Kill Me Baby OST + Goshiki Agiri being sensual.

Holy cow. Normally I wouldn’t dedicate a single post upon listening to an anime OST unless it was damn good (e.g. Baccano, Bamboo Blade, Cowboy Bebop) or simply sounded like a normal concept album that I’d actually pick up and listen to, and not some kind of string of musics that were obviously written for a section of an episode.

My ears nearly exploded when I heard Koutei Oudan Kousoku Tetsudou (track 10). It was a mind-bending, psychedelic, free jazz song crushed into a minute, written to sound like a song that a Japanese Alan Pasqua that couldn’t catch the train fast enough and had dropped his favorite pastry in the process, thus making him miss the opportunity to play in the Mahavishnu Orchestra resulting in a bad mood, would have written. For some reason I don’t recognize the track at all. Which is a probably a big indicator that I haven’t finished the series. I should promptly get on that, but there’s so much other things to do. Like play Skyrim and Vindictus.

The rest of the OST is unfortunately very much OST-like, and just sounds like the sound engineer dicking around with a chaos pad, sine waves, moderate amounts of experimental Polka beats, and a little bit of bossa nova for good measure. It’s all appropriate for what the show was and somewhat entertaining to listen to, but it ain’t some magical score that elevates a show to higher tiers of awesome. It also has a track that suddenly gets all Andy McKee on us. What.

Additionally, the Goshiki Agiri character album has a prime example of the silly voice within an anime getting a song completely not befitting of it’s primary function. Maybe it’s just me being a faggot for the very heavy usage of traditional Japanese scales combined with dat moé pop sheen music production, along with Takabe Ai’s Agiri voice. But dammit, “Teenage High School Ninja Girl” is such an earworm of a song. It’s a very potent mixture if you can appreciate a joke song coincidentally being written by professional musicians. Go find the FLAC files for it because the placebo effect of realizing it’s 31MB for a 4 minute song will probably help. The lyrics sound inane, but who cares? It’s like Agiri whispering into your ears. It’s very pleasant to listen to, as well as highly arousing. (YMMV)

And have a Sonya tripping over herself in a moé fashion because all maids do it so they can sue you for logistical, geographical and philosophical harassment.

The ED is also good. Go memorize that dance and perform it live at AnimeExpo 2012; you’ll be youtube superstars.

Kill Me Baby OST + Goshiki Agiri being sensual.


“Unresolved conflict. Zero tension. Maximum pretty star effect. J.C. Staff’s watercolour palette.”

It’s really what I’d call this show. It’s a traditional id software code throw back to a type of anime I’ve never seen. And because I’m writing this while I’m sick, my ability to create comprehensive thoughts are shoved through a window made out of air. This implies that this window doesn’t exist, and more of a hint that a rectangular hole revealing the outside is in place. So what is Kill Me Baby, and why should anyone care? Truth is, you still won’t know what it is after watching, nor will you care afterwards after claiming you do. It’s so narrow in its idea of appeal, that only those who have a reckless taste in brain-foaming, sedative induced laughter would entertain the idea of watching this show for recreation.

And by golly, this show is perfect for me.

Yasuna’s stupidity and Sonya’s twintails of murderous intent is where it’s often focused, but there’s a lot surrounding it in a strange plastic wrapping. You know that feeling of peace and warmth you get when you climb into your bed after slogging through a cold wintery outside? None of that is here. It’s all awkward and full of Kyon-kun’s eye glazing humor, while lacking in the actual Kyon department. And every time I mention Kyon, I realize how much of a mancrush Ariolander has on Crispin Freeman. I’m lucky enough to have a female seiyuu I semi-obsess over, and it’s Satomi Arai — her voice, even in small vocal quips, always make me post on my blog. I’d have no idea how to react if Tomokazu Sugita actually had a character in Kill Me Baby. It didn’t help that Kugyuu (Rie Kugimiya) is also in this show, as the new character in episode 3. Get a Mr. Sakaguchi Daisuke in there and Patsuwan it up.

I might be a lost case to the seiyuu faggotry that invades a Japanese’s otaku’s mind. But I attempt to allay these fears by playing FPS games loaded with explosions, and punching for victory in Vindictus with Karok’s new weapon.

The music is rather apt for the show, nailing it’s non-Kyonitivity. Anyone who doesn’t like the opening and closing songs are actually allowed to. Because when haters realize they’ve fallen into the pit of “Yeah, you’re supposed to react like that.” they’ll feel stupid. I have a brain optimized for both musician and non-musician inklings, so I tend to enjoy liking music when others hate it just to spite them. And in this bad habit of mine, I discovered that I whatever I enjoy, I enjoy. I’ll be damned if I couldn’t properly explain why such music is still enjoyable even without a hint of academic music theory in my bones.

Is BONES doing anything this season? I need another middle-of-the-road, generic, robot drama with an OP that has copious amounts of interpretive dance.

Honestly, I’m writing this while sick. Why I could write more than usual is probably explained by my lack of judgement.


The most annoying Idolmaster episode.

Oh Haruka, why are you next to jelly?

I did not like episode 9 of Idolmaster. It focused on the twins Ami & Mami. I thought I was fine with having such characters around. But when the Merry-go-round of Character Focused Episodes rotates far enough, there’s a high chance of experiencing a character focused episode on the character(s) you’ll learn to hate even more. Is it just me? I honestly found myself skipping throughout most of the episode. Couldn’t bear to watch such a pointless episode. Didn’t even feel like a generic filler episode, that usually is supposed to have some kind of vague point, or some character development in it. What did I learn about Ami & Mami in this episode?

They’re fucking annoying.

I don’t think I’ve ever come to the point of blogging an episode because it really got on my nerves (in a bad way), but this really did it. It was the combination of their voices, and the meaningless plot of “Let’s act detective-like because of nothing” pushed right up in my grill that really got to me. If I’m lucky, this will be the highest concentration of (M)Ami I’ll ever see in any episode.

Ugh. Now that I’m done watching and talking about this horrid episode, I’m off to kick jellies in Vindictus for a silly +2 boost to willpower.

The most annoying Idolmaster episode.