There’s nothing in this post that I necessarily want to take back, but having a couple months to think about that list and to (re-)watch more AMVs, I’d like to mention a couple of notable AMVs that probably should’ve been mentioned there but weren’t. These were all well-received and went on to become, by one degree or another, “popular” videos that were widely-viewed and got lots of attention. Maybe that worked against them when trying to decide whether or not to include them on my list. After all, why shine a spotlight on videos that so many people had already seen? I don’t know the best way to go about making a list like that might be, but writing-off AMVs because they’re too popular is surely one of the worst ways to go about it. These three videos have stuck with me since I first watched them or finally broke down my misplaced skepticism. They’re not hidden gems, but they deserve all the attention they’ve received and more.

The Fangirl Chronicle
editor: Celia Phantomhive
anime: Watamote, Free!
song: JViewz – “Far Too Close” (Pegboard Nerd remix)
Despite her increasingly desperate attempts to make friends and make the most of her new life in high school, Tomoko Kuroki finds herself in one embarrassing situation after another throughout Watamote, a cringe-inducing comedy that polarized viewers between empathizing with her self-destruction and laughing at her misfortune. Discovering an anime like Free! would certainly give her a much-needed break from the trainwreck of her daily routine, and that’s just what happens in this AMV from Celia Phantomhive. I’ve never watched Free! but know enough about it to say that Tomoko’s euphoric reaction to the series is satisfyingly in-character, and frivolous as her triumph may be, it’s hard not to get caught up in her much-overdue joy. This is a misleadingly simple-sounding concept requiring a clever sleight of hand to actually pull off. There’s a lot of potential to jumble this project and its interweaving layers of different narratives into a big mess, but the end result is a delightfully upbeat video that’s easy to follow and, as AMV fanfiction, serves as a sweet coda to Watamote‘s somewhat ambivalent ending.

editor: lolligerjoj
anime: various
song: Huoratron – “New Wave of Mutilation”
This isn’t a video I’m eager to attempt to describe, either because I suspect that my words won’t do it justice or because I think that it’s a video that deserves to be experienced and judged first-hand — even though this AMV is not for everyone! — rather than picked apart and explained by some donkus with a blog. Although I’m forever on a quest to find the most artistic, unique, or strangest AMVs people have made, watching this one leaves me feeling completely out of my element and dumbstruck for anything resembling a meaningful response. There’s really no precedent to this sort of thing in the world of AMVs and the more I think about it, the less I’m sure that I’ve ever seen anything like it in any music video anywhere at all. Don’t get me wrong, this stuff really is what gets me most excited about AMVs, which even at their most creative rarely present such a challenging or visceral experience for the viewer. Maybe in its own way, it’s actually kind of pretty. Or is it?

Just Funkin’ Dandy
editor: Shin-AMV
anime: Space Dandy
song: Bruno Mars – “Uptown Funk”
Little by little, my completely insane and irrational disdain of Bruno Mars finally melted away last year and I suddenly found myself weirdly enthralled by his songs whenever I’d hear them on the radio or in a store or at work (save for this pile of crap which I will literally drop everything to turn off or flee from if necessary). But if “Uptown Funk” was a hit, I somehow never heard it until encountering this video, which should have been the AMV that defined 2015 but was somehow eclipsed by this and perhaps even this. No matter. “Just Funkin’ Dandy” was a great AMV that oozed with the cool confidence of its source material and actually seemed both fun and hip enough to pass for something entertaining and potentially-viral enough to step out of the AMV world’s unfortunately (but undeniably) uncool shadow, if only for a minute. This didn’t happen, but not because the video fell into any of the trappings of effect-heavy AMVs; it’s polished and refined to a degree that better resembles professionally-commissioned work than than anything put together by a lone editor on their own time. Even without the framework of the comic book page-effects, which can hypnotically slip by almost unnoticed thanks to the keen focus on internal sync (and some of the most effective lip-sync I’ve seen in an AMV), it’s just a feel-good AMV that could be a pleasant surprise for uninitiated casual fans and a real joy for those viewers who’re ready and willing to bask in its suave charm.

Finding a good AMV with Prince music to post this week wasn’t easy, but after much digging I finally discovered one that I really, really like. And while I haven’t seen this anime, this is one of those AMVs where that’s not really necessary to just sitting back and enjoying what’s happening on screen. How faithful is this series to the “real” Romeo and Juliet? Who cares!

Of course, putting an AMV with Prince music in it on Youtube was always a takedown waiting to happen (although some videos have somehow managed to slip by unnoticed for years), so it comes as little surprise that the original video was automatically muted by Youtube (who, free of charge, suggested the generic EDM track that’s now replaced “I Would Die 4 U”). The end result is an AMV that… isn’t bad, but to admit that would kind of be an insult to the editor and anyone who’s tried to edit an AMV with a thoughtful eye to how scenes relate to lyrics and an ear to how cuts can be placed according to the rhythmic or melodic elements of a song.

I have no Prince anecdotes to share here, so go read whatever Bono or Win Butler are saying about him (which is probably a lot unless they’re still telling everyone stories about all the times they hung out with David Bowie).

I’ve known about this AMV for a really long time.  We’re talking years, here. And I’ve known, more or less, what it was all about and also that it was supposed to be really good and maybe even important. I put off watching it for so long because I hadn’t gotten around to watching Trigun until a few months ago, and I didn’t want my experience of this video to be ruined (or tainted) by spoilers. And to get the most out of it, I’d want to know what I was looking at and understand the context of it all. I think this was a smart move, yet at the same time maybe it’s like someone putting off listening to Sgt. Pepper’s Lonely Hearts Club Band because they hadn’t yet watched Help!. Maybe that’s an arbitrary comparison but maybe it’s not. For a long time, when critics or music fans of a certain age would discuss the greatest album of all time, Sgt. Pepper’s was always part of the conversation. That’s not really the case any more, nor would most Beatles fans even call it the best Beatles album. Likewise, this AMV was a bfd for a long, long time, and hung around the top of the best AMVs list for most of the 2000s. Fewer fans recognize its pioneering status today, but no video can stay trendy and popular forever (find any other fifteen year-old AMV that actually has and prove me wrong).

Of course, utilizing two of the most popular and iconic anime series of all time probably helped ensure its popularity, and it probably would have been well-received if the editor (E-Ko, who disappeared from the hobby over a decade ago) had put in even as little as one-tenth of the effort that they spent on it. But having put in that extra 90% (or 900%, I guess?), the end result is the video we have now and it’s really startling how well it all paid off. Where did I first hear about this video? At a convention panel years ago? “It’s a cool video, it makes Spike and Vash look like they’re really fighting each other!” At that point, those kind of AMVs had already established themselves as a genre in themselves (and, conceptually, have changed very little in the years since) and I couldn’t imagine how yet another one was going to impress me. Rather than watch it and decide for myself, over a very long period of time I went ahead and let my own vision of what this video probably looked like slowly form in my head. I highly recommend doing this with something in your life, as it’s a very humbling experience when you finally give in and see how much the real thing puts your ideal vision to shame.

My first impression of this was one of complete surprise. This wasn’t simply two sources slapped together to to kinda sorta work together, but a video that presented an actual story that was easy to follow,  required almost no suspension of disbelief to accept on its own terms, and was assembled more convincingly than anything else like it that I’ve ever seen. Even when they don’t completely win me over, most AMVs usually like this leave me feeling very impressed by the sheer effort that was spent on their creation. That’s certainly the case here, given the amount of masking that was required to bring the characters from these two series together into one world. And yet, the end product feels so seamless that it somehow feels completely effortless at the same time. I realize that doesn’t make any sense but these are just my impressions and when a video or any piece of art can make you feel comfortable with such contradictions, then you know it’s doing something special.

This AMV has stood the test of time not because it was “innovative” or “ahead of its time,” but because its pioneering use of effects was all the service of bringing a simple story to life. Maybe that could be said of a lot of AMVs, but how many have felt like such a natural extension or cohesion of two different worlds? I won’t attempt to search the archives of for the depths of Cowboy Bebop/Trigun crossover episode stories, but I’m sure they’re out there. I honestly wonder if any of them at all could possibly bring together both series’ elements of comedy and action into such a perfect balance as “Tainted Donuts” does. This is hardly a bold proclamation; declaring that this video is a classic and twisting a couple of superficial observations into the shape of critical insights tells the average viewer nothing they didn’t already know or would quickly figure out on their own. But even if spilling ink over this AMV only serves to acknowledge its existence, that’s still a post that’s been overdue far too long.

I’d originally planned on posting something about Elcalavero’s newest AMV, which I’m actually a much bigger fan of than the one I’m posting here, but why post something so accessible and entertaining when you can continue to alienate potential readers instead?

This AMV was made a couple of years ago and isn’t the strangest Serial Experiments Lain AMV I’ve ever seen (and never could be) but it goes beyond ditching plot and characterization more than most Lain videos ever dare to, which is saying a lot. It’s also one of the best ambient AMVs I’ve ever seen, which is a subjective categorization but most of us give genres a bit of leeway when it comes to AMVs.

I don’t have much to say about this. Stuck on writing a few different posts right now so I wanted to knock something out before the end of the month. These posts get shorter and shorter…

Don’t give up on this just because it begins with a series of still frames that will probably leave you wondering if your video player is frozen. It gets better after the first 20 seconds, but anyone hoping for a typical Trigun AMV should probably turn back now. There’s no shortage of the iconic action scenes from the classic series, but here they’re handled in a way that feels sort of… subdued? The epic awesomeness of these scenes don’t hit you over the head like you’d expect, but they still sneak up on you when you’re not looking and pull the rug right out from under your feet. Or maybe even when you’re actually looking right at them, which would be even more unexpected! I’ve never had a rug pulled out from under me and I’ve only ever seen it movies or cartoons or comics, so I don’t even know if it’s a real thing. But it’s a saying that everyone knows so it had to come from somewhere, right? Is it something people used to do all the time and now it’s just gone out of style? I don’t even know if that really describes how I feel about this AMV but it’s a start and maybe we’ll get there yet.

I’d actually been meaning to watch this for a very long time, since it comes up everytime I go looking for AMVs set to music by artists I like. I really like kid606 and have been into his music ever since, incidentally, around the same time I first got into AMVs. And wouldn’t you know it? I really, really like Trigun, too. Took me long enough to finally see it, but now that I have I can finally talk about anime with people whenever I take my time machine back to 1999! I had no idea if this video was going to be any good, but I had a hunch that it was going to be interesting and it certainly fulfilled those expectations (your mileage may vary). This certainly isn’t a depressing video but it really nails a certain sense of detached or repressed regret, which, intentional or not, is certainly appropriate for a character like Vash. You won’t re-experience the sense of dread or fearful remorse that hangs over so much of the series, but any editor striving to encapsulate that in a single video might be biting off more than they can chew.

I don’t know what to say about the shot at 2:38 and the few others like it that follow except that you really can’t complain about them being expected or too predictable.

Cross this video with Nopy’s Sky Journey and something else that I’ve yet to see in an AMV and you might get the video that I’m currently trying to make and will probably finish sometime in 2020 if I don’t pick up the pace sometime soon.

I used to be really into making lists, especially at year’s end when I couldn’t help but join in as all my favorite magazines, websites and (especially) fellow Internet-posters would tally up their favorite music and films of the past twelve months. This was an annual ritual for me that I’d always put a ridiculous amount of preparation into, and the satisfaction of completing a lengthy list that I felt strongly about was, justified or not, a really satisfying sensation. In hindsight, I think this was a big waste of time but realistically I can’t think of anything else I’d have been doing instead that I wouldn’t say the same about. I’ve been busier than ever over the last two years, which has lead to a decline in the efforts that I put into this sort of thing and left me feeling like I’m doomed to become one of those people who gives up trivial stuff he enjoys because of… life? Even more detrimental to my regular list-making impulse was the breakdown of most of the Internet communities that played a huge part in motivating it in the first place. It’s hard to keep a message board going strong for over a decade, but the departure of key members, technical breakdowns and awful moderation (completely cutting off new members is a death sentence for any forum) slowly but surely whittled down my favorite board into a pathetic shell of its former self that signaled the death knell of its usual end-of-year music polls, which had all but become the engine for keeping the board going in the first place. For lack of a better term, general list-fatigue probably wore me out on doing this more than anything else, though.

I’d put the same effort into making lists for movies, but here’s where time and money really became a limiting factor into what I could do. Looking back on 2015, almost every movie I saw in theaters was a big studio release, and our regular trips to the city to see hard-to-find films were all but put on hold. What was my favorite movie of 2015? Inside Out? Star Wars? Those were legitimately good films, but not enough to justify making a list. And putting albums aside — my top 50 is a shaky top 10 this year — putting together my usual singles/songs list didn’t even cross my mind this year. I’ve heard all of two songs on this list and I’m afraid to dig any deeper to see how out of touch I’ve actually become at this point.

My AMV-viewing habits are kind of unusual and help to ensure that I probably miss out on a lot of good stuff every year (which I’m okay with if that means finding it next year or eventually even later). Half the time I spend watching AMVs is re-watching old favorites or digging through old videos of years past for forgotten gems or horrid-yet-fascinating disasters. Still, there were a lot of great videos released this year that I feel compelled to recognize in some way. This isn’t and could never be anything close to the list and commentary compiled by CrackTheSky over on his blog. And due to the effort he put into his list and the overall redundancy of my own selections, I wasn’t sure if there was any point to me posting a list of my own at all. And yet, here it is, not an extensive BEST AMVS OF ALL TIME 2015 manifesto, but a quick review of what I enjoyed most and hopefully a few words about the how and the why of it all. This is only a top ten, and since a short list dominated by a handful of names wouldn’t have been very fun, I’m limiting this to one video per editor. No countdown tension here: these are in alphabetical order because I’d rather get this done quickly than fuss over the order of it.

The Creepening
editor: Chikasole
anime: The Flowers of Evil
song: Jaymes Young – “Two More Minutes”
So yeah, usually I won’t watch a video if it features a title I haven’t already seen. I’m super-paranoid about spoilers when it comes to anything that I have even the mildest interest in eventually watching, and I’m sure this video is full of them. But rules are made to be broken, right? This is probably the coolest video I watched in 2015, which is probably a weird impression to have of something so unabashedly disturbing. I could do without the text — pleasing to the eye as it is — but there’s else nothing I’d want to change about this video. Howard Hawks’ quote about what makes a good movie (“Three good scenes. No bad ones.”) surely applies to this AMV; there’s too many memorable moments to list, which is usually what you get whenever there’s such a perfect synthesis of mood and seemingly effortless sync in every sense of the word.

Death Grips x Serial Experiments Lain AMV
editor: Bry__
anime: Serial Experiments Lain
song: Death Grips – “Hacker”
The continued exponential growth of Youtube has safely ensured that we all have enough videos to watch for a lifetime. This is true even speaking strictly of AMVs, a fact I came to grips with long ago but never understood the importance of until now. Even with a handful of giant channels dominating the site (and sometimes attempting to profit off it), there are still a number of self-contained microscenes with almost no connection to them, not to mention the Org, the convention circuit, or any of the expected hubs of activity in the hobby.  The “candy” AMV scene is probably the most notable of these (try as they may to ape and eclipse some of the best-known AMVs out there), while on the fringe, fans of vaporwave (a genre I feel extremely ambivalent about for reasons I don’t have room to ramble on about here) continue to mine the past for incidental brilliance like it’s still 2011. Occasionally, this takes the form of AMVs, ones which usually revel in repetition, slow-pacing and an aesthetic that’s too complicated to try to explain in a brief blurb like this, but has little to do with mirroring the styles and trends of popular editing.

This AMV (frustratingly untitled, as so many videos seem to be these days) comes from an editor working squarely within that scene, but amps up the effort past the typical aimless drifting or 90s fetishization you’d expect by several orders of magnitude. There’s nothing “vaporwave” about music from a band like Death Grips and Bry__ cuts this video with the pace that you’d probably expect with it. It’s a jarring four-and-a-half minutes that wrings every bit of ominous weirdness out of of Serial Experiments Lain, works it into a rhythmic fit of gltchy footage and anything-goes effects and splatters you right in the face with it. There have been plenty of AMVs that run Lain through the meat grinders of nu-metal or Matrix-club trance, but this is the first rap AMV I’ve seen for the series and it’s also one of the best, period.

Follow My Lead
editor: Koopiskeva
anime: The Melancholy of Haruhi Suzumiya, Baka and Test
song: Girl’s Day – “Female President”
I don’t care how many AMVs you’ve made or what software you’ve mastered in the process, none of that can fully prepare anyone to make something like this. Even with all the care in the world devoted to crafting a set, lighting it, and actually using photography in a video (to say nothing of the tedious work of accurately matching the choreography of the original video to a frightening degree), there was never any guarantee that any of this was even going to work. But the synthesis of live action with animated clips feels completely natural, integrated so smoothly that you’ve got to wonder if viewers might’ve overlooked it altogether (anyone who still needs convincing or craves a different experience should check out the all-dance version of the video). At this point, it was hard to imagine how an editor like Koopiskeva — wait, are there any others? — might return after such a long hiatus. He may not have topped himself here, but pulling off something as completely unexpected as this may have been an even bigger challenge with an even bigger reward: a rare AMV with no true precedent and a completely unique viewing experience.

Get Better
editor: CrackTheSky
anime: The Tatami Galaxy
song: Bleachers – “Get Better”
Honestly, Victims of the Night was my favorite CrackTheSky AMV of last year and I was looking forward to writing about it here. Tragically, it seems to have been removed from Youtube, or at least blocked in our part of the world, so I’m posting the also-amazing Get Better here in its place. But I’ll mention Victims of the Night anyway because I have a real anecdote that I wanted to share and I don’t want it to go to waste! We saw the video as part of the AMV contest at Anime Central, and although it didn’t win, it elicited the most enthusiastic response from the audience, surely none of whom showed up expecting to watch a Kimagure Orange Road video. On the ride home that night, my girlfriend commented out of the blue about how much she’d enjoyed it, despite having zero familiarity with the anime or even the song. One of the first videos to use “Shut Up and Dance” (preceding dozens or perhaps hundreds of others, all of which have been removed from Youtube save for those featuring cover versions of the song or the most grotesquely pitch-shifted versions of the original you could possibly imagine), Victims of the Night was definitely “old school” but felt every bit as vibrant as any brand new 1080p dance video. I know that reads like blurb hyperbole but I assure you it is not.

Having actually seen The Tatami Galaxy and knowing its story and themes, Get Better presented itself to me with meanings and a familiarity that I can’t bring to Victims of the Night, so fairly comparing the two is kind of impossible for me right now. Get Better isn’t necessarily better or worse but it feels staggeringly bigger, not simply in the sense of using a newer and more vibrant-looking source, but in how it pairs the anime and the song together to tell a story, deliver a lighthearted but sincerely hopeful message and invoke a genuinely cathartic response. So yeah, the lyric sync in this AMV is some of the best I’ve seen in a while, and the internal sync brings the whole thing to life in a way that elevates it beyond there mere act of pairing an anime with a suitable song and hitting all the beats.

It’s hard enough edit a single AMV that’s really great; only a couple of editors were able to do that more than once last year (PieandBeer, UnluckyArtist, Copycat Revolver, to name a few). As prolific and consistently great as those editors were (and still are!), I feel like the half-dozen (or so) AMVs released by CrackTheSky over the last twelve months represented a prodigious creative tear that was on a whole other level. I haven’t seen all of the videos he made before 2015 (there are quite a few!) but those I have seen are very good. Still, what he did last year amounted to the kind of big leap that you can count yourself lucky to witness up-close if you ever get the chance.

I’m Alive!
editor: Hirou Keimou
anime: Your Lie in April
song: Magic Man – “Texas”
I started writing a blog entry on Your Lie in April a few months ago, and I doubt I’ll ever finish it because it’s really gotten out of control and I don’t think I can rein it back in at this point. I’d love it if I could just talk about the series itself but instead I keep trying to talk about how it made me feel and why I related to it and why it is that I might feel that way and whether that’s a good or a bad thing and whether or not that matters… I don’t remember where I left off at this point but unless I have a burst of inspiration coupled with a temporary block in whatever self-consciousness is (probably wisely) holding me back, it’s probably never going to get posted.

One issue I keep digging into is the angst and tribulation experienced by the main characters, and how a viewer could “enjoy” watching such a depiction. Even if there’s an appetite for empathy at work here, I hesitate to bring that up as a valid emotional response to the series because I feel like it risks cheapening the emotional impact of the story. Sometimes feeling bad for someone else (in fiction, ideally) actually feels good! I’ve done a horrible job of explaining this in a few sentences, but what it boils down to is that I’d usually prefer watching a story about people in distress than one that’s all about comfort and happiness, so obviously this sort of thing is my bag, baby.

So it’s funny how this AMV emphasizes the happiness and fulfillment experienced by the characters, and has really made me call into question whether or not that was the whole point of the series in the first place. I’m Alive! does not turn the whole series on its head or put any kind of “positive” spin on its events. It’s simply optimistic and hopeful and, while not omitting the conflicts in the story, captures the series at its most joyful. This shouldn’t seem like such a radically unexpected move, and maybe it isn’t at all, but it’s so different from my personal perspective that it feels like a revelation.

Knucklehead McSpazatron
editor: Nellogs
anime: Neon Genesis Evangelion
song: Two Door Cinema Club – “Undercover Martyn”
This video still feels very new to me, but I have a feeling that I’ll still be watching it years from now. Lord only knows how many Evangelion AMVs I’ve seen at this point. Even some of my favorites have been derivative. It’s all been done! Or so I thought before I watched this. No one is ever going to ask me what anime music videos are or ask me to show them one as an example, but if they did, this would probably be the one I’d reach for (pray this never actually happens, it would inevitably turn out really weird for both us). Heck, will someone who knows what they’re doing just embed this at the top of this entry?  We need to reclaim achievements like this as a universal reminder of what this medium can accomplish.

Magical Morphin Power Rangers
editor: UnluckyArtist
anime: Puella Magi Madoka Magica
song: Ron Wasserman – “Go, Go Power Rangers”
“Parody” has never been my favorite AMV genre, but who doesn’t love a well-done movie trailer or television opening? This video not only succeeds by nailing a source combo that’s instantly recognizable, but is expertly-crafted to make a seamless product that’s convincing enough to stand on its own.

editor: Copycat_Revolver
anime: various
song: Spoon – “Don’t You Evah”
You’re on your own with this one. What does it all mean? That’s up to you to decide.

editor: PieandBeer
anime: Paprika
song: Beck – “Dreams”
No AMV on this list grew on me over time quite like this one, which I certainly enjoyed the first time I watched it but didn’t give much credit to. Paprika is a movie with so many cool scenes and I’ve seen it featured in a few AMVs that played out like simple compilations of its most psychedelic and twisted visuals. That’s cool and everything, but never leaves much an impression on me. In the hands of a lesser editor, maybe that’s the kind of video Oneiro would have been, but PieandBeer syncs nearly every shot in a way that’s purposeful in hooking the viewer and bringing the film and the song into a synthesis that feels like it was meant to be. This was the first time I heard “Dreams” and now I can’t ever listen to the song without thinking about this AMV (as a bonus, PieandBeer’s audio edit shaves the song down to its most essential parts; even the radio edit of this song goes on for a minute too long). Paprika isn’t an old movie, but it’s refreshing to see someone pluck it out of the “old” sources pile and really do something exciting with it.

Paper Farewell
editor: shumira_chan
anime: Video Girl Ai
song: A-Ha – “Take on Me”
It only took a few seconds of cutting through those comic book manga pages in the opening of this AMV for me to get goosebumps, but I’ve always adored this song’s original music video. This isn’t a remake of that video but a reimagining of sorts using clips from Video Girl Ai. I haven’t seen that anime and although I know it was something of a big deal when it was made, I can only presume that its true purpose was to eventually end up in this AMV because shumira_chan fits it into “Take on Me”‘s narrative so naturally. With an iconic early-90s anime and probably the essential 80s song, brought together into an AMV that resembles a lost early-2000s classic (all aged in the best possible way), this AMV is a nostalgia bomb that crosses generations and will leave you wondering when it was actually made. This isn’t a novelty, though, but one of several videos released last year by a very talented editor that I hope gives us even more to watch in 2016. edit: I now see that this video is not from 2015 and is actually at least 5 years old. Oops!

Because I already posted my favorite David Bowie AMV some time ago, here’s another that’s not as good but sits right on the edge of good-ness and actually dips its toes in from time to time. It’s six-and-half minutes long so that’s a lot more toe-dipping than you’d expect. Go figure, it’s also another Evangelion video, too.

Of all the David Bowie nostalgia everyone’s indulging in today, I’m pretty sure that almost no one but myself is taking the time to revisit this song. Bowie’s late-90s foray into drum and bass is rarely mentioned as one of his many phases and is mostly remembered as a footnote to his career. But damn, I really love this song. The drum breaks, built from scratch by his band and re-arranged during the recording, carry an urgency and complexity that ought to be reserved for only the most classic tracks of yore. And the shredding on this song is ridiculous. Why can’t this stand up next to any of his hits?

I really love Evangelion, maybe that’s all there is to this AMV but I don’t care.

It’s probably best to just sit back and take this video for what it is and not to analyze it too closely, but of course that’s what these entries are all be about, so once again I’ll go ahead and suck the joy out of another AMV that I really like. I say “really like” because I don’t actually love this video. And unlike a lot of “flawed” AMVs on my hypothetical personal favorites list, I don’t think that its imperfections add to its character or give it a human touch or whatever. Tighter editing in general could have done this video a lot of good. But I could also say that about anything I’ve ever edited.

This was the only AMV that zenjamon ever made, and like a lot of first-time efforts, it’s a single-source video made up of a series of clips pulled from a narrow selection of scenes that play out in lengthy cuts. This approach usually doesn’t lead to surprising results, and whether or not it does here, I won’t venture to say. But like I said, I really like this video and despite its simple take on the marriage of pastoral fantasy with “chillout” music, I think it pulls off the pairing better than almost any other AMV that I’ve seen like it, not by digging deep into a source and juxtaposing clips from it in a complicated or unexpected way, but simply laying them out in a linear arrangement without too much fuss. I try not to use the word “lazy” for this approach (as I used to in the past) because it’s impossible to really know the mindset of an editor or how much effort they may have spent on a video, even after a careful analysis of the finished product. It’s also a misleading value judgement that shouldn’t exist; I can think of more than a few work-intensive, meticulously-composed AMVs that I strongly dislike and just as many simple and quickly-edited AMVs that I’ve found great pleasure in. I’m being totally honest about that, and yet… that video you just spent a whole 3 hours editing is something I’m probably going to view with hesitation, if I even watch it at all. I’m still hopelessly prejudiced against these kind of AMVs, which always need to “prove” themselves to me in a way that slicker efforts from more experienced editors really don’t.

I guess what I’m getting at is the feeling that a good “simple” AMV is the exception to the rule, which is surely some of the most commonly-accepted nonsense out there. I’ve had this AMV on a loop for a half-hour and am still enjoying it, and while I do honestly wonder how this video was made and how much time went into it, I doubt that knowing would change how I feel when I’m watching it. Don’t get me wrong, I did think about how it could have been improved with better-quality video. Little did I know I wasn’t alone: one editor decided to remake the entire AMV using HD footage. It’s largely a shot-for-shot remake, although a careful viewing will reveal small deviations, including new scenes and a somewhat loose interpretation of zenjamon’s original sync in terms of the exact position of the cuts. I’m not sure whether the slight changes improve the AMV or not, but the visual upgrade is undeniably marred by the skewed AR, which supplants the relaxing, healing vibe of the original AMV with a subtle sense of unease and discord. Few people in my life seem bothered by this sort of thing, so there’s a chance that most viewers won’t even notice, but I’m afraid I’ll have to stick to the original 144p Youtube version for now.


Volume 1 of the original release of Cowboy Bebop on DVD (released by Bandai in 2000) includes a music video for the series’ opening credits song. Even with one of the most iconic opening themes in all of anime, it’s really hard to make an engaging full-length video with series footage that’s not only spoiler-free, but also character and plot-free. And it shows.

By the time we get to the Volume 4 DVD there’s a little more to work with and another AMV is included as a DVD extra. And that’s most definitely what it is, although the DVD authors refer to it as “music clip” rather than an “AMV” (for reasons I won’t speculate on, but was certainly tempted to). This time around, the more ambitious “Tank! (BEBOP AV EDIT)” does a much better job of holding the viewer’s interest as well as distilling the various elements of the series down into a four and a half-minute video. DJ Food don’t really do much with the song, let alone take it to the the kind of funky heights reserved for their better-known associates, but they surely knew that radically transforming it would probably piss off more people than it would impress. As for the video itself, fellow Ninja Tune artists Hexstatic are credited with the actual editing (also presented on their own Vimeo channel… in the wrong aspect ratio), which may earn them the honor of being the best-known AMV editors than no one knows of as AMV editors. Or something like that.

The appeal of AMVs as promotional tools may seem obvious but if I’ve seen any other “official” AMVs like this, created/commissioned/signed off on by the studios or licensing companies, they’ve slipped from my mind. Special cases like this, in which the song of choice is straight out of the anime being edited, make for the most rare and perfect circumstances that eliminate the legalities that have dogged AMVs since the very beginning, or at least until AMVs were big enough for anyone to notice. In other words, this kind of thing probably wouldn’t happen again any time soon. Of course, talking about a pre-Youtube (not to mention pre-Org) era when DVDs reigned supreme has very little to do with our world today, where the remix rules all but is ubiquitous enough to render any individual effort relatively redundant. By now, there are surely a (few) hundred other Cowboy Bebop AMVs out there that follow the exact concept of this one, mirroring its flow and reusing most of its shots. But when this DVD was released, maybe it was the only AMV that some anime fans could get their hands on. Maybe it was the first AMV that some people ever saw. Maybe it was legitimately cool in a way that we can never experience again. It surely had an intangible but undeniable value — both to the company that included it on the DVD and to the fan who purchased it — that’s been lost over time. None of this context will present itself to the viewer who somehow stumbles across it in the depths of Youtube, but the same could be said of most videos on the Internet.

Such is the fate that’s overtaken almost every AMV that’s been shared online over the last 15 years. Even “classic” AMVs eventually fall into obscurity. But life goes on.

The link between anime and science fiction fandom is all but invisible or forgotten today, but the dystopian future/techno-themes of Blade Runner, Snow Crash, Neuromancer, even the Terminator films or the Shadowrun games, made for a efficient gateway into anime like Akira, Ghost in the Shell, and eventually Serial Experiments Lain. This is all second-hand knowledge, of course, I wasn’t there for any it but the dream of the 1990s lives on for anyone who’s still nostalgic for the days when the future still held the promise of gritty cyberpunk cool. None of those future visions came to pass, but so it goes for every generation.

The soundtrack to all this was the electronic pop music of the time, driven by drugs and technology (but mostly drugs), which teetered on the edge of new wave and rave and techno and whatever this was. This is a continuum that purely exists in my head, of course. The idea that real computer hackers, whoever they were, were all sitting in the dark and listening to electronic music (and not something like Rush or whatever) is pure fantasy but I won’t let you take that away from me.

This video is certainly a part of that tradition and for that I love it. And on its own, I just dig the vibe of it, which is just really chilled out and oozing with the style and attitude of the days when anime was still an exotic subculture and the Internet still felt like an unexplored and forbidden playground, vast and infinite and unspoiled by the forces that shaped the rest of our culture. Of course, after Hackers, The Matrix, Facebook and Farmville and an anime industry that begrudgingly releases one “hard” science fiction title for every hundred adolescent rom-com series, it’s hard not to feel cheated out of such an alluring future that, cybernetic implants and all, seemed so much more within our reach than the flying cars of our parents’ adolescent dreams.

Very “old school” editing, which is surely to be expected for any video this old, but worth mentioning if you’re into that sort of thing. It’s a hard to describe style (but it most definitely exists!), and probably declined in popularity over the years as this kind of visually-detailed animation became more and more rare. I guess I didn’t want to have to say it, maybe because it’s going to sound as painfully obvious as it is, but this decline in the overall look of anime (at least in terms of emphasis on visual detail and the time spent actually showing said detail, a shift caused more by economic needs than creative ones, to insultingly simplify a complicated issue) took away the richest and most striking visuals that, so often, lent themselves to a slower, more traditionally-storyboarded style of editing than what we have now. I don’t believe that any anime series ever matched the visual beauty of the film. Practically speaking, expecting that from a television show isn’t realistic. Only a few other films have successfully created such a astounding-looking world, at least in the way that Ghost in the Shell was able to make me feel like everything I was seeing was uncanny and yet familiar, realistic, believable in a way that shouldn’t be, completely foreign but immediately understood. So much of the film consists of shots, big and small, where nothing concerning the plot is actually happening, but which still look gorgeous and completely captivating all on their own. Whether in film or television, modern anime isn’t quite as interested in these atmosphere-building, symbol-laden shots. I could speculate on why but you’ve heard it all before. I’m definitely not saying that old anime is better than new anime. Don’t twist my words like that!

Something about living in a world where looking like this was actually something to aspire to just made you feel like anything was possible.