Review Summary: A haunting and grandiose backdrop to Lelouch’s reformation of Britannia.
Code Geass / Code Geass R2 is a two part 50 episode anime that originally ran over the course of two years, 2006 to 2008; it revolves around a prince named “Lelouch” who aims to destroy his own country and liberate the nation of Japan (now christened “Area 11”) from its clutches. During that two year time frame it managed to gain millions of fans, who were all drawn to the deep political story, the well developed characters, the moral quandaries presented throughout and the teeth grinding tension that seemed to creep into every intense moment of the series. An anime with such a compelling premise surely would have a soundtrack to fit Lelouch’s rise to power? Luckily it does, the Code Geass R2 soundtrack is a massive composition with plenty of variation and emotional impact to propel the series along in its finest moments.
This soundtrack utilizes an abundance of horns throughout its run-time and they’re used to great effect; whether they’re at the forefront to build up momentum such as in “Overwriting”, or if they’re being used to support the other instrumentals in songs like “Showdown” they play a heavy role in a good portion of the songs, fluctuating in tone, intensity and pitch admirably. The cello and violin are the other two big contenders here, helping to craft some of the album’s more somber moments. The combination of the three instruments form the backbone of this soundtrack, all while being supported by a solid drum line more than capable of keeping the pace up.
That’s not to say that only those sounds dominate the album, there’s a wide variety of offerings here. There are Spanish-influenced guitar licks and fleeting dashes of piano on songs such as “Sub-Chairmen.” There’s even some electronic work with enough distortion mixed on to the point where they almost sound like guitar riffs in tracks such as “Guren.” Various other elements are incorporated into the mix as well such as booming vocal choirs, soft female backing vocal lines and even some bongos here and there. Throughout every little electronic trinket, string strum and horn blow there’s an ambiance established that fits perfectly with scenes in the anime; Lelouch would be proud to have this soundtrack backing him as he gained support amongs the Japanese for the liberation of their nation and the eradication of Britannia.
a snide review that isn't a novelette? pos
Isn't the character on the cover Verm?
He will always return
Give him time and he will
free my boi Verm
Digging: The Verve - The Verve
ouch, Futures, there was some salt in those words.
I know it wasn't me.
Love you too bae
hmm not a very informative review I still have no idea who composed the goddamn thing
"im homophobic as fuck i will end your life"
or wait was that s1 idk
r2 was shit anyways aside from jeremiah
Digging: Torchure - Beyond the Veil
only non-shit character besides lelouch yeah
yeah it was pretty bad
the names given to almost everybody that existed were hilarious though
"Baron Schutenkin Gordiengo the Third"
also i hated lelouch as well as suzaku so the whole "which one is right" thing is kinda lost on me
come to think of it i didnt really like any of the core characters
if you consider cornelia core then yeah but i dont so
lelouch carried this show as far as im concerned and was much more sympathetic than suzaku or the idiots in the black knights
oh I liked CC too yeah
one thing that always bugged me was that the knights of the round never knew how to eject from the mechs
like everybody makes fun of the knight of four for dying in like 5 seconds
but why didn't she just eject, i mean she wasn't even hurt until the explosion that killed her
and we've seen mechs able to eject
so its either that the knights of the round don't know how to eject or that their mechs don't have the ability to eject, both of which are explanations that im calling bullshit on
also that plan where lelouch dies is pretty bullshit, the world doesn't become peaceful because the dictator dies, it falls into chaos because there's an unbelievably massive power vacuum left behind that warlords fight to try and control
there's other issues with lelouch in general, mostly out of his personality to me, but w/e, i jsut found it kinda tough to get behind him when schniezel was actually WAY more reasonable up until the writers pulled out of their asses "let's bomb everything" schniezel even though that's not who his character was shown to be at all
they basically threw the main antagonist's characterization out the window so that lelouch could be the moral victor to the audience, and that's total bullshit
It seemed more like a physical thing to eject, not like a technological process. Besides, wouldn't they have failsafes? Doesn't matter, it's a minor point anyways.
There was absolutely no hinting whatsoever about Schniezel being like that whatsoever. Not even a scene where he starts to lose composure, nothing where he's in private mulling over his plans, they just come right out of left field and say "yeah he wants to destroy a fuckload of things because villain".
Honestly though, another thing that bugs the fuck out of me is how they could have made Nina a sympathetic character, or used the Hotel scene as a way to establish mood. Why would Euphemia save her and not the first hostage they were shown to kill? What made her better than that guy? They could have had it either they threaten to kill her and take her hostage next, and that could be why she's so racist, because of trauma. Alternatively, kill her off to show that the show's not fucking around. That would be with a completely different story line, but both of those would definitely be improvements. Euphemia's entire influence on the plot was really odd.
There's also a general pacing issue, but I don't know, that one might be more personal. It either moved too quickly or too slowly, I couldn't really find the show progressed at a comfortable pace.
I also don't know what they whored out more: the female characters or Pizza Hut. The ungodly amounts of fanservice and the ungodly amounts of product placement. Which was higher?
Yeah, I know Nina's a character that everybody feels somewhere between apathy and hatred for, but I'm saying she could have been used far more effectively as both a character and as a plot device. A plot device is basically what she was, just to create the FLEIJA, but she's not interesting at all. We don't care that she loved Euphemia, we haven't known the character herself enough beforehand, all we know is that's she's racist and make a nuke, and so we hate her.
Coulda been much better.
this show is horrrible
looks like a solid review though