Death Note 12, and also! The OST
Dec. 28th, 2006 12:19 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
logicbuttonI've just watched episode 12 of Death Note, and the people who draw and animate Light and L are fired. On the other hand, the thing with Jealous was like three million times sadder and more touching than in the manga. I think it was his voice. Also, Rem was simultaneously stoic and highly expressive in this episode, which really impressed me.
L is more afraid of shinigami than I previously realized. Like seriously, I was all, "wait a minute, are we skipping ahead or something?"
Another opinion I hold: Light continues to spend far too much time talking and far too little being naked onscreen.
Hey, while I'm at it, I'm going to tell y'all about the OST.
Seriously, guys, I really recommend this OST. Here's where I got it from, because there's no point in uploading it myself when there's a perfectly valid Megaupload link available.
This album feels more straightforward as a soundtrack to me, and I don't necessarily mean that in a good way, because it doesn't really stand on its own as a cohesive unit, nor does it seem to tell a story by itself, not that TV soundtracks usually do. Mostly this is because of the very left-brained order of songs--first the electronically-produced music, then the choral stuff, then the opening and ending themes. Not that that's a problem for me, as I'm ridiculously left-brained myself, and in the alternate universe where the rock and classical are mixed together I'm sure I'm going nuts. But still.
The music, though, oh God, it wins. I knew from the time the very first episode aired that the soundtrack release would make me a happy, happy woman, and by awesome coincidence, my favorite track (Kitai) just came on. Anyway. Like I said, the first two-thirds of the CD is comprised of modern-sounding electronically-produced music. Most of it has a surreal feeling to it, although it's nowhere near as jazzy as the Samurai Champloo soundtrack.
The last third (excluding the last two songs, which are the opening and ending themes by the band Nightmare, and are not the best but also not the worst songs recorded in the history of the world ever) are obvious ripoffs of Carmina Burana, and possibly other extremely dramatic large-scale choral works. No really, I had my mom listen to "Death Note Theme," and after three seconds she independently concluded that it was supposed to sound eerily similar to O Fortuna. For those interested, the song that plays in the first episode when Light is dramaticallymasturbating with writing in the Death Note is called "Low of Solipsism", which I am fairly certain is not quite what they meant to call it, but okay. For those interested, the Law of Solipsism states that each mind is a self-contained creation that embodies all of creation from the perspective of the self. Okay, now I've just spent a bunch of time reading about solipsism that I should have spent finishing this post. In conclusion, nearly all of these songs contain the word "Kira," often sung in an extremely reverent tone, which is absolutely chilling, let me tell you.
Considering my disdain for Light (there I said it), I'm kind of unsettled about two things: that I liked his song more than I liked L's, and that listening to the soundtrack actually kind of makes me feel like I'm getting into his head a little. Light's Theme has this world-weary sound to it, which is just silly, because he can't be world-weary; he's 18. But it's a beautiful song, definitely something I can relate to more than L's. L's Theme kind of reminds me of that faceless background music you hear in boring videos about business technology, except it's also hard rock and actually really doesn't suck. It suits him and his status as the mysterious figure behind the scenes at the top of the food chain. But Light's music (which is most of the music on the soundtrack) paints this picture of two worlds: one (represented by the first two-thirds of the CD) that he finds himself feeling trapped and bored in, and one (the last third) that he hopes to bring into that, in which his dream of making himself a god becomes a reality, no matter how idealistic or impractical it really is if he would just think about it for like half a second, the dumbass. But okay, whatever. The point is, hot damn I love this soundtrack.
L is more afraid of shinigami than I previously realized. Like seriously, I was all, "wait a minute, are we skipping ahead or something?"
Another opinion I hold: Light continues to spend far too much time talking and far too little being naked onscreen.
Hey, while I'm at it, I'm going to tell y'all about the OST.
Seriously, guys, I really recommend this OST. Here's where I got it from, because there's no point in uploading it myself when there's a perfectly valid Megaupload link available.
This album feels more straightforward as a soundtrack to me, and I don't necessarily mean that in a good way, because it doesn't really stand on its own as a cohesive unit, nor does it seem to tell a story by itself, not that TV soundtracks usually do. Mostly this is because of the very left-brained order of songs--first the electronically-produced music, then the choral stuff, then the opening and ending themes. Not that that's a problem for me, as I'm ridiculously left-brained myself, and in the alternate universe where the rock and classical are mixed together I'm sure I'm going nuts. But still.
The music, though, oh God, it wins. I knew from the time the very first episode aired that the soundtrack release would make me a happy, happy woman, and by awesome coincidence, my favorite track (Kitai) just came on. Anyway. Like I said, the first two-thirds of the CD is comprised of modern-sounding electronically-produced music. Most of it has a surreal feeling to it, although it's nowhere near as jazzy as the Samurai Champloo soundtrack.
The last third (excluding the last two songs, which are the opening and ending themes by the band Nightmare, and are not the best but also not the worst songs recorded in the history of the world ever) are obvious ripoffs of Carmina Burana, and possibly other extremely dramatic large-scale choral works. No really, I had my mom listen to "Death Note Theme," and after three seconds she independently concluded that it was supposed to sound eerily similar to O Fortuna. For those interested, the song that plays in the first episode when Light is dramatically
Considering my disdain for Light (there I said it), I'm kind of unsettled about two things: that I liked his song more than I liked L's, and that listening to the soundtrack actually kind of makes me feel like I'm getting into his head a little. Light's Theme has this world-weary sound to it, which is just silly, because he can't be world-weary; he's 18. But it's a beautiful song, definitely something I can relate to more than L's. L's Theme kind of reminds me of that faceless background music you hear in boring videos about business technology, except it's also hard rock and actually really doesn't suck. It suits him and his status as the mysterious figure behind the scenes at the top of the food chain. But Light's music (which is most of the music on the soundtrack) paints this picture of two worlds: one (represented by the first two-thirds of the CD) that he finds himself feeling trapped and bored in, and one (the last third) that he hopes to bring into that, in which his dream of making himself a god becomes a reality, no matter how idealistic or impractical it really is if he would just think about it for like half a second, the dumbass. But okay, whatever. The point is, hot damn I love this soundtrack.
