos scenes dragged horribly even the first time, and were completely skippable on a rewatch.)
  • I love how the end of the movie recontextualizes some of the earlier scenes. For example, Mantis’s misery and fear is so obvious when she first meets the gang, and in most of her scenes afterwards. The first time you watch it, her anxiety is easily read as nervousness around strangers. The second time, though, it’s such a gut-punch to see her standing behind Ego, wringing her hands, and knowing why.
  • Drax mistaking Yondu for Peter’s actual father is another of those fantastically recontextualized scenes. The first time, it’s funny, just a tossed-off joke. The second time, though … right in the feels. Because Drax, for the most part, doesn’t get the whole concept of people pretending to be something other than what they are. He watches Yondu and Peter interact with each other and he totally gets the actual relationship in a way even they don’t.
  • Speaking of which, there is some really brilliant editing in this movie. This time around, I noticed how it cut from Ego’s “I’m your dad, Peter” right to the first installment of Yondu’s storyline (which also involved interacting with his parental stand-in, Stakar). And none of the significance of this is clear if you don’t know the characters’ emotional context! You basically can only pick it up after having seen the movie once.  
  • The pacing on all the emotional arcs is so, so good. I didn’t even really notice, the first time around, how strong the Peter-Rocket arc is, from their fighting in the beginning, through Rocket not wanting to leave him on the planet, to their little moment of connection at the end.
  • I still can’t get over how this movie has eight major characters (not counting Ego; let’s not count Ego) and every single one of them has a) an emotional arc of their own, b) at least one strong platonic relationship arc with a beginning, middle, and end, and c) at least one scene in which they get to be awesome and do something important. EVERY SINGLE ONE OF THEM. Even the noncombatants. Even the baby!
  • The first time around, I didn’t really notice how brutal Gamora and Nebula’s fight is. @sheronm pointed out how incredibly OTT Gamora picking up the ship cannon is (in a way female characters rarely get to be) but the whole fight is like that: brutal, dirty, vicious, and not sexualized in the slightest. Speaking of which …
  • The only shirtless scenes in the whole movie are guys (Peter on the ship, and Yondu at the brothel). The closest the movie comes to a romance arc is Peter and Gamora flirting and dancing. I still adore how Mantis and Drax make it explicitly clear that they aren’t into each other in a sexual/romantic way, and yet the most important relationship either of them has in the movie is with each other, and he’s willing to die to save her in the end. The movie doesn’t completely ignore romantic love (the Peter/Gamora relationship is still important), and it is true that there are a few sexist jokes (like Peter hitting on the Sovereign queen – though he apologizes for it, which is a rare thing). But overwhelmingly, this is a movie that never dismisses its female characters to “love interest” or sexualizes them any more than the male characters are.
  • When I saw this movie the first time, I thought the soundtrack and use of music was better in the first movie, but now that I’ve seen them both back to back, I was so, so wrong. They both have great music, they both have some great musical scenes, but I think it’s mostly that the first movie has a faster, more actiony soundtrack, while the second movie has a slower, gentler, more emotional soundtrack that I didn’t fully appreciate at first. But in the first movie, the music is mostly a (well-done!) melodic accompaniment to the action, while in the second movie, the songs are very carefully fit to the scenes in which they occur – whether the important thing is the peppy/awful contrast (“Come a Little Bit Closer” over the murder montage), or the whole point is that the song is so terribly, cheesily on point (“Brandy”), or sometimes because the song fits the emotional tone of the scene in the best fanvid kind of way (“Father & Son”, or the repeated use of “The Chain” for the characters being separated and then coming all back together in Peter’s love-epiphany/Power of Friendship™ moment at the end).

It’s just sooo goooood. I really didn’t expect a bombastic, ridiculous musical comedy in space to genuinely be one of the best movies I’ve seen in ages.

2

“You might want money. Maybe you want women. Or, you might want to protect the world. These are all common things people want. Things that their hearts desire. Greed may not be good, but it’s not so bad, either. You humans think greed is just for money and power! But everyone wants something they don’t have.”

The Queen of The Damned Soundtrack always gets me in my feelings. Transports me back to sitting in the movie theatre, watching Aaliyah up on the big screen, in tears and in awe of such a bright shining star, knowing that she had been taken away from us less than a year before. Everytime I listen to this soundtrack… I can remember every thought and every feeling that passed through me in that moment watching this magnificently beautiful and talented human being up on the big screen.

She was fucking amazing. 

Originally posted by leekimhoung

On a side note: This is one of the dopest movie soundtracks ever that I definitely recommend you listen to. Imagining the collaborations that could have happened between Aaliyah and some of these amazing artists featured…truly blows my mind. I wish she had gotten the chance to. 

a bloodborne-ified percy derolo bc i imagined whitestone under the briarwoods to be all corrupted like yharnam

anonymous asked:

Hello~ Can you tell us why on your MAL the scores are all so incredibly low? Or maybe you have your own rating system? Have a good day ^^

Hello sweetie! This is not the first time someone tell me this lol. The truth is that I fit quite the way that MAL evaluates all series, literally, according to this:

Besides that, of course, as many people I have my own way of evaluating if I think an anime is good or not:

5 POINTS FOR SUBSTANCE (writing)

aka. Story, characters, thoughts.

5 POINTS FOR STYLE (technical work)

aka. Animation, soundtrack, emotions.

I think that both should work together in a harmonious way with each other. Both are important and necessary to make an anime, a masterpiece.

On the other hand, I don’t consider my ratings to be low, I consider myself a fair person in every way. The truth is that I could give to some animes a slightly higher score, or else a lower one, but that changes when you compare it to other animes with the same score, and for my part, I think that already falls into your personal standard and perception of the anime, so you are free enough to evaluate an anime as you think fit. But in the way shown above, it is basically as I “evaluate” the animes I have seen or am seeing right now.

I personally think that writing is the most important part of an anime.

An anime with good writing and poor technical work, is a good anime.
An anime with good writing and good technical work, is a very good anime.
An anime with bad writing and good technical work, is a bad anime.

The technical work is important too, but not as much as writing.

And even with my low scores, I have given many “10” or “9″ to animes that I consider perfect in their own way to be, like:

THE TATAMI GALAXY (if you want to know why)

WELCOME TO THE NHK (if you want to know why)

FULLMETAL ALCHEMIST BROTHERHOOD

LEGEND OF THE GALACTIC HEROES

NEON GENESIS EVANGELION

KAIBA

FLCL

GHOST IN THE SHELL

HAIBANE RENMEI

ERGO PROXY

SERIAL EXPERIMENTS LAIN

If you watch or you have watched some of these you possibly understand why I don’t give too much score to other animes that are popular in the community. Because, you know, if an anime is popular doesn’t mean it’s good, it means that it meets the standards of the people, and the standard is mostly represented by a “5”, half of the score. With some exceptions.

I hope I have relieved your doubts and of other people who asked the same thing previously. Thanks for asking and have a good day you too! <3 

“After Laughter” by Paramore on replay tonight. Just my first impression here…I love that they reinvented themselves but kept their essence, the same honesty and genuineness that I’ve always loved about them in every album. Like, it’s different but it’s still Paramore. Always so relatable (this album is particularly dark, even if it’s their most upbeat and pop). For some reason - maybe cause I spent most of high school listening to their music - I feel very close to their music, almost as if I’ve known them forever, like family or friends. That’s a rare connection that I don’t think I have with any other band. And yeah, maybe I’m biased for that same reason but there are really good songs here that could possibly turn into favorites with time and instant favorites like Rose Colored Boy, Fake Happy, Idle Worship, Caught In The Middle. Loving the contrast between the sad lyrics - that resonate with me deeply at this point in my life - and happy music. Funky, honest, dark, emotional, the perfect soundtrack to dance through the hard times. Just what I needed right now. I appreciate them so much for still making music and keeping it interesting, fun and honest after more than 10 years. 

OKAY BUT LITERALLY THE ENTIRETY OF “THE WORLD WAS WIDE ENOUGH” CAN SUM UP ZURICH AND GABE AND JACK’S FRIENDSHIP

I imagine death so much it feels more like a memory
Is this where it gets me, on my feet, sev’ral feet ahead of me?
I see it coming, do I run or fire my gun or let it be?
There is no beat, no melody
Reyes, my first friend, my enemy
Maybe the last face I ever see
If I throw away my shot, is this how you’ll remember me?
What if this bullet is my legacy?

LIKE I’M FUC KING SC REA MING Y’ALL DON’T UNDERSTAND HOW MUCH DISTRESS I AM IN OVER THIS STUPID MUSICAL

Anakin’s Fall to the Dark Side || Suite 

The most astounding thing about the music that accompanies Anakin’s fall is how sorrowful it is. Even as his ‘dark deeds’ unfold, Williams’ score is more mournful than ever. We are meant to weep for Anakin and for those who love him. For the Jedi and for the Republic. Because what is happening to this beautiful young man is the manifestation of what has happened—-of what Sidious, and through him, the Dark Side, has done—-to the galaxy itself.