O-New: Now Extinct Website

Posts tagged “Music

No. 6 5


A literal (literary?) moeblob

With emphasis on the blob»


Blood Lad 13

I have a musical history exam in approximately 3 hours (since this post is scheduled, I’ll be finished my exam /exactly/ when this post is published), so here’s a short post for today, seeing as Blood Lad 13 was released some time ago.

Not NSFW, I swear»


STEINS;SUB WHERE

Steins;Sub is just so slow and it’s so hot today and CCCP’s borken and i can’t watch anime and i don’t feel like doing anything else and i just want to watch something and steins;sub isn’t releasing steins;gate and wow it’s hot and im lethargic and i need to post and wow what a lazy day

pls dun say lazy»


2011 Spring Anime First Impressions

So, what did I think of the season?

8(»


The God’s Spell of Tatsuya, Chapters Thirteen to Sixteen [Completed]

DISCLAIMER: O-NEW is not responsible for any tears received from Madokaists at the ascension of Madoka or from Christians at my defilement of holy scripture. If you are either, please refrain from reading the rest of this post, as it may elicit tears. (I am not writing this to defile holy scripture, but rather merely due to the fandom surrounding Mahou Shoujo Madoka Magica.)

That said, let’s end the beginning.

Amen»


THE LYRICS GOD ONLY KNOWS CHALLENGE

Seeing that I DON’T HAVE A POST, I NEED A POST IN FOURTY MINUTES, I’m STILL WATCHING EPISODE ONES OF SOME ANIMU EVEN THOUGH MY SEASON PREVIEW IS STILL IN THE DRYER, and I JUST DOWNLOADED TWGOK S2 EPISODE ONE, I decide to TAKE THIS CHALLENGE ON!

THE LYRICS GOD ONLY KNOWS CHALLENGE


(flipped OP but whatever)

Seeing that I also fluent in BOTH JAPANESE and ENGLISH, I shall write the lyrics in BOTH LANGUAGES SIMULTANEOUSLY (Wow, I never even knew I had a tag for Engrish)!

So read on»


For You (TV Size) Transcription

Well. That took a long time! Notice how the URL insinuates that I wrote this post on March 27th, 2011. This is in fact untrue – I wrote this post on May 2nd, 2012, exactly a year and a month and a week minus two days after this post’s purported post date.

Why did I choose to post it now? Well, if you’ll remember (you won’t), this week is HST Week, the week during Spring Break last year (2011) where I decided to only write Half Season Reviews and transcriptions/compositions for an entire week. Obviously, it didn’t work, which is why I’ve only written this post now. It’s oddly fitting how almost exactly a year and a month has passed, isn’t it? And my birthday is today…

It’s just for me!»


Destin Histoire (TV Size) Transcription

…Well. That took a long time! Notice how the URL insinuates that I wrote this post on March 25th, 2011. This is in fact untrue – I wrote this post on March 25th, 2012, exactly a year after this post’s purported post date.

Why did I choose to post it now? Well, if you’ll remember (you won’t), this week is HST Week, the week during Spring Break last year (2011) where I decided to only write Half Season Reviews and transcriptions/compositions for an entire week. Obviously, it didn’t work, which is why I’ve only written this post now. It’s oddly fitting how almost exactly a year has passed, isn’t it? And Spring Break ends this Monday…

It’s now histoire»


朝草画花 ~ Gorgeous Sweet Clover

“And lo, I returned, and saw that the race may be to the swift, and the battle to the strong; but the victory is left to chance, and may happen to them all.”

Lo-lo-lo-lo-lol»


Lyric s ared dumbbb

Welp, that’s what I named the post, and that’s what it’ll be about.

Don’t ask what I was thinking when I made this.

Anyways, keeping this short and sweet.

MY FINGERS ARE STUCK TOGETHER IN AN AWKWARD POSITION»


Gosick 8

[Announcement: I’ve updated the previous Oreimo post, as well as adapted (transcribed, more on that later) the Hourou Musuko OP, in pdf and music. Thus starts the series of announcements about me rewriting history~!]

Don’t look on»


Études-Tableaux, Op. 33, No. 8

Oh man, this is HST Week but I’ve done nothing but HSRs; I swear, I’ve got all the musical stuff planned, but school stuff and parental stuff are seriously hampering my efforts to do something. At least I’ve got that Level E 7 post done (for next next day).

There’s not much more to read»


Pace ~ Walk On

Hope is the fear that keeps us moving.
Just walk on.

Piano Sheets~

This was composed in February…»


【Touhou×Kirby Medley】桃方星連泉~Medley Dream

Just a quick (on-time!) post, today.

From niconico:


2010 Winter Anime First Impressions


This is me and my brother, IRL.

Chinese racism aside, it’s time to move to yet another season~! (Not that I’ve completed the previous season, derp)

Learn how KoreZombie sucks»


Akvareller, Op. 19, No. 2 Scherzo

Well, whaddya know.

I have a new camera.

I’m too scared to use it right now, so I’ll keep on recording with my old one until it breaks – it’s only about 30% broken right now. It can record just fine.

Nothing else to read»


Chopin’s 200th Birthday Year

Let’s just say I’ll write the anime preview post when I get back; IIRC the new season doesn’t start till January 4th (I guess it should be Winter 2011 then, but still; Winter’s not the first season of the year, so I’ll still call it Winter 2010).

One of the things that I didn’t do this year (or rather, didn’t hear of before this year) was the Twelve Days of Christmas tradition started by Canon (CCY), and continually held by many members of the anime, Touhou, and god-only-knows-what-else communities.

I suppose since I only really started watching anime this year (watching 400 episodes each of Naruto/One Piece/Bleach doesn’t count because they sorta suck), there’s nothing much to reflect upon; indeed, this blog is not even one year old yet (according to the blog’s third birthday, which is in February something).

Yet, 2010 was a year of many things – though only three main things come to mind.

The 2010 Shanghai Expo and 2010 Vancouver (woohoo!) Olympics.

The 100th birthday of our school.

And Chopin’s 200th birthday.

Funny how everything revolves around birthdays, huh? Not much of a thing to celebrate, you getting one year closer to your death (or for Chopin, you having have been dead for one more year).

Oh well, I guess there’s nothing more to say, other than the euphemorical ‘Happy Birthday’ – we all know ‘Congratulations on not dying/congratulations on having been killed early’ is what that really means.


Petite suite en Quinze images, No. 7 La Promenade en Traîneau

For some reason, I seem to really like the number 7.

Firstly, there seems to be some time/video delay – as some of you may know, my camera sorta died on me a while ago, so now the only thing it can do is record videos, which it obviously is doing with quite a lot of bugs.

C’mon guys, this is /music/, some time/video discrepancies shouldn’t irk you much if you’re not looking at the video :P

For that matter, the lighting sucked, so the only thing worth looking at at the video was Bulbasaur.

As with most influential composers of, well, since the Renaissance, Jacques François Antoine Ibert was born in Paris. The 1890s were the start of quite an… emotionally compelling era, with German expressionism and French impressionism marking their lasting (pardon the pun) impressions on the musical industry.

Conceived in this turmoil of musical clashes, you’d expect Ibert to pick a style and stick with it; on the contrary, he was quite unattached to any style themes, preferring instead to dabble in the mishmash of genres prevalent in Parisian (and indeed, worldwide) society at the time.

This did not mean he was a bad composer at all, for he won one of the most coveted prize in musical composition – the Prix de Rome, waarded only to such geniuses as Hector Berlioz, Georges Bizet, and Claude Debussy.

After decades of productive musical establishment, the Axis-aligned Vichy Regime (of France) banned his music, and Ibert voluntarily moved to Switzerland to continue his career.

He died in 1962, when he was 71.

In 1943, after the outbreak of war, he composed ‘Petite suite en quinze images’ – Small suite, in 15 images (I BET YA DIDN’T KNOW THAT HUH). A completely solo piano work, he delicately paints many idyllic scenes of a peaceful time. Strangely, it seems (I just can’t find good recordings for all of them) that none of them are very loud. A perfectly natural thought for one wanting to escape the war.

The 7th piece in the collection, ‘La Promenade en Traîneau’, actually means ‘the Sleigh Ride’, rather than what I thought it was; ‘the Train Station’. Because of this, I tried to evoke visualizations of a quiet train station, with the suddenness and swiftness of a train arriving and leaving in the middle of the night. It seemed so much more… obvious. Before I searched up the real translation, I just couldn’t get why everyone else was basically slamming the notes to make it stand out against the seemingly unimportant bass. Really, it was quite… disgusting. Horrifying.

But what am I, to criticise others’ perceptions? What difference what that be to brutally sabotaging others’ inner mentality? When not even I, am properly expressing the dynamical nuances, the whole… calmness of the scene.

Yet, a train station would make much more sense. The quiet left-hand Alberti footsteps motioning the train to come faster, quicker, so that they could fially go home after a long day’s work. The sudden plunge into organized noise as the vehicle slowly slides into the platform. Quick pit-pats of shoe on ground, growing faster, louder, as swarms of people flood onto the train.

And then it’s gone.


November Compositions~

Happy November~! (NaNoWriMo month, but I don’t have time for that anymore ;~;)

Yeah, I wanted to compose some two pieces a month (to Saw a Tree was composed, like, a long time ago), but because of my computer crashing, well… couldn’t.

So, here are two pieces; both rushed, both experimental, and both very, very, sketchy.

Both scores/mp3s also aren’t complete, and there are slight differences between the score and mp3 because of last-minute adjustments. Don’t worry, I’ll perfect them later.

شيء من شيء ~ Paradigm Shift
.pdf
.mp3

This was created starting with an eight-measure, almost-completely-random-but-somewhat-edited-to-seem-at-least-somewhat-decent-sounding-though-the-edits-were-only-about-three-altered-naturals progression, and then altering that progression to produce a new one, and altering the new progression to produce a new one, and al(ry… and altering the new progression by combining it with the first, random progression – producing a melody incased in randomness.

You start with randomness.
Then, it gets ordered.
You get something, but not from nothing, for at the beginning, there was randomness.
You get something from something.
A paradigm shift.

And yes, I realize that such a F cannot exist on a piano. And all those notes at the end you can’t see? Well, here in Canada, we call that magic.

朝草画花 ~ Gorgeous Sweet Clover
.pdf
.wav (couldn’t export to .mp3 for some reason on this one)

Somewhat like the top one, the alto flute part is copied to the trumpet next, so the trumpet can do nothing but echo the flute, which is drowned out by the trumpet – a battle between time and power.

It’s just grass.
However you look at it, it’s just grass.
However, you look at it; it’s not grass,
It’s a flower.
A gorgeous, sweet flower.
It’s a flower, and you draw it.
But at the end,
It’s just grass.

Alright, I use D major /way/ too much. Would’ve used B, but dunno how flutes and trumpets turn… Also, I admit; I had to check the sheet music for that last Meiji 17; but I didn’t for the SWR title! Why I added those was merely to up the number of bars to 77.


Ten Pieces for Piano, Op. 12, No. 7 Prelude ‘Harp’

…That’s a mouthful.

Anyways, for, like, two weeks, I thought Bleach was going to end, so I was about to make a post about it ending…

…but it didn’t. DAMMIT KUBO MOTHERFUCKING AIZEN IS MOTHERFUCKING IN PRISON FOR TWENTY FIVE MOTHERFUCKING THOUSAND YEARS ALREADY, AND ICHIGO’S LOST ALL OF HIS MOTHERFUCKING SHINIGAMI POWERS. NOW WILL YOU STOP STOP STOOOOOOOOOOOOOOOOOOOOP THE MADNESS?!

Next up, I recorded another recording of something, but THE CAMERA DIDN’T CATCH MY DYNAMICS, which was the ENTIRE POINT OF THE PIECE. Oh well, I guess I can re-record it again…

Finally, a day after I recorded the dynamic-fail piece, I recorded this; on October 23rd, to be precise. My computer was still dead then, so what else to do with my time?

There are numerous mistakes here as well, but my camera (yet again, I place the blame on something else) is set on one side of the piano, so the place where I wanted less volume to be actually got increased more in volume.

OH WELL

I probably rushed this as well; it’s supposed to have much more of a ‘harp’ sound, as it’s actually written for either piano or harp. You can play this on a harp. Yeah.

Sergei Sergeyevich Prokofiev was born in 1891 in Russia. Not SOVIET RUSSIA because that wouldn’t exist until Prokofiev became 26.

Anyways, from a young age, Prokofiev began demonstrating his ability to be superior over everyone else. When he was nine, he wrote an EPIC OPERA, first performed in NINETEEN OH ONE by SOME PEOPLE for an audience of SIX.

He obviously entered a prodigious musical academy while being considerably younger than the other students, and demonstrated a extreme passion for mus(ry

…His first major work was for the famous impresario Diaghilev, the very same who commissioned Stravinsky’s three Ballet Russes Ballets (Petrushka (F# MAJOR GO GO), L’Oiseau de Feu (the Firebird), and Le Sacre du Printemps (the Rite of Spring)), the Chout ballet.

Eventually, SOVIET RUSSIA began to appear and socialize much of Russia’s art forms; his experimental, modern tones had to move to San Francisco.

After the first world war was over, he returned to Russia to much more favourable conditions. However, Prokofiev died on March the 5th, 1953 – the same day as Joseph Stalin.

As an aside, because everyone was SAD about Stalin’s death, they couldn’t carry Prokofiev’s body out for the funeral until the 8th.

His Opus Twelve is a collection of 10 works for either piano or harp, each one being completely different from the others (e.g. Number 5 is ‘Caprice: Allegretto capricciosamente’). It was composed between 1906 and 1913, and had its premiere in 1914. Number Seven (this one) is the ‘easiest’ to play…

Anywho, Prokofiev was an awesome man. I mean, anyone who composes anything that has a title like ‘The Love for Three Oranges’ has to be awesome.

…right?


魔古 ~ to Saw a Tree

(First of all, here’s an interesting music-related Touhou video (in three parts) – where ZUN stole/pirated/ripped off/did bad things to people’s music :P Anywho, it seems Scarborough Fair x Lullaby of Deserted Hell and Piano Sonata No. 8 in C minor, Op. 13 x Septette for the Dead Princess aren’t arranged yet, so there’s my next two projects (I’d do more, but those are the only songs I actually know orz) :)

Happy Birthday, Muffin~

(Note: zshare doesn’t support Chinese characters so it’ll be named “______ _ to Saw a Tree” or something :V)

.mp3 (Compressed music; just music, no images, compressed so smaller file size)

.wmv (Movie; downloadable YouTube movie (why would you download something available on youtube?!))

.wav (Music; just music, no images (really really large size))

.pdf (Adobe Acrobat document; sheet music for composition)

.mus (Finale File; editable sheet music (or what I used to write the piece :V))

–Boring Part Starts Here–

I think you all know who Masha is by now.

Anyhow, cause she’s a mushroom youkai, she has to have her own theme, right?

The music’s split into four-ish themes; check the .txt file for details.

The first theme is the one at the very start, that sorta calming theme. In reality, it was the last theme I came up with as I was at my piano one day, bashing out random melodies. The theme sorta invokes that ‘beginning’ feel, or that things are just proceeding quite smoothly.

Then, you get to the second theme. I was walking with my family along this harbour place one day, when I heard some guy playing a random dance tune on his fiddle. Really fast. It sounded nice (basically a melody constantly alternating with a bottom note), so I made a different melody but with the same rhythm and out came the second theme.
Has that really ‘oh crap what’s going to happen now’ feel, and seems really fast, but it isn’t, because the melody’s still quite slow. Used this theme for the ‘wind’ effect (not really an effect, but let’s just say the wind images), because… that’s what wind does :P

The fourth theme isn’t really a theme. I wanted this to be 16 x 8 measures (with a Finale where it’s modulated up to E-flat, which is sorta an ‘extra’ instead of part of the piece), so I had 16 measures of ‘intermission’ in between. Just a constant IV – V – vi without any real pull.
Sorta like a tree growing? :V I don’t know.

Finally, the third theme was the theme I came up with first, and is probably the ‘main’ theme of the piece. It wasn’t actually thought of for Masha; our school had a contest to see who could compose a school anthem, and I thought of that.. but didn’t have time to compose it.
Seems like nobody else composed anything either so our school still has no anthem. OH WELL (I changed schools anywho :V)
A triumphant feel was what I was aiming for, directly contrasting the calmness of Theme One and the fevered urgency of Theme Two. Did I achieve that? Hopefully so. All of the most dramatic parts start when this theme starts playing.

Before composing, I needed to create an instrument set, because as some of you know, my previous composition had a horribly large set of instruments.

This time, I kept the number of instruments down to the bare minimum (note: my minimum =/= your minimum). From least to most important:

– Xylophone. I could take this out, but it adds that ‘ZUN-like’ feel (cause he overuses xylophones, I think). Also, this is an instrument with a comparatively high pitch, so some of that ‘twinkle’ effect comes out too. Notice that this never takes the main line, as at the end, it’s just decoration.

– Flute. I do use this a lot during the beginning and end, and generally soft sections, as all the other instruments are just WTF-loud. Unfortunately, it’s drowned out incessantly when any other instrument is playing, save the xylophone. Anyhow, wanting to add an instrument of every traditional family (modern families are different and confusing), flute represents the woodwinds here.

– Acoustic Guitar. To add that ‘country’ feel, also to keep a steady beat and as ground bass. All it is is a supporting role; guitars are stupidly hard to have playing any melody, because they really aren’t suited to that. But when it comes to harmony, guitars are quite good at their role.

– Cello. Nevertheless, the guitar has two main elements to it – bass accompaniment and rhythm. The cello can then substitute for the bass accompaniment, as it definitely has a more somber, dramatic, and… just such a /bass/ sound.

– Percussion. Here’s the bass component that could substitute for guitar. If you ripped out everything but this and the things below it, the music’d still sound reasonable, as long as you modulate either the trumpet or violin. Anyways, some compositions focus heavily on beat and wouldn’t be the same without it; but this one doesn’t, as I just smacked around some random swing notes :V

– Trumpet. It’s not the bass representative, it’s the brass representative. Crucial for the start of Theme Three, or else it’d sound completely different. For most of my compositions (I only have two what do I mean most) I generally do things in a traditional quartet style; two violins playing the same thing as two trumpets, a viola playing the same thing as a trombone, and a cello playing the same thing as a tuba. Obviously, you can’t do intervals on trumpets, so that’s probably why it’s not as important as the…

– Violin. The main part of this composition is completely the violin. The violin takes center stage whenever it appears. I’ve spent the most time composing for the violin (well, if you discount guitar because I probably spent twice as long just finding out the fingerings for that… that /thing/ ._.), and next to the piano, it’s probably the most common instrument played out there.

If anyone plays these instruments, could you check the .pdf to see whether playing it is possible or not? Don’t want to create an impossible piece here :V

So then I had to actually compose. While composing (something like 10 – 15 minutes a day :/ ), I had to think of some witty name. Thus, this pun actually stretches across three languages.

Firstly, the 魔古 is supposed to be 蘑菇, which means mushroom in Chinese. However, 魔古 has similar sounds (the last one isn’t the same), and roughly translates to ‘Old Magic’ (but it’s actually ‘Magic Old’, which is improper grammar >_>;;). Next, the 木 (wood) is ‘ki’ in Japanese, and 鋸 (saw) is ‘noko’. Ki. Noko. Kinoko. Mushroom.

We then have some old magic (which brought Masha to life), and a story of Sawing a Tree. In a little strange field.

Symbolic enough, I’d say.

Finally, the actual pictures were just thought up – I needed two separate storylines, that of the tree and that of Masha. The first 8 x 16 measures were dedicated to the tree, with the intermission ‘intermissioning’ the tree growing to a really really big tree. Then, the final 6 x 16 measures were dedicated to the mushrooms and how they grew around the tree.

That should’ve been the ending, but then with the E flat, Masha’s introduced and the arguably ‘real’ plot starts. People want to cut trees, Masha tries to stop them, fails, the trees all die, but at the end, new trees will grow and the cycle should repeat itself.

Everything’s done in Aviary’s Raven Vector Editor in one day (not 24 hours, but like in one day). I was completely new to the program too, so it was quite a tiring day =_=

Don’t question what species the trees or the mushrooms are, and why the seeds looks so horrible. They’re a stylistic symbolism of the eternal cycle of life, OK? >_> And I realize mycelia don’t grow like that, roots don’t look like that either, and mushrooms don’t even send out seeds in the first places. Just… just DEAL WITH IT, alright?!

Anyways, I’m droning on now.

Thanks, SpiritOfKensei, for help on making the actual movie and Jeffdoute, for unintentionally offering me encouragement with a simple comment.

And a very special thanks to Muffin, for actually ‘creating’ Masha in the first place.

Hope you have a very happy birthday.

:D


Polonaise in A major, Op. 40, No. 1 ‘Military’

…Yeah.

I took my exam in mid-August, I think (I made an announcement around the time with lots of Lyrica-art :P). However, my camera quality SUCKED.

Dunno why but I just realized it doesn’t SUCK, it’s just fairly bad. So, I recorded this.

Funny thing is, it’s been EXACTLY a month (recorded Gallop on the 16th of August, recorded this on the 16th of September).

My mom stole my roll-y table-thingy, so I had to shoot from another angle – between my piano and one of the legs of my bed! Basically, I put a book on top of both (they’re of similar height) and put the camera on the book. Ya can’t see the book because if ya could it’d look silly.

Yes, that’s a bulbasaur in front of those curtains. No, they’re not curtains, those are my clothes and that’s my closet that doesn’t have a door. :V

My bed’s directly on top of the piano, so ya hear lots of reverberation as it’s surrounded on five sides. The side it isn’t surrounded on has me and I’m FAAAAAAAAAAAAAAAAAAAAAT that blocks it somewhat as well. OH WELL

I start off really badly because I haven’t played this for a month. Then again, the middle and end are really bad too.

OH WELL

For some background info; Chopin was of French-Polish descent, so he can be called Frédéric François Chopin (what he’s usually called), or Fryderyk Franciszek Chopin. Not sure which one’s easier to spell; the French version sounds simpler but has those c cedilles and e aigus (French class pays off!), and the Polish version just sounds weird. Ymagyne replacyng all those i’s wyth y’s :V

He composed a set of two polonaises; Polonaise in A major, op. 40, no.1, and Polonaise in C minor, op. 40, no… (ya can probably guess which number it is).

When the Nazis invaded Poland, as a protest a radio station broadcast the first polonaise daily. Eventually, the Nazis banned public performances of Chopin and destroyed a statue of him as well.

Some person once remarked that the first was “a symbol of glory, whilst the Polonaise in C minor is the symbol of Polish tragedy”. Though I’m not sure about the second one, and I didn’t play it as it should have sounded like, this polonaise is definitely, very glorious.


Nine Tales, Gallop

Here’s me playing Gallop, by Christos Tsitsaros.

Anyways, for some backstory – my piano (RCM, though if ya live outside of Canadia ta means nothin to ya at all >_>) examination is coming up on ta Saturday, so I’ve gotta prepare for it and stuff.

:V

Ya play a total of seven pieces, so I’mma upload all of those during ta week.

In the order I’mma play them in.

Gallop’s a modern piece, composed by Tsitsaros in 1996 in his “Nine Tales” collection.

I think it’s supposed to portray something galloping, but ya wouldn’t know cause I played it too horribly to listen to :V

I might say more stuff here but there’s nothin to say.

I realize there are tons of mistakes, and I’ll speak about ta later on. But not now because I need ta paint ta fence or somethin :/


Königliche März ~ And Then the Sun Came Out

[EDIT: Well, whaddya know? Parental controls backfired, meaning that not even my parents can access the computer (where I store my music) anymore, until 4:00. Naturally, you can bypass the time restrictions by modifying the system time in BIOS startup settings, but I can’t tell them that :P So yeah. No composition. Canada Day tomorrow so I’m going to be celebrating, and I’ll update this with the final composition when I get it done. This also means I didn’t meet the deadline, but… well, that’s life.]

Thanks for all your help; this is the final copy (including the .mus! If you wish to use this for any purpose other than listening (e.g. showing other people, attempting to play it which is basically impossible as noone will want to), email me at mushyrulez@gmail.com just cause I want to know).

As for composing, I’ve definitely learned some very important things.

One – NEVER, EVER USE SUCH A HUGE ORCHESTRA EVER AGAIN. The torture of it was too much for me to bear, modifying each instrument against each other. And the font is impeccably tiny.

Two – I don’t know counterpoint. So, I shall learn counterpoint. Königliche März was based not on the individual melodies of each instrument, but on a basic chord structure and additions to it. Because of that, it sounded quite hollow.

Three – I have infinite time. Not infinite time, but I take on so many useless items that if I needed to do something, I will finish it. I could probably finish a month-long project in two days (which I have done before) if I don’t do anything stupid, because I waste /that much/ time.

Finally – COMPETITIONS ARE FREAKING ANNOYING AND SO IS FREAKING PERCUSSION (research things before doing stuff!)

But wait, mushy, why are there two posts today?

Well, today (GMT-wise) is July the First. What does that mean?

It means that Summer has officially started.

Not only does this bring good news for anime fans, but it also means we have time to blog, twice a day (we have four bloggers now).

On a related note, thanks to my obsessive following of comment feeds, I have found an interesting plugin that may or may not work. This allows us to see who’s actually writing my post and thus kill the “MUSHYHIJACK” tag, even though that was pretty fun >_>

Second announcement: Maplestory has an event. Though I knew about it a long time ago, I was busy composing worthless crap so I couldn’t participate. Anyways, it ends on the 13th, and that means that I should try to get to level 40 from level 0 to get some awesome limited-edition item. I can maple 7 hours a day, so it should go smoothly enough (for those who remember my Evan excursion).

And, yeah. Enjoy your Summers everyone; I’ll update (cause I still haven’t watched them!) DRRR and AB with their final posts soon, but probably not tomorrow as I’ve got forums to catch up to~ (Oh, and buying items because of HST starting tomorrow >_>)