Enter the spiral

※I recommend reading the link below before reading the review.

Title: I'm not alone

Post date: 24 Dec 2022

Length: 2:02

Song:You're Not Alone ~DFFNT Version~

This time, I'm going to look back at a video titled I’m not alone, which I posted on December 24, 2022. I think this is the video where the shift in my style and overall approach—first seen in the previous work—became much more pronounced. The biggest change is how much more serious the tone has become, along with a stronger AMV/GMV-like atmosphere. There’s no humor in this piece; if anything, it leans heavily into being a tribute to Final Fantasy X. Because of this shift, I feel my videos now resonate more deeply with viewers who have actually played FFX and feel attached to its story and characters. On the other hand, this style makes it much harder for newcomers—those unfamiliar with FFX—to enjoy the video at all, so it’s fair to say my content has become more niche. Change always comes with both gains and losses, and this is a clear example of that. Now, let’s begin.

About the song

This track comes from DISSIDIA FINAL FANTASY NT, and is an arrangement of a piece originally used in a key event scene in Final Fantasy IX. The original track carries a strong sense of tragedy, while also conveying the courage to face harsh reality. Although it’s only used once in FFIX, the scene it accompanies is extremely popular among fans, which in turn has made the track itself highly regarded. It was also featured in Dissidia Duodecim Final Fantasy. This arrangement increases the BPM from 140 to 150, transforming it into a more upbeat, rock-style track. It really feels like a battle theme, and personally, I find it incredibly exciting to imagine fighting while listening to it. Initially, I considered using the original version for this video, but ultimately chose the arrangement because its faster tempo made it much easier to work lines into the track.

Features of this video

The core concept of this video is the idea that “you are not alone—you are supported by those around you.” While this isn’t the central theme of FFX itself, it’s something I strongly wanted to express, especially since I was using a track inspired by You’re Not Alone. The opening focuses on dialogue that highlights Yuna’s inner strength as a summoner, paired with slow-moving visuals to create a quiet, reflective atmosphere. Like my previous video, I kept the beginning subdued because of the song’s soft intro. One key moment here is Tidus’s line, “You’re not alone.” This line doesn’t actually exist in FFX, but since it’s also the title of the original track, I really wanted to include it—so I created it by editing together other lines from Tidus.

From 0:12 to 0:37, I used many positive lines from Tidus and Yuna about facing hardship, with visuals that rely on gently moving still images to avoid becoming overly flashy. The text shown at 0:25–0:31 uses the Yevon font, and the text at 0:35–0:37 uses the Spira font—both spelling out “You’re not alone.” From 0:38 to 1:04, the tone shifts slightly, featuring exchanges between Tidus and other characters, giving the sequence a somewhat lighter feel. I did want to include lines from other characters, but I was also concerned about straying from the core concept, so I chose to incorporate them here before the chorus.

The chorus starting at 1:04 centers on the message: you’re not alone—believe in me. This is reflected in moments like Tidus’s lonely monologue followed by the appearance of his companions (1:04–1:12), and Jecht’s line, “Believe me, trust me,” at 1:16. However, the true highlight of the video is the final sequence beginning at 1:42, where Yuna runs forward and is welcomed by her companions. This scene took a considerable amount of time to edit, but I’m very satisfied with how it turned out—it conveys both strength and a sense of wonder. The closing line, Yuna’s “I’m not alone,” serves as a perfect response to Tidus’s earlier line, tying the entire piece together. Another detail worth mentioning is the addition of a chorus starting at 1:28. The original DFFNT arrangement didn’t include one, but I added it to enhance the sense of strength and also as a nod to the original You’re Not Alone, which features a chorus in a similar section. For this, I used the Ronso Hymn, which felt like a perfect fit for conveying power and unity.

Throughout this video, I made a conscious effort to vary the structure and presentation to avoid a monotonous flow. I did struggle at times, wondering if there might be better ways to present certain parts, but in the end, I feel I was able to express the concept I had in mind. Come to think of it, this video makes heavy use of still images. That wasn’t entirely intentional, but it’s a natural continuation of the direction I started exploring in the previous work.

My favorite scenes

0:00~0:12 A quiet opening that signals the beginning of the story. The imagery of Gaia and Terra’s moons from FFIX intersecting is a small personal touch.

1:04~1:13 The moment where Tidus’s monologue transitions into the appearance of his companions—this scene captures the core theme of this video.

1:42~1:55 Yuna running toward the companions waiting for her. Combined with the final line “I’m not alone,” this moment feels especially emotional.

※I recommend reading the link below before reading the review.

Title: Fight with Sin ~Sin battle~

Post date: 16 Jul 2022

Length: 2:26

Song:Fight With Seymour(Theatryhthm Final Fantasy All-Star Carnival ver)

This time, I'm going to look back at a video titled Fight with Sin ~Sin battle~, which I posted on July 16, 2022. As I briefly mentioned in the previous review, this video marks the point where my overall video style, structure, and atmosphere begin to shift. There are various background factors behind this change, but one major reason is that between 2020 and 2023, I rarely watched videos in the so-called otomad/ytpmv genre. Instead, I spent much more time watching movie trailers as well as amv, gmv, and mmv (still-image MAD), using them as references for my own video production. I believe the influence of those genres really starts to surface with this video. Looking back now, it almost feels like fate that this stylistic shift began with my first video since resuming activities in 2020 that used a track from the Final Fantasy series—especially a popular battle theme from Final Fantasy X (albeit an arranged version). Now, let’s begin.

About the song

This track is featured in the rhythm game Theatrhythm Final Fantasy All-Star. It’s an up-tempo arrangement of Final Fantasy X’s “Fight With Seymour,” arranged by Yoshitaka Hirota. Specifically, the BPM was increased from 135 to 147. The original track has a strong progressive feel and clearly showcases Nobuo Uematsu’s signature style. This arrangement, on the other hand—likely because it was made for a rhythm game—places greater emphasis on speed and momentum. From a remixing perspective, I actually found this version much easier to work with. I did try remixing the original track as well, but lines didn’t fit nearly as well as I had hoped. Another aspect I personally appreciated is how the track ends—not with a fade-out, but with a clear finale. That structure made it much easier to envision the video’s climax, and ideas for the final sequence came together almost immediately.

Features of this video

Because the song begins relatively quietly, the video also maintains a restrained tone up until 0:18, using subdued line and minimal effects or flashy visuals. As the opening line “It begins” suggests, this section functions as a kind of prologue—signaling the start of the story.

From 0:18 to 1:07, the music feels like it intensifies and accelerates (even though the BPM itself doesn’t actually change). To match that rising energy, I used more forceful lines, including many battle voice lines. Visually, the sequence is composed almost entirely of still images, with an emphasis on dazzling, fast-paced, and visually overwhelming presentation. For me, 0:51–1:07 best encapsulates these characteristics. The first half of the video progresses quickly but in a relatively straightforward, almost matter-of-fact way.

From 1:07 to 1:33, the mood shifts dramatically into something more melancholic. I selected lines that conveys determination to face the final battle against Sin, as well as the courage of fighting as a Guardian. Visually, the pacing slows, giving the impression that the screen itself is gently drifting. I also leaned heavily into orange tones reminiscent of a sunset to heighten the sense of bittersweet emotion.

From 1:33 to 1:56, I made extensive use of 3D elements, aiming to create the feeling of entering a digital or cyber-like space. Lines here come almost entirely from battle scenes and focuses on momentum and intensity. Since this is the most climactic section of the track, I felt it was acceptable—even appropriate—to push the visuals further than in any other part, relying heavily on 3D effects.

From 1:56 onward, the tone gradually settles down again, and I focused on how to bring the video to a satisfying conclusion in sync with the music. As a result, 1:56–2:09 presents a darker atmosphere that touches on the truth behind Sin, followed by 2:09 onward, where the video moves directly into the decisive battle with Sin—perfectly reflecting the title Fight with Sin ~Sin battle~. As mentioned earlier, because the song ends with a definitive finale, it was easy to imagine the closing shot of the camera moving toward Tidus. Compared to the first half, the latter portion shows many more faces and unfolds in a more chaotic, turbulent way.

In this video, as the song goes through multiple distinct phases, I spent a great deal of time experimenting with how best to reflect those shifts through visuals and structure. In particular, I studied numerous still-image MAD (MMV) to refine how I placed images and timed their appearances. I also paid close attention to details such as background color schemes and camera movement within 3D space. All of this required a significant amount of effort, but it paid off—I was able to complete what I considered my best work at the time.

That said, perhaps the most noteworthy point of this video is something rather ironic: despite using Fight With Seymour as the music, Seymour himself never appears at all.

My favorite scenes

0:51-1:07 My favorite section from the first half. I aimed for visuals that matched the energy and feel of the music.

1:33-1:56 It had been a long time since I used 3D this extensively. Rendering this sequence took quite a while. (Since the file size is large, only still an image is attached.)

2:09-2:06 I was able to close the video exactly the way I had envisioned.

※I recommend reading the link below before reading the review.

Title: Flowering Yuna (2022version)

Post date: 28 Apr 2022

Length: 1:47

Song:Flowering Night(Scarlet Weather Rhapsody)

This time, I'm going to look back at a video titled Flowering Yuna (2022 version), which I posted on April 28, 2022. This video is a remake of Flowering Yuna, originally posted in 2010. I’ve created several videos centered on Yuna over the years, but none of them ever felt fully satisfying to me. Because of that, I decided I wanted to shine the spotlight on Yuna once again and committed to making this remake. I had hoped to release it sooner, but it ended up taking more time as I carefully refined the structure and visual direction. Compared to my approach back in 2010, I clearly remember thinking much more deeply, experimenting, and refining ideas throughout the process. Now, let’s begin.

About the song

The track comes from Touhou Project: Scarlet Weather Rhapsody. It’s an arrangement by Akiyama Uni of a piece originally used in Touhou Kaeidzuka. Compared to the original, this version stands out for its prominent violin lines, which give it a more refined and elegant atmosphere. Back in 2010, I actually wanted to use this arrangement when making Flowering Yuna, but at the time I couldn’t make the dialogue fit properly, so I ended up using the original track instead. Because of that, finally being able to create a video with this arrangement brought a strong sense of accomplishment—as well as a feeling of relief, like I had finally completed something that had been left unfinished. These are emotions I don’t often experience with other videos, but as with Auron Dial, remaking something more than ten years later carries a special weight.

Features of this video

Since this video is entirely focused on Yuna, all of the dialogue used comes exclusively from her. Unlike the previous Flowering Yuna, which leaned more toward Japanese voice lines, this version uses only the English voices. At just under two minutes in length, the structure isn’t meant to be slow or meditative; instead, it features many densely packed dialogue sections. Even so, I feel the rhythm turned out very close to what I had envisioned. Yuna’s voice is generally calm and gentle, but she also delivers moments of strong determination, and figuring out how to weave those together was key. I expected to rely more heavily on battle voice lines, but surprisingly, many of the final selections came from event scenes instead.

Visually, I kept the composition relatively simple. At first, I considered using more effects and dynamic camera work, but I felt that approach wouldn’t suit the song. I also wanted to preserve some of the atmosphere of the original Flowering Yuna, so I deliberately avoided over-editing the visuals. That said, my personal favorite moment is the sequence starting at 1:03, where subtitles appear as the dialogue unfolds at a brisk pace. I think I was able to rhythmically arrange Yuna’s lines expressing her trust in her guardians and her resolve to fight. Another highlight is the ending section starting at 1:42. While it’s customary for my videos to close with the Final Fantasy X title logo, this time I also layered in floral imagery. Since the title includes the word Flowering, it felt like a playful and fitting touch. By retaining some of the atmosphere of the original while fully committing to English dialogue this time, the result feels genuinely satisfying to me. This video also marks my final work using music from the Touhou series. I feel I’ve fully accomplished everything I wanted to do with Touhou tracks, so I have no regrets. From the next video onward, the overall tone of my work gradually begins to shift—but that’s a story for another time.

My favorite scenes

0:18-0:25 This section was composed with the original Flowering Yuna in mind.

1:03-1:28 I aimed for a rhythmic interplay between subtitles and dialogue, and I think it turned out exactly as I imagined.

1:42-1:47 The final scene with layered flower imagery. I think it gives a slightly different impression than my usual endings.

※I recommend reading the link below before reading the review.

Title: Eternal Spiral Dream

Post date: 25 Dec 2021

Length: 2:56

Song:Eternal Spring Dream(Legacy of Lunatic Kingdom)

This time, I'm going to look back at a video titled Eternal Spiral Dream, which I posted on December 25, 2021. It was my final video of 2021. Looking back, every video I posted after resuming my activities in 2020 had a distinctly dark atmosphere. This one, however, while it does include moments that feel bittersweet, can’t really be described as dark. In that sense, it might be considered a slightly unusual entry that broke from my previous streak. That said, what I was doing fundamentally didn’t change all that much, so it wasn’t a dramatic shift either. This video was also uploaded in December. When I think about it now, I really did post a lot of videos in December—almost as if I had been consciously aiming for Christmas every year. Now, let’s begin.

About the song

The track is from Touhou Project: Legacy of Lunatic Kingdom. While it isn’t the theme for the Stage 6 boss or the EX boss, it’s said to strongly convey the feeling of facing a formidable enemy. When I actually listened to it, I found that while it creates a dreamy, almost otherworldly atmosphere, it also carries a sense of eeriness and melancholy. It genuinely evokes the feeling of battling a powerful foe. The piano section in the middle of the track left a particularly strong impression on me. Its structure feels unmistakably like ZUN’s work, and I couldn’t help thinking, “Yes—this is exactly what makes ZUN’s music special.” Creating a music video for this track was no easy task, but that only made the sense of accomplishment upon completion even greater. It was also a moment that reminded me just how fortunate it is to encounter such a great piece of music.

Features of this video

The opening uses a wiggler effect and a darker visual composition, conveying a sense of restlessness and urgency. After that, however, the video shifts into calmer scenes with brighter colors and a more relaxed visual flow. Compared to several of my earlier works, this gives the video a somewhat distinctive overall atmosphere.For the dialogue, I chose many lines that confront painful truths or express fleeting, dreamlike fragility. Despite that, the tone isn’t overwhelmingly tragic—perhaps thanks to the nature of the music itself. Toward the end, there are even sections that suggest a sense of hope.

Two scenes I’m particularly fond of are 1:04–1:14, which features a comic-style presentation, and 1:48–2:08, a slow and gentle sequence. The former uses an approach I hadn’t tried in my previous videos, and I think it successfully adds both speed and a touch of humor. The latter corresponds to the musical “pause” just before the chorus, so I structured it to let viewers slowly take in both the visuals and the dialogue. Incidentally, the voice used in this scene belongs to Shiva’s fayth. It may seem like an unexpected choice, but the character delivers some memorable lines in the story, and I felt compelled to include one here. While I was able to express exactly what I wanted in these two scenes, I struggled to come up with strong ideas for other sections and ended up reusing techniques from past videos in a few places. In hindsight, I wish I’d pushed my imagination a bit further and challenged myself with more new expressions.

Up until this point, I usually worked in the order of audio first, visuals second, but around this time I began shifting toward visuals first, audio second. There had been signs of this change slightly earlier, but this video was where I clearly committed to starting with the visuals. In that sense, Eternal Spiral Dream could be considered a turning point in my creative process.

My favorite scenes

1:04-1:15 The comic-style scene. Only the speech bubbles move, which gives it a slightly surreal feel.

1:47-2:08 A slow-motion sequence with posterization effects to express fragility. I think Shiva’s fayth voice fits this scene very well.

2:08-2:19 The scene where the characters turn into bubbles and race across the sky. This was inspired by the ending scene of FFX.

※I recommend reading the link below before reading the review.

Title: Auron Dial (2021version)

Post date: 8 Aug 2021

Length: 1:32

Song:Lunar Clock ~ Lunar Dial(Immaterial and Missing Power)

This time, I'm going to look back at a video titled Auron Dial (2021version), which I posted on August 8, 2021. This video is a remake of “Auron Dial,” originally posted in 2009. Remaking older videos was something I had wanted to try for a long time, but I never really found the right opportunity. After finishing my previous upload, I found myself unsure about which song to use next, and on a whim, I decided to give a remake a try. Besides this video, the only other remake I’ve done is “Flowering Yuna (2022 version),” released in 2022. Both were remade more than ten years after their originals, but in both cases, the level of passion I put into the production remained just as strong. Now, let’s begin.

About the song

The track is from Touhou Project: Touhou Immaterial and Missing Power by Akiyama Uni of a song originally used in Touhou the Embodiment of Scarlet Devil. As with the original, this arrangement has a strong rock feel throughout, which in a good way feels somewhat detached from the refined and elegant image of Sakuya Izayoi, the stylish maid associated with the song. That said, the latter half features a piano section that brings a sense of grace and elegance to the track. What stood out to me most personally were the piano and bass parts. From the intense opening to the graceful piano-driven ending, the way rock elements and sophistication are woven together makes this a truly excellent piece.

Features of this video

Like the original, this video focuses on a single character. This time, that character is Auron, and the video is composed entirely using Auron’s voice lines. The original Auron Dial also used only Auron’s lines, but at the time, I mixed in some Japanese voice clips. In contrast, the biggest difference in this 2021 version is that only English voice lines are used. Despite that, I think the overall atmosphere of the two videos is quite similar. Some scenes reuse the same lines—such as “You away!” and “No mercy!”—and both versions share a relatively dark color tone. They also have other similarities, like including scenes of Young Auron toward the latter half of the video.

While some of the audio overlaps with the original, the visuals were updated to create a clear distinction. One notable change was the inclusion of time- and clock-related imagery, reflecting the characteristics of the Touhou character associated with this song. I also made heavier use of glow effects this time around. Beyond that, there isn’t much to single out, but overall, I focused on choosing music and editing styles that would best highlight Auron’s character.

Honestly, I expected that after twelve years—along with more editing experience and different software—the video would feel dramatically different. In the end, that wasn’t entirely the case. The result isn’t exceptionally flashy or groundbreaking, but I think it turned out to be a solid, well-balanced video. If the runtime had been longer, it might have taken on a slightly different atmosphere.

My favorite scenes

0:21-0:28 The scene featuring Auron’s Overdrive. I worked to give it as much impact as possible.

0:42-0:55 The segment with clock imagery. Personally, I feel it captures both nostalgia and freshness.

1:11-1:23 Edited to be the most stylish part of the video. It took time, but I’m satisfied with how it turned out.

Source:FFX Music:Lord of the Castle (Marluxia) ~Kingdom Hearts III~

※I recommend reading the link below before reading the review.

Title: Locked Black Mage

Post date: 4 May 2021

Length: 2:08

Song:Locked Girl ~ The Girl's Secret Room(dBu version)

This time, I'm going to look back at a video titled Locked Black Mage, which I posted on May 4, 2021. As the name suggests, this one centers on Lulu. Funny enough, I wasn’t planning to make a Lulu-focused video at all—I had a completely different project in mind. But the moment I heard the song, I thought, “This would be perfect for Lulu,” and decided to switch gears. Trusting my instincts and diving straight in like that was pretty unusual for me at the time, even though I used to do it often back in my early days. Now, let’s begin.

About the song

The track comes from Touhou Project: Embodiment of Scarlet Devil, specifically Patchouli Knowledge’s stage 4 boss theme, using a dBu arrangement. ZUN himself described the original as “a dark song,” and I think that atmosphere really comes through from start to finish. The dBu version keeps that darkness and sense of confinement, but compared to the original, it feels just a touch brighter. The full track runs over four minutes, which is a bit long for a full-length Remix video, so I used about half of it here. Still, if you get the chance, I definitely recommend listening to the whole arrangement.

Features of this video

Because the video focuses on Lulu, I used only her voice lines. At first I was worried: Lulu’s lines tend to be calm and steady, but not particularly forceful. I wasn’t sure if that would be enough to build a compelling video. But once I combined her story lines with her battle voice clips, the mix of calm, gloominess, and a hint of passion actually worked really well. From the opening radio-like filter to the final “Magic has no limits!”, the audio ended up stronger than I’d expected. The variety in Lulu’s voice lines definitely helped keep the production moving smoothly. Visually, I went with darker tones to match both the song and Lulu’s character. Effect-wise, I tried a few things: the crystal-lens effect at 0:18 that reflects Lulu, and the wiggler effects from 1:29 onward to ramp up the intensity. The crystal-lens scene is probably my favorite part—it really captures the “black mage” vibe I wanted.

That said, compared to the audio, I do feel there was room for more creativity in the visuals. If I could redo it, I’d probably add more flair to the section starting at 1:03 or make the magic-circle animation at 1:16 more striking. Some people might prefer the simpler, cleaner look, but personally I would have liked to push the effects a bit further. Overall, I’m satisfied with how it turned out. But what made me happiest was that I actually managed to make a full video using only Lulu’s lines. If this had been before 2017, I probably would have given up halfway. Even with breaks and slumps, I can see that I’ve grown—little by little—in my creative process.

My favorite scenes

0:00-0:11 A radio-style filter added to the audio. The section from 1:04–1:15 uses the same effect.

0:12-0:25 The crystal-lens effect that reveals Lulu, along with some Spira font to give it a stylish look.

2:01-2:03 Ending with “Magic has no limits!”—something I had decided on from the very beginning.

※I recommend reading the link below before reading the review.

Title: Demon Dream Sonata

Post date: 13 Dec 2020

Length: 3:55

Song:Demon tale sonata (Hartmann's Youkai Girl, dBu version)

This time, I'm going to look back at a video titled Demon Dream Sonata, which I posted on December 13, 2020. Among all the Touhou series tracks, this was one I had always promised myself I’d use for a Remix someday. That’s how passionate I was when making this video. It turned out to be nearly four minutes long — quite lengthy — but since I already had a rough idea of the structure in mind, I took my time bringing each concept to life without rushing. As a result, while there were a few rough edges, I was mostly able to express what I wanted, and I’m very satisfied with the outcome. In the past, I often lost motivation right after finishing a video I was satisfied with, but this time I managed to move straight into the next project without that slump. A small but meaningful step forward, I think. Now, let’s begin.

About the song

The song is from “Touhou Project: Subterranean Animism”, used as the theme for the EX boss Koishi Komeiji, with the dBu arrangement version featured in the video. The original track has a mysterious and eerie tone, but this arrangement raises the BPM considerably, creating a sense of urgency and restlessness. Even so, in the latter half there are moments of calm and mystique, making it a very dynamic and compelling remix. Many editors have used this song for their Remixes before, showing just how popular it is. However, there aren’t many videos that use the entire track — understandable, since it’s nearly five minutes long.

Features of this video

This video starts unusually — with an original FFX cutscene right at the beginning: Tidus’s dream scene in Beside. From there, the main video begins with a relatively calm opening. Rather than using lines to tell a story, I focused on repeating phrases for a slightly hypnotic effect. Starting at 0:47, the energy begins to build, reaching its first peak around 1:15–1:26. At 0:47, I added a chopped vocal effect — a little playful experimentation. And with the help of the Wiggler effect, I think I managed to capture a sense of chaos and intensity. From 1:26, the tone eases slightly as the song itself calms down, but I built the energy back up from 1:46, and added a sense of brilliance and momentum around 1:56. Overall, the first half blends urgency with vibrancy — but there’s almost no story structure, so depending on the viewer, it might feel like watching a disjointed, surreal dream.

The latter half, beginning at 2:07, shifts dramatically in tone — becoming quieter and eerier, starting with Bahamut’s fayth scene. Through repeated words like dream and wake up, I tried to convey the sense of Tidus gradually awakening from his dream. Then comes the tragedy at 2:34, where Tidus and Yuna are shot in front of Vegnagun in FFX-2, followed by the cry of anguish at 3:19, symbolizing Tidus's awakening — completing the concept of “Demon Dream Sonata.” The synchronization between music and imagery during the shooting scene at 2:44 was crucial — whether I could edit that well would determine the emotional impact of the following silence and anguish. Thankfully, I think it worked out well. At 3:19, I didn’t match the visuals to dialogue; instead, I used a pure “YTPMV” style. The scene portrays Tidus in deep anguish, haunted by memories of Yuna — a heavy, emotional moment. Overall, the second half interweaves tragedy and nightmare imagery, resulting in a darker tone compared to the first half.

I was pretty happy with how this video turned out, but the average view duration on YouTube was actually under 40% when I first posted it — way lower than my other videos.Although, I was honestly shocked, Looking back, perhaps the opening FFX cutscene failed to draw viewers in, or maybe the video length and pacing caused drop-offs midway. In any case, even when something seems to go well, it’s important to step back, analyze, and view it from different angles.

My favorite scenes

1:15-1:26 Used the Wiggler effect more aggressively to evoke a sense of urgency.

1:56-2:07 The only scene in the video that could be called “brilliant” or “radiant.” It stands out even more given the dark tone that follows.

3:12-3:54 From the tragic shooting to the anguished cry, and finally awakening from the nightmare — this sequence was the core of what I wanted to express. (Since the file size is large, only still an image is attached.)

※I recommend reading the link below before reading the review.

Title: Spira Alien

Post date: 3 Aug 2020

Length: 3:27

Song:The march over sky(Heian Alien, dBu version)

This time, I'm going to look back at a video titled Spira Alien, which I posted on August 3, 2020. As I mentioned before, this was my first upload in nearly two and a half years. Even though a lot of time had passed, I had actually been working on this video little by little since 2017. The process dragged on endlessly—not only because the track I used was long, but also because I just couldn’t find the motivation to finish it. Things finally changed in 2020. With the COVID-19 pandemic keeping me at home for long stretches of time, I was able to secure enough production time to push the project to completion. If anything, without that unexpected circumstance, I might have ended up retiring from creating videos altogether. I have absolutely no intention of “thanking” the pandemic, of course, but sometimes misfortune leads to strange twists of fate. Now, let’s begin.

About the song

The track comes from the game Touhou Project: Undefined Fantastic Object (Touhou Seirensen). It’s the theme of the EX boss, Nue Houjuu, and I used a dBu arrangement. It carries this eerie sense of familiarity—like it resembles something you’ve heard before, yet you can’t pinpoint what it is. If I had to name something, I’d say it has a slight resemblance to other Touhou tracks like U.N. Owen Was Her? or Hartmann’s Youkai Girl. According to ZUN, the composer, the theme is meant to evoke an old-fashioned, Japanese-style sense of fear and melancholy. It was a bit hard to visualize at first, but I do see where that feeling comes from. The intro is outstanding as well—it grabs you right from the start. The loop is over three minutes long, but I highly recommend listening all the way through.

Features of this video

As the title “Spira Alien” suggests, I made this video from Tidus’s perspective—as someone who is essentially a stranger in Spira. The phrase “I don’t know” appears repeatedly, starting with Lulu’s line, “I don’t know who you are, or where you came from.” I chose this phrase intentionally, since the video focuses on “Tidus, who knows nothing”—nothing about Spira, nothing about the Final Aeon, and nothing about his own secret. This worked especially well because the music itself is the theme of a character whose true nature is also “unknown,” which helped amplify the mysterious tone of the video. Overall, the atmosphere is quite dark, hinting that an unforgiving truth awaits Tidus, completely unaware of what lies ahead. That said, the scene from 1:20 to 1:41 acts as a breather—a brief moment of levity with the “Did I… say something funny?” “Yes.” “!” exchange. Judging from the comments, that moment really stuck with many viewers. Visually, I kept the color palette dark and used effects sparingly, especially in the early to mid sections, to avoid making things too overwhelming. One of my favorite touches is the shattered-screen effect that syncs with “I don’t know” at around 0:55. Another is the appearance of the Dissidia imitation at 0:47—I never imagined I’d use the imitation in one of my videos, which makes it particularly memorable for me. From 1:50 onward, where the phrase “They do now” repeats, the visuals gradually intensify to match the rising tension of the music. The Wiggler used in that section, the explosion of mini-windows at 2:03, and the frantic camera work from 2:48 onward all contribute to the buildup toward the climax. In short, the video’s energy shifts dramatically between the first and second halves. I feel I managed to capture that contrast well, and considering it was my first upload after resuming activity, I’m satisfied with how it turned out. This was also the first video where I used footage from the HD Remaster. It happened because I accidentally deleted my PS2 footage, but in the end the higher resolution made it easier to cut still images, and the overall workflow improved. A lot can change over two and a half years—but in this case, things changed for the better.

My favorite scenes

0:47-0:56 The appearance of the Dissidia imitation. Part of it is also used in the thumbnail.

1:20-1:40 A section that feels more relaxed compared to the rest, almost as if time slows down.

2:48-3:08 I experimented with camera movement to help elevate the climax. (Since the file size is large, only still an image is attached.)

※I recommend reading the link below before reading the review.

Title: Let the Battle Begin!

Post date: 26 Dec 2017

Length: 1:28

Song:Let the Battle Begin! ~DFFAC Version~

This time, I'm going to look back at a video titled Let the Battle Begin!, which I posted on December 26, 2017. It was my first upload in a year since the previous video. At the time, I struggled to decide on a track, and even once I did, I couldn’t summon the motivation to actually start editing. Looking back, I think the years from 2014 to 2017 were when I lacked the drive for video production. In the end, I managed to post this video before the end of 2017, but afterward, I took a two-and-a-half-year break from uploading. My next video didn’t come until August 2020. I’ve summarized what happened during that time in a separate post, so if you’re interested, please take a look.let’s begin.

What happened between January 2018 and July 2020?

About the song

The track comes from the game Dissidia Final Fantasy Arcade. It’s actually an arrangement of the normal battle theme from Final Fantasy VII. The original version was notable for dropping the traditional intro phrase that had been a hallmark of earlier Final Fantasy titles—signaling, in a way, the arrival of a new era for the series. The arrangement I used here is like a techno remix of that song. Because the original loop was short, this arrangement is also fairly brief. I had never challenged a track of this type before, so it was a good experience for me. Since FFVII spawned a wide range of spin-offs, there are many different arrangements of its music. Personally, my favorite is the rock arrangement from Advent Children.

Features of this video

Since the song itself is a normal battle theme, I mainly used lines from FFX battle scenes. A few Dissidia Final Fantasy voice clips also made their way in. I had done something similar before with my 2013 video Battle1(FFIV)~DDFF&FFX Remix~, but in this case, Tidus got much more screen time. I did want to structure it so that as many characters as possible had their moments, but of course Kimahri doesn’t have many lines, so his appearance ended up being limited. Another of my concepts for this video was to use as many voice clips from main characters as possible, so maybe I should have included Jecht’s DFF lines as well. Because of the short runtime, I couldn’t build a structure that tied into FFX’s story, but I still think it turned out decently for what it is. For visuals, I added some noise effects and Twitch effects here and there to match the track’s rhythm. I also included character-related images (like weapons) to add some variation. Personally, my favorite part is the opening 10 seconds, the only section where I used subtitles in this video. They synced well with the repeated “Fight, fight, fight” voice line. Back then, I wasn’t very skilled at using subtitles effectively, but I wish I had studied more and integrated them into more sections. Overall, the video doesn’t have any big climactic moments—it just flows along steadily. But I’m glad I was able to sustain the pacing for the full 1:26 without it feeling sluggish. If I were making this video now, I don’t think it would take me more than three weeks. But at that time, as I mentioned, I simply couldn’t find the motivation. I squeezed out the bare minimum of energy and technical ability I had left to finally finish it, which really shows how much I was struggling then. It’s not just about video-making—learning how to spark motivation is an important skill in itself.

My favorite scenes

0:00-0:10 Fight,fight,figt...

1:00-1:02 Kimahri’s only appearance in this video. Forgive me, Kimahri...

1:15-1:22 The lines are from a battle scene, but the visuals come from a story event.

※I recommend reading the link below before reading the review.

Title: Spiral Dance

Post date: 24 Dec 2016

Length: 4:01

Song:Flower Dance(DJ Okawari)

This time, I'm going to look back at a video titled Spiral-Dance, which I posted on December 24, 2016. It was uploaded on the same day as Ronzo Mountain Sacred Mountain, which I reviewed last time. That said, this video was originally made as a change of pace, and I had no intention of posting it at first. However, since the audio came together relatively smoothly, I figured I might as well make a video for it and upload it. Although it turned out to be quite a long video, I’d say the result was neither particularly good nor bad. Now, let’s begin.

About the song

The song was composed by DJ Okawari, a DJ and trackmaker, and is included in his 2010 album Kaleidoscope. The piano tones are beautiful, evoking a sense of melancholy. At the start, there’s a short conversation between a man and a woman—this comes from a scene set on a space station in the 1960 Italian film Space-Men. When I posted Spiral-Dance, I actually didn’t know this, but apparently there are quite a lot of remixes of this track. Many of them are deeply moving, which shows just how popular the original song is. In particular, the combination of this track with the anime Re:Zero − Starting Life in Another World racked up an incredible number of views. I wonder if new remixes of this song are still being made today—I’d love to check them out.

Features of this video

This video was originally intended as a digest of Final Fantasy X, so I arranged the game’s lines in chronological order, focusing especially on ones that matched the song’s emotional tone—lines filled with sadness and pathos. I didn’t add any major shifts in structure, but from 2:14 onward, the video moves into a pivotal part of the story, which still stands out to me personally. Tidus’s monologues here are also quite poignant. All the voice lines used are from the Japanese version only. That means if you don’t understand Japanese, you probably can’t enjoy the video fully, and for that I apologize. Incidentally, this is the first time since my 2009 video Tidus’s Perfect Yome Class that I used Japanese voices for the entire video. And, in fact, this was the last time I ever used Japanese voices. In the early days of my work, I often found that the English voices didn’t quite fit well, so I used the Japanese ones as a last resort. But as my editing skills improved, I became able to construct the audio entirely from the English version. Another reason is simply that my Japanese skills declined over time.

As for the visuals, there isn’t much to say—I added a few effects like glow and rising bubbles. However, looking back now, I feel that such effects might have been unnecessary, considering that the goal was to emphasize the melancholy and tragic tone of the voices. My current approach is to intentionally keep effects to a minimum so the message in the audio stands out more to the viewer, but that idea never occurred to me back then.

Overall, the video moves along quietly, but I think it came together reasonably well within its 4:01 runtime. And yes, the song itself is almost four minutes long, which makes this my second-longest video ever. The longest, U.N. Owen was Tidus?, was actually a combination of two songs, so if we’re talking about a single track, this one takes the record. In hindsight, it was way too long for something that was supposed to be “just for a change of pace.”

My favorite scenes

1:07-1:11 A scene where Tidus runs toward Sin, with Jecht’s image overlapping.

2:14-2:55 A part that delves into the core of the story. It’s a huge spoiler… (Since the file size is large, only still an image is attached.)

3:30-4:01 The transition from “This is my story” to the ending matched the song very well. (Since the file size is large, only still an image is attached.)

※I recommend reading the link below before reading the review.

Title: Ronzo Mountain ~ Sacred Mountain

Post date: 24 Dec 2016

Length: 1:26

Song:The Youkai Mountain ~ Mysterious Mountain(Touhou~Mountain of Faith)

This time, I'm going to look back at a video titled Ronzo Mountain ~ Sacred Mountain, which I posted on December 24, 2016. As the title suggests, this video focuses on the Ronso tribe—or more specifically, on Kimahri. I never imagined I’d end up making a video centered on Kimahri, so when I uploaded it, I remember feeling a strange sensation, like, “Am I dreaming?” I’d say the video itself is neither particularly good nor bad, but it has become one of my most memorable works. Now, let’s begin.

About the song

The track comes from the game Touhou Project: Mountain of Faith. It has an unusual time signature—it starts in 3/4, but then shifts into 4/4 for the chorus, which is quite rare. According to the composer ZUN, the piece was inspired by tengu, a type of Japanese youkai (spirit), and he aimed to mix in an old-fashioned, nostalgic feel. It also has a tension fitting for a battle theme, which is why I felt it would suit Kimahri. As I’ll mention later, the loop is less than 90 seconds long, which actually turned out to be helpful in the editing process. That said, it’s such a great track that I would’ve liked to hear it in a longer arrangement.

Features of this video

I initially planned to use many of Kimahri’s voice lines, but he’s a quiet character and doesn’t have much lines, so audio editing was quite a challenge. As a result, I ended up using Japanese voice clips—something I hadn’t done in a while—and included lines from Biran, Yenke, and Yuna, characters connected to Kimahri. This helped reveal more about his character. Thanks to the short runtime of the video, I managed to pull it together reasonably well. Audio-wise, it was a difficult challenge, but I’m proud that I not only managed to pay tribute to Kimahri, but also gave some attention to rarely used characters like Biran and Yenke. They’re not main characters, but this video let me explore their potential and role in the story a bit more.

For the visuals, I included background shots of Mount Gagazet and falling snow to evoke a harsh environment. I think it matched the solemn feel of the music well. As for effects and camera work, they were more reserved compared to my previous videos. I had hoped to experiment more, but due to time and technical limitations, I couldn’t. Looking back now, I think the more minimal visual approach worked out, especially considering the tempo of the song isn’t very fast and the video isn’t long. Now that I think about it, Tidus doesn’t appear in this video. I had considered including him, but in the end, there wasn’t a good opportunity to do so.

At the time, I wasn’t posting videos frequently and didn’t have much time for production. I was also unsure whether my editing skills were improving or regressing—it was a bit of a wandering period for me. I didn’t worry much about it then, but in hindsight, that uncertainty may have contributed to my decision to take a break from making videos later on.

My favorite scenes

0:00-0:07 I still love the combination of characters and their associated imagery.

0:33-0:50 I finally got to use Yuna’s monologue from her farewell sphere, which I had wanted to use for a long time. (Since the file size is large, only still an image is attached.)

1:19-1:26 The beautiful backdrop of Gagazet left a strong impression.

※I recommend reading the link below before reading the review.

Title: Guardians under the Willows

Post date: 5 Jun 2015

Length: 2:26

Song:Hitouban Under the Willows(Dullahan Under the Willows, dBu version)

This time, I'm going to look back at a video titled Guardians under the Willows, which I posted on June 5, 2015. It ended up being the only video I uploaded that year. I'm fairly satisfied with the quality of the video itself. However, right after posting it, there was a major change in my living environment, and I had to step away from video production for a while. As a result, my next upload wouldn’t come until a year and a half later. Even so, I never intended to quit — I simply waited patiently for things to settle down. Now, let’s begin.

About the song

The track comes from the game Touhou Project: Double Dealing Character, part of the Touhou Project series. It’s Sekibanki’s theme, and like my previous video, I used a dBu music arrangement. Both the original and the arrangement have a strong rock vibe, with the electric guitar’s tone especially leaving a lasting impression. The music captures the tension of encountering a youkai (supernatural creature). Personally, I like both the original and the arrangement. However, the impression you get from the intro differs: The original starts in a way that gives you a sense of unease — as if something bad is about to happen — while the arrangement overwhelms you with sheer force from the get-go. It’s a fantastic track, and I think it has a lot of remix potential, but surprisingly, it hasn’t been used in many remixes. I’d love to see more people remix this piece.

Features of this video

In terms of audio, this video has a slightly different approach compared to my earlier works. Specifically, there are several segments that repeat the phrase "Come on, come on, come on." Reusing the same line multiple times within one video was rare even in my older works, but I felt that the "Come on" line could really work, so I decided to give it a try here. It turned out just as I hoped, and I was able to use "Come on" lines from a variety of characters, which made for a satisfying result. I also quite like the "not think" insert at 0:04. That said, my favorite part is the section starting at 1:24. It’s a quiet moment right before the video’s climax, showing Yuna’s unwavering resolve and Tidus watching over her — a composition that fit perfectly. I wish I had included more segments that respected Final Fantasy X's story like this.

As for the visuals, the scene at 1:24 — which I just discussed in terms of audio — also deserves some commentary. At first, Yuna’s face isn’t fully visible, but by 1:44, we see her entire expression. This deliberate reveal helps emphasize her determination. I’d wanted to try this kind of dramatic storytelling for a while, so I’m glad I was able to achieve it in this video. Other scenes that stood out include the one at 0:51, where character images appear in sync with directional arrows, and the motion effects at 1:13 that correspond to the "Come on" line — both quite memorable. If I had to critique anything, I might say the climax starting at 1:47 could’ve used more dynamic action. Still, the scene with Tidus and Jecht from DISSIDIA matched well, so I’m quite satisfied overall.

This video used a wide range of materials and effects, including content from DISSIDIA, but initially I didn’t think there was anything particularly groundbreaking to talk about. However, watching it again after so many years revealed a lot of new things — making this review a very enjoyable experience. After all, my perspective really does change after ten years.

My favorite scenes

0:04-0:05 Yeah, guardians should fight, not think.

1:13-1:24 A visual sequence that flows in time with the "Come on" line. The mix of DISSIDIA images and FFX landscapes feels quite fresh.

1:24-1:46 Yuna’s moment of resolution. It might come as a surprise, but this is actually my favorite part of the entire video.

party members

Seymour

※I recommend reading the link below before reading the review.

Title: Unhuman Pilgrims

Post date: 25 Dec 2014

Length: 1:58

Song:Unhuman Variations(Futatsuiwa from Sado, dBu version)

It was my first upload in a year since the previous work, and it turned out to be the only video I posted in 2014. Over that year, there weren’t any major changes in my personal life, but I just couldn't find the motivation to create, nor could I decide on a song to use, which led to the long gap. That said, once I actually started working on it, as usual, I was able to finish it in a short period of time. More than anything, what left the strongest impression on me about this video was the sense of relief — “I’m just glad I was able to post it.”. Now, let’s begin.

About the song

The track comes from the game Touhou Project: Ten Desires. It’s the theme of the Extra Stage boss, Mamizou Futatsuiwa. In this video, I used a dBu music arrangement of the original theme. The original version has a light, upbeat rhythm that gives the impression of time-traveling back to historical Japan (like the Edo period). The dBu version is particularly interesting, beginning with NES-style chiptune sounds and undergoing various transformations throughout. Although the video is less than two minutes long, the full arrangement runs for about six minutes. I had hoped to use the full version to showcase everything the track had to offer, but unfortunately, it was beyond my capabilities. Still, the arrangement is truly wonderful, and I highly recommend giving it a listen.

Features of this video

For the audio, I chose many voice clips that reflect Yuna’s resolve to protect and her determination to fight. The track starts lighthearted but gradually becomes more emotional as it moves into the latter half, so I think the impression changes quite a bit between the beginning and the end of the video. I particularly remember the scene at 1:26, which uses Tidus’s lines from the Al Bhed Home. This scene really drove home the idea that “Despite everything, this video is ultimately a serious one.” Given the structure of the music, it couldn’t be helped, but in hindsight, I wish I could’ve made the video about 30 seconds longer to include scenes from FFX’s final battle or the ending. It’s hard to fully express everything I want to say in under two minutes.

As for the visuals, there’s nothing especially new; it mainly switches between static and dynamic scenes. Compared to the previous work, this one uses fewer still images and more restrained visual effects. One notable part is 0:14–0:26, which uses a Japanese-style illustration as the background — an artwork themed around Danzaburou-danuki, a mythical shapeshifter from Japanese folklore. Since Mamizou Futatsuiwa is a tanuki-inspired character, I wanted to include some kind of tanuki imagery, and this image fit perfectly with the traditional Japanese atmosphere of the track. Also, if you look closely, the background used in 0:50–0:59 is a photo of Japanese roof tiles (kawara). Elements like these that evoke a sense of "Japan" are a distinct feature of this video.

While I wasn’t quite as motivated as I was when making the previous video, I made an effort to bring out some unique elements, like the Japanese motif, through creative ideas. I believe that constantly striving to bring out originality is a key aspect of video creation — and it’s something I still continue to value.

My favorite scenes

0:14-0:26 The part with the tanuki illustration. This really captures the essence of “Wa” (Japanese aesthetic).

0:50-0:59 The background uses several types of roof tile images. Another distinctly “Wa” element.

1:26-1:37 A stark contrast to the lighthearted opening — the video suddenly takes a serious tone.

PS2 version

HD remaster version