UlasanAnime.com – A few years ago, around 2009, a group of Twitter users and bloggers gathered on MyAnimeList to start a club dedicated to anime music. It was a vibrant period where discussions covered all sorts of anime music without a particular bias towards opening or ending themes. Random tracks from masterpieces by composers like Hisaishi were treated with the same importance as any guitar anthem that marked a climactic moment in typical late-night otaku fare. This collaborative effort led to the discovery of various aspects of anime music, from understanding how to manage large spreadsheets to identifying popular background music tracks. Participants also found new favorites and re-evaluated old ones.
They would often share frustrations, such as the difficulty of purchasing certain bundled original soundtracks or their collective desire to hear more music from composers like Hiroyuki Sawano. The club served as a platform for exchanging opinions and tips on anime soundtracks. It was a space where one could offer criticism or praise for composers like Yuki Kajiura without being perceived as a troll or an overly zealous fanboy.
The ability to engage in such detailed discussions about theme and background music is somewhat unique to Japanese animation. While other forms of animation, television, and cinema also feature emotive and expansive musical selections, the sheer volume of anime output and the industry’s business model result in a wider array of compositions reaching the audience than one might expect. Much of this music remains relatively low-profile, with limited tie-in marketing. Furthermore, a significant portion of this music is legally available for purchase, which, despite rampant piracy, generally ensures its accessibility.
The primary driving force behind what was affectionately known as #MALKeionbu (the endeavor coincided with the run of the anime K-ON!) is a user referred to as Zz-chan. Zz-chan is reportedly transitioning into a life phase where dedicating hours to crunching spreadsheets about anime music is no longer feasible, as indicated in a post on the Animusictourney website. Nevertheless, #MALKeionbu was a valuable experience, and this initiative serves as a fitting conclusion to that chapter.
In the spirit of #MALKeionbu’s do-it-yourself nature, the author intends to contribute something as well. Several insightful articles have already been published covering the tournament, following the completion of the nomination phase. A comprehensive list of nominated tracks, including those that were nominated but did not make the final cut, is available on the Animusictourney website. This data has inspired several analytical blog posts, such as:
- “The Lonely Number Ones” which explores unique or singular nominations.
- “General Trends in Nomination, Recency Bias” which delves into broader patterns observed in the nominations, including potential recency bias.
The author hopes that more contributions will follow. In the meantime, a Twitter account is available for engagement, and the main Animusictourney website serves as the central hub for the event.
Additionally, an interesting discovery has been made:
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http://challonge.com/omochallenge/
This link leads to the Animusic Tourney Prediction Challenge!
Participants are invited to submit their predictions between now and Sunday morning, US Eastern Time, specifically by 2 PM EDT on July 28th, which corresponds to 6 PM UTC. This prediction window allows ample time for engagement.
The scoring system is designed with a doubling factor for each subsequent round. A correct prediction in round 1 earns 1 point, round 2 earns 2 points, round 3 earns 4 points, and round 4 earns 8 points, following a pattern of 2^(round number – 1).
To enter predictions, users should follow the link provided on the challenge website, create an account if necessary, and then drag-and-drop their chosen entries. For those unfamiliar with a particular track, it is recommended to search for it on Google and then find a video on YouTube or a similar platform. If further assistance is needed, comments can be left on Twitter, where help is likely to be provided.
This challenge is primarily for fun and entertainment purposes. There is a possibility that the bracket input timeframe may be extended to accommodate more participants. The winner might also receive a prize, the details of which will be discussed once the event is fully underway.
As a postscript, it has been heard that Saimoe 2013 is expected to be rather disappointing, according to information available on the Animesaimoe website.
