Same podcast with with Trigun Stampede producer Yoshihiro Watanabe, and to once again quote him:
“For Trigun, i definitely want to do some sort of (video) game, and we’ve talked to a couple companies, so we’ll see what comes through.”
LET’S FUCKING GOOOOOOOO!!!!!!!!!!
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i think steampianist's thing really suits kabukimono. the speaker in the song struggles to convey emotions properly and wishes to have certain traits ("hair like yours," "hands like yours," "eyes to stare and to cry with," "fingers that curl in the cold"), which can be read as fervently coveting to look and feel "normal." or, in kabukimono's case, to look and feel human.
like the speaker in the song, kabukimono cannot understand or show certain emotions, and so he learns from those around him (like a sponge absorbing new information) about human life. he hides his true nature as a puppet and learns how to live as a human, but as human as he may act he can never truly be human if the parameters set for what it means to be human are that (1) you must have a heart and (2) your lifespan must be finite (which are parameters kabukimono thinks equals humanity). he has neither of these, which is why he never truly views himself as a human even though you could argue that being "human" simply means you are a complex individual who can feel, think, speak, and articulate (all things kabukimono is capable of).
as the song nears its conclusion, it's implied that the speaker hurt or killed their friends in some way, and you learn that all along this "thing" has wanted companionship and to feel and display emotions properly. but something goes wrong and the result is this eerie line: "struggling only makes the hugs much tighter." both kabukimono and the speaker in the song are driven by their obsessions, and both have bloodied their hands as the result of their circumstances (kabukimono's motivation for murder being revenge and the speaker's most likely being the threat of their friends leaving, so they become determined to make them stay even if it ends in death).
and by the end, the speaker still continues to wish for the traits mentioned above. likewise, kabukimono continues in his travels after sating his hunger for revenge and with "human" traits he has learned and experienced throughout his journey, only to soon step onto the path that leads him to becoming a harbinger once he comes to believe that his "humanity" is a sign of weakness. and so he does away with the things that made him human and starts a new era of his existence (albeit a more violent, cruel one), much like how the speaker in the song will probably continue to search for a way to express themselves in socially acceptable ways.
i think popopo could also fit kabukimono in that it's a song about an alien who travels from planet to planet in hopes of finding a home and a friend, but no one accepts or wants him so he is constantly shunned and lonesome. thus he is a "shooting star sinking in the spacey, black tar" with "hopes and dreams in teardrops," which are lines that fit kabukimono so much!
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One of my favorite things about the difference in the Lloyd and Garmadon fights in SoG and Hunted, is the music. Yes, they have a marked difference in tone just listening to them, but if you pay attention to the leitmotifs used, they also add to the story. (Leitmotif = a recurring musical phrase that represents a character or idea.)
“Garmadon’s True Potential” (which plays during the fight in True Potential) is primarily focused on Garmadon’s theme (the Sons of Garmadon theme is incorporated into Garmadon’s theme, showing their role in his revival) and the Garmadon family theme, with absolutely no usage of the Green Ninja theme. The one time the Ninjago theme is used is when it cuts to the other Ninja, it’s never used to symbolize a heroic moment by Lloyd. When Lloyd starts fighting in earnest, at the end, there’s no desperate-but-heroic rendition of the Green Ninja theme - it’s the SoG theme followed by the Garmadon family theme.
Being scored like this makes the fight basically entirely about Garmadon; Lloyd doesn’t get any victories, in the animation or musically. Lloyd goes into this fight with the intent to save his father, not fight him, so the music reflects that by emphasizing the Garmadon family theme. Garmadon’s theme is dissonant and evil sounding, while the Garmadon family theme is sad, bringing down the whole mood of the fight. Because there’s only one cutaway to the other Ninja, there’s also no reprieve; while the music does get quieter/less noisy in some moments, it’s six straight minutes of unsettling dissonance and tragic violins/vocals.
To contrast, “I Can Resist You” (which plays during the fight in Green Destiny) has all three themes, and more (for example, some interjections by the Resistance theme when it cuts to the other Ninja). It actually focuses less on Garmadon’s theme. This time, when Lloyd argues with his father, the Ninjago theme is played. When Lloyd grabs the Dragonbone Blade, we hear a modified Green Ninja theme. When he deflects a bolt of Destruction, Green Ninja theme.
Like the fight itself, this time the music feels like an actual fight instead of a one-sided beatdown, because Lloyd is musically represented by the Ninjago theme and Green Ninja theme. Garmadon’s theme and the family theme are still there, but the different instrumentation and harmonization lessen the impact on the mood. (Garmadon’s theme especially is played less and harmonized differently to make the overall music more melodic and thus feel less creepy.) Also, the music has “lighter” instruments like a flute, which the composers tend to associate with the heroes.
The unreleased portion of the soundtrack which plays after this track (starting when Lloyd gets the idea to use the Art of the Silent Fist) follows in a similar vein. During the parts where Lloyd is fighting Garmadon, the Resistance theme plays instead of Garmadon’s theme. When Lloyd gets his power back, the Green Ninja theme plays.
Musically, this shows the tide shifting as Lloyd starts winning. The Resistance theme is hopeful, really bringing up the mood. Garmadon’s theme only plays once more, at the very end when he’s lost his powers completely, and even then instead of being elaborated on in the usual continuation, a less dissonant variation is played which leads directly into the Green Ninja theme. It’s unified - there’s no interjection from Garmadon’s theme except at the end, signifying that the real fight is over.
tl;dr: In True Potential, the leitmotifs used are almost only Garmadon’s theme and the Garmadon family theme, which centers the scene on him and makes the fight one-sided musically. In Green Destiny, the Green Ninja, Ninjago, and Resistance themes give the fight more balance and focus on Lloyd’s victory. Also you should listen to the soundtrack because it’s good.
(Side note: Some people say that what I call the Garmadon family theme is simply Emperor Garmadon’s theme (and that he has two themes, I guess), but the Garmadon family theme only gets played in relation to, well, the Garmadon family. It’s just that a lot of the time, Lloyd ends up nearby when Emperor Garmadon gets screentime. Just listen to the musical cues for when he isn’t, though, and the 3-note theme gets played, not the family theme. [Unless he’s talking about Lloyd, which he does a lot.])
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Interview with Heartstopper Composer Adiescar Chase
I think the music is very reflective of how the characters feel and their situations…This is a very honest, truthful depiction of their lives and the situations they’re going through.
I really like to tap into the emotions. I’m a very empathetic person so I kind of can almost experience what they’re going through as I see it.
What’s so joyous about this show is that I’m just creating music for what I see and what I feel. And I’m hoping that will help the audience empathize and sympathize with the characters in that same way.
Listen to the Heartstopper Season 1 score in order with the show’s soundtrack.
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