Tuesday, March 17, 2026

"Good-Bye My Love" ("Heavy Metal L-Gaim" Short Story Epilogue) - Part 1


Those of you who know me closely might probably know by now that I formerly enjoyed Heavy Metal L-Gaim at first, many years ago as I was watching it... before I eventually finished the show and was super disappointed by how it ended to the point of me just straight up disliking the whole show now.
 
Well, as it turns out—to my surprise, apparently the show has an epilogue? Yes, you heard that right. Sometime in 1985, an L-Gaim-themed special volume of Animedia was released, and within that volume is a short story written by screenwriter Yuji Watanabe that focuses on Leccee as she goes to visit Daba after the great war that occurs during the show's final episodes.
 
Without spoiling anything... jeez. Even if the epilogue is still somewhat bittersweet, it's a hell of a lot better of an ending than how the TV show ended. Why couldn't Sunrise have animated this as an extra episode? Or heck, even as a short separate OVA? This story was really enjoyable to read through and it has now changed my mindset on how I view L-Gaim as a whole.
 
The short story is several pages long—I'll be splitting it into separate "chapters" on here. Scans come from a Bluesky post by Konanne & the English translation was provided by Windii.

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Animedia Exclusive Original Story

Heavy Metal L-Gaim
Good-Bye My Love

Five years have passed since the battle ended—the youths who once fought together now walked their own paths. Then one day, a turning point arrived for Leccee. It was the moment to bid farewell to a love...

An L-Gaim original story by Yuji Watanabe! 

 



-Chapter 1-

In the crowded lobby of Quito Spaceport, Leccee fidgeted with a letter from her mother, Telles, while waiting for the boarding announcement.

Even now, she was still hesitating.

As an executive of the New Pentagona World Construction Committee, using the name Gaw Ha Leccee would have allowed her to reach her destination, Ugoor, via a government-exclusive ship without using this disordered civilian airport. Yet she had deliberately chosen a civilian spacecraft, one that had been in service for quite some time since the port reopened. Perhaps it was because she wanted a little more time to think.

Still, in this lobby bustling with excited travelers, she was tormented by a strange loneliness, like a lost child.

Six years had passed since then...

It had been six years since she, as a former Poseidal military officer, had met Daba Myroad and left the planet Koam, as if chasing after him.

A mixture of nostalgia and loneliness washed over her as she looked around once more.

The tense weariness, sickness, and decay of that time had been swept away; a sparkle shone in people's eyes. Outside the spaceport, the cold wind still blew relentlessly, but inside the buildings, the heating kept them warm.

It was clearly a symbolic sight, showing a planetary world racing up the slope toward the new world Leccee and the others aimed for.

Yet, for some reason, Leccee couldn't bring herself to covet that sight. She felt nostalgia for a more rustic, more human-like cityscape. Perhaps it was the scent of the battlefield soil, mixed with dust and sweat, that she had once raced through alongside Daba Myroad.

Shaking her head as if to shake off the gloom creeping into her heart once more, Leccee scanned the words of the letter from her mother, Telles.

'I feel I can understand the mental strain you must endure now, holding such a demanding position and laboring to build a new nation. At one time, I tried to convince myself to accept your father's words, to resign myself to thinking of you as dead, given your series of actions. But now, hearing rumors of your achievements, I can only say one thing: splendid. We who failed to understand you back then may not be worthy to call ourselves your parents. But knowing full well the risk of being called unfilial, I must make this request. I will be frank with you. Since Father's passing, factional strife within the prestigious Ha clan of Gastogal has begun to surface. If you would return, I believe the Ha clan could unite once more, with you at its pinnacle...'

What followed was a relentless stream of words expressing her mother's love, selfishness, and complaints. How many times had Leccee reread this desperate plea? A plea born from the desire to protect the pride of a distinguished family that had reigned as King of Ha for centuries, and survived as the Ha clan even after the formation of the unified nation under Gastogal.

Each time, she let out a deep sigh.

That was...

It was after the committee had decided to increase the personnel of the Interstellar Security Force—Leccee recalled the day the servant arrived bearing her mother's letter.

It had already been five years since Daba had returned to the village of Ugoor on the planet Koam with Olibee.

The youths who shattered the corrupt adults' false utopia established a new Interstellar Federation, entrusting its governance to the so-called ‘Five-Person Committee’ composed of representatives from each planet. Among them were neither Leccee, Amu, Kyao, nor Semuj. They were merely heads of various sections assisting the ‘Five-Person Committee’.

This was partly because Daba, the greatest contributor, had relinquished the highest position. But it was also the conscious choice of Leccee and the others themselves—they believed that automatically placing battle heroes at the top would merely repeat the mistakes of past nation-building.

They prioritized reviving the interstellar development agreement, which had become a mere formality during the Poseidal regime, and restoring the vitality of the era when the Five Star Dynasty flourished. Their goal was to rekindle people's desire to work, their faithfulness to their way of life, and to bring back songs and laughter.

Both Leccee and Amu had calmed their attitudes to the point where they could now look back fondly on the days of fierce romantic rivalry over Daba, treating it as a laughing matter. When Kyao grumbled, "Those cold-hearted women," they just smiled wryly.

It was simply because they had found a different purpose in life by immersing themselves in building the new nation.

That said, she had never truly given up on Daba. There were moments, like when she happened to gaze at the stars shining in the night sky, that she would recall the color of their twinkling—the same stars she and Daba had looked up at during brief respites on the battlefield—and her chest would tighten with a mix of longing and sweet ache that she struggled desperately to suppress.

It was during one such moment that an old servant of the Gaw household arrived bearing a letter from her mother.

"Your mother, my lady, has been so troubled by the factional dispute that she spends more days confined to her bed than not lately."
"But I abandoned my family."
"I believe she made that request fully aware of that fact... Even if you say you abandoned them, you are still bound by blood. It is a bond that can never be severed for life."

With teary eyes, the servant gazed at Leccee, who had grown strikingly beautiful over the years.

For some reason, Leccee couldn't meet his eyes.

Was it a feeling of indebtedness towards her parents?

No, that wasn't it.

Was it because the construction of New Pentagona World was still underway?

No, that wasn't it either.

Leccee endlessly repeated this internal dialogue, finally arriving at the answer: it was her lingering attachment to Daba.

She instinctively understood that returning to the Ha clan now would make meeting Daba impossible. Shouldering the Ha clan would mean she could no longer act on her own free will.

The eyes of her servant pleaded this truth.

She realized anew then that her ability to immerse herself so completely in nation-building had stemmed from her strong belief that her beloved Daba would return someday.

And she wavered...

It was two days later that she told Amu and Kyao she was taking a few days' leave to go on a journey without revealing her destination.

She desperately wanted to see Daba.

Indeed, just as on that battlefield, whenever doubt arose, seeing Daba's fierce expression and gentle gaze had allowed her to make up her mind.

But she didn't know what answer she could possibly get from seeing Daba.

Leccee boarded the domestic flight to Pryamo from Quito Spaceport three hours late. 

From there, she took a transit bus, the Mobile Works, and traveled for two days to reach the village of Ugoor. 

Sunday, November 9, 2025

Armor Hunter Mellowlink - BGM Collection Liner Notes

  

The liner notes for this soundtrack were also translated at around the same time that the notes for "THE MUSIC FROM LAYZNER" were TL'ed & finished, though I must admit that laziness was partially to blame for me not having posted this earlier.

In any case, here are the liner notes from the vinyl version of Mellowlink's OST. Not as detailed as my previous post... and I do wish it could have been a little bit longer, but this still has some interesting bits regardless. This includes comments from both director Takeyuki Kanda and Votoms creator Ryousuke Takahashi.

Translation provided by OverworkedSalaryman (@osalaryman on Twitter).

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A series' BGM can change a lot depending on the story—but approximately 80-100 songs are recorded at once, composed before the film is even done by conveying the song's story & image (etc.) to the composer. Something long can be about three to four minutes, while a short piece like "Ding... ♪" can be a mere 1.5 seconds.
At this point, if you think about it—from the perspective of those listening, having to go through an insanely huge collection of BGM like this can make listening to everything difficult. However, as the art gets done, the story flows, and it becomes a very satisfying feeling when the BGM overlaps with it.


Additionally, when you're done with the series, it has the strange effect of bringing back to mind the scene at the time when you're listening to it again.
During my time working on the sound, there's one thing I regret a lot: it's that feeling of "If the scene was just ten seconds longer, the entire thing could've been played..." or "This line—if it didn't have that specific sound effect, the BGM would've been able to hype things up more..." and so on. My apologies to Inui.

With this in mind, I would be honored if you enjoy this BGM collection and it causes you to remember all of the different scenes.

-Takeyuki 
Kanda (Director)




<The Winds of Nepal Blowing in the World of Mellowlink>

It has been 6 years since I met with Inui. My impression of him has not changed. He's a quiet but cheerful and bubbly person. It's likely because he drinks good alcohol and eats plenty of delicious first, I think...

More so than my outward image, though, Inui left me with a very strong impression of "one who goes to Nepal." Requesting work from Inui is, in a way, to also adjust the schedule to fit in his journey to Nepal. I once asked him why he goes to Nepal, but there isn't really a reason. He probably just really likes Nepal.

The world of Votoms is brutal and unmoving. After all, in order to survive, the protagonist is willing to kill without hesitation. He does not feel guilt. The protagonist's heart is... devoid.

Over the course of a year, the protagonist's empty heart grows to feel sadness, happiness, friendship and love. And in the end, we reach a happy ending... this means that to those of us who wanted to borrow the form of a serious mecha story and turn it on its head—even though the vibes are brutal, that's just a part of the style. We really wanted to avoid developing it into a brutal, unredeemable atmosphere... but the story and imagery sometimes happened to exceed that boundary. In the end, I feel like it was saved by the music instead.

This time, with Armor Hunter Mellowlink, we have a story of revenge. With a goal in mind, the 17-year-old youth continues on his journey of murder... if we messed up, it ran the risk of giving birth to a work which would leave a bad taste in one's mouth.

However, Inui's music probably helped to purify the actions and emotions of the protagonist. Somehow, when I listened to the music this time, the winds and great plains of Nepal were being etched into my mind.

By the way, how many times has Inui gone to Nepal?

-
Ryousuke Takahashi (Original Work)

Liner Notes from Hiroki Inui's "THE MUSIC FROM LAYZNER"


Back with some more liner note translations.

This one had actually been translated since May of this year, though I had chosen not to post it immediately since I wanted to wait first until I could get new scans of this album.

They were just finished recently, so I decided now would be a good time to finally put these up.
(Slightly unrelated—I actually have some liner notes translated from some other OSTs... they were translated around the same time that Layzner's notes were worked on, but I'm unsure when I'll be putting up here).

Having said that—the liner notes for this album were written up by Tatsuo Oba, who had previously been the producer/director on various other Starchild albums. He talks a little bit about the music's production before providing some descriptions for each track on the album.

Translation provided by OverworkedSalaryman (@osalaryman on Twitter).

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"The Music From LAYZNER" has an ethnic sound!

The Layzner project was born on a Saturday early in the afternoon—four to five days after talks with Inui over pizza and beer at the end of June, near the live house Ruido in Shinjuku. You likely already know "The Music Of VOTOMS" and this album can be considered a sequel to it.

In performance, a "One Night Stand Band" is the name for an ad-hoc one night band of musicians created at live houses and the like.

This time, aside from guitarist Toru Aoyama, drummer Yuichi Togashiki and bassist Akira Okazawa were added as new members—and they all put on a splendid performance. Whatever the case, they are all first-rate musicians, and if you listen to it, you'll hard agree on the members.

Also, when it comes to composing, editing and his performance on the keyboard, Inui—who demonstrated his abilities on an unregrettable level—is a big shot who graduated from the music science faculty of Tokyo's University of the Arts because he has a kind look in his eyes and is someone I hold very dear to me. While Inui was busy composing and editing for NHK's Minna no Uta and Okaa-san to Issho, he flew to Nepal when he found the time for it and planned the compositions while gazing at Mount Everest. This album was made using both Layzner's BGM as a motif while incorporating these experiences of his as well.

Side 1

1) Blue Diamond
This piece, which starts off with a piano solo, is a light-hearted one that fits very well as the album's opening piece. The title, "Blue Diamond", is the name of the hotel that Inui frequented while residing in Kathmandu.

2) Prithvi Highway
It starts with a unique, oriental motif. That sound in the intro and midway through that sounds like a percussive instrument was made using a synthesizer. Additionally, the melody in the middle segment which sounds like a synthy merry-go-round was made by sampling a bicycle bell. The title is the name of the highway going from Kathmandu to Pokhara.

3) Capriccio
"Capriccio" doesn't refer to the name of the cake shop in Roppongi. In music terms, it refers to a "Kisoukyoku" (a short, cheerful and whimsical piano piece). Inui's piano solo was really solid.

4) Contemplation
To be deep in thought. The straightforward start to the piece, followed by bassist Akira Okazawa's solo & continued by Aoyama's guitar solo, steadily builds up then fades out. The finger cymbal that clings during the piece belongs to Inui and was made in Nepal with an Adamski UFO shape.



● Side 2

1) Last-Minutes
The final moment. The executioners platform. It's a jazz-like piece that starts with a thrilling drum solo with a drum solo wedge in the middle of the song, fitting perfectly with the performance. It's a piece I'd really want to listen to in a live house.

2) Walk Upstream
It means to walk against the flow. I wonder if the melody came to them while they were trekking along the base of Everest. In the BGM, this should have been M-29.

3) Night Owl
One who remains awake long after dark. While everyone is silently asleep, at night is the best time to be making a song. Even tonight, Inui is likely facing his Fender Rose (Electric Piano) and continuing to produce some splendid music.

4) Capriccio II
In the BGM, it is used a lot in the main show as EM-11—but unfortunately, it wasn't recorded in the LP. For this album, all the string instrument sounds were created with a synthesizer.

5) Orchid
This refers to the orchid flower. Whenever Inui goes to Nepal, the Thai Airline he frequently uses has an inflight service called the Royal Orchid Service—passengers are all given an orchid as a present. If you put it in a cup of water at the hotel, it will continue to bloom on. I hope this album continues to become one of your favorite pieces from here on out...


- 1986.6.22 (T. OBA) 

Tuesday, May 27, 2025

"Yuji Ohno — World of Sound" — Animage December 1978 Coverage (Part 3)

 

 

The final part (out of three) of Animage's December 1978 coverage of composer Yuji Ohno. Probably the longest one compared to Parts 1 & 2, but this should wrap everything up.

Part 1 can be read here:
https://translationmartyzone.blogspot.com/2025/05/yuji-ohno-world-of-sound-animage.html

Part 2:
https://translationmartyzone.blogspot.com/2025/05/yuji-ohno-world-of-sound-animage_27.html

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<Jazz is my hometown>

In your music, there's a jazz vibe that has never been a thing in animation music. Has that freshness been something that audiences have welcomed?

Ohno
I don't like splitting music into genres but... if I were forced to, I'd say jazz is like my hometown. I began as a jazz artist, after all. As a result, I wasn't able to understand music except through the concepts of jazz. But one day, I started to feel like I wanted to fly out from the jazz directing world. That's how I ended up now with jazz being one field of music among the many that I'm in.

Essentially, jazz is just one filter that I possess, I feel like.

However, along with the 4-beat of pop and other music genres, there might also be some 8-beat with the music I make. This is because I treat rhythm very seriously.



Your stance on not fixating on the genre is something that can really be said about your composing as well, but...

Ohno
CM (commercial break) songs, TV drama music... I've made various things, but the way I go about composing never changes. This is a job where everyone tries to give form to what they imagine through music, after all.

However, when it comes to anime, it takes a little longer for me to complete a piece. With "Captain Future", that was the case as well. When I'm requested to make music, there are times when the character is all that is done with the characters, and that is when they do not move at all. Unlike a movie, where everything is already filmed & I can watch it while making the music, I cannot do that here. So I have to go off of feel based on the still art before me. It's a battle of image, you could say.

Testimony 2
I've known Ohno for about 10 years now, back from when he was a jazz pianist who performed with a delicate touch. The fact that someone with solid jazz fundamentals like him is getting work making anime & movie themes means that the once-immature jazz scene is becoming more mainstream and established, even among TV movies—and I think that's a wonderful thing.

(Composer: Hiroshi Miyagawa)


Testimony 3
At first, we heard Ohno's jazz records and decided we wanted to work together with him. At this point, we consider him one of our own and have been working with him for a long time. Among the 3 movie theme songs he did, we like the one for "Proof of the Man" the most. We expect to see more of his breadth in music activity going forward.

(
Haruki Kadokawa Corporation)



I'd imagine that deciding what prose to use for your lyrics and who to get for the vocals can be big problems.

Ohno
There's a lyricist,
Keisuke Yamakawa, who I've worked with on "Never Give Up" and some commercials. With him, out of all the lyrics he's written, I pick the ones that I like and use that as a base to compose. With the compositions I've made, I leave those lyrics in and get him to write the rest of it. That's how we work. This might be time-consuming, but we get something satisfactory out of it.

Right now, someone I really want to try working with is Yuu Aku. He is probably the only person that is the most methodical in all of Japan in the way he composes lyrics. If he has a target, he never misses. I would love to get the chance to work with him.

As for singers, Godiego's Yukihide Takekawa. This might get fulfilled with the theme of "Captain Future", but... he has talent and his voice is very fresh.
 

 

In the movie "Proof of the Man", it seemed like you managed to create a hit together with Joe Yamanaka, but...

Ohno
Joe is someone I treasure deeply as a musician. However, when it comes to the electric sound I'm trying for now and how rhythmical it is, it doesn't work as well with him. I'd rather let his unique hard and heavy style shine, if possible...

Testimony 4
Ohno is someone who enjoys music from the bottom of his heart. In spite of our age game, even around someone like me, we can joke around while working. His sound is modern and clean, but there's a charm to it. Anyway, I hope to continue enjoying music with his going forward.

(
Yukihide Takekawa)

 

 

Who's a composer you deeply respect?

Ohno
Within Japan, it's
Isao Tomita. I think his cool and feverish feel is very impressive. He sits at home in front of his synth alone, gloves on and does everything on his own. That's not something anyone can do without being that feverish.

For me, that change massive change in movement he goes through from a prick of a sensation, be it a plus or minus, is something I really like...

 

 

Lastly, for people in such a creative job as composing, what kind of lifestyle and during what times do compositions get born is a question we have...

Ohno
The ideas come to my mind when I first get up and stand in the garden, bathing in the sun in my pajamas.

You ask about lifestyle, but I don't think I do anything that special. But...


When I'm free, I watch TV all day long. I'm all about visuals, so I don't really read. I don't really watch home dramas nor music variety shows, but foreign TV movies and late night movies. I really watch a lot of documentaries, too.

But when something makes me go "Ah!", I start to get more into work mode—like, "Ah, they do things like this" and I start taking notes. There's a lot of that. Sometimes, those things might help with analyzing the target audience when I compose.

Also, I listen to a huge number of records. Every time I go to the record store, I end up spending about 50,000 yen easily. My room is a flood of records and there's barely space left to sit.

I'm a pretty normal person, so the most I do that I can say is very composer-like might just be that...

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—Thank you so much for your time—

Ohno's music is a peculiar balance of wild liberty and accuracy. He has the precision to pick up on what his target audience likes with his cold and composed antenna like the pro composer that he is. At the same time, he has devout originality to make such expressions about wanting to follow his own direction.

These two sides being constantly balanced at odds with each other is what likely gives birth to this music. Perhaps this unique constant opposition he goes through internally is what is needed to make music that captures the hearts of so many.

However, what I want to bring attention to that he is clear in his answer on "his own direction". This answer is what is bringing a new wind of change to the animation music industry, which has lost its light as it has gotten more standardized over the years... 

Yuji Ohno is bringing fresh vibrations to the animation music scene. We'll continue to pay close attention to his activities going forward.
 

"Yuji Ohno — World of Sound" — Animage December 1978 Coverage (Part 2)

 

 

Continuing off from Part 1 of Animage's December 1978 coverage of composer Yuji Ohno.

Part 1 can be read here:
https://translationmartyzone.blogspot.com/2025/05/yuji-ohno-world-of-sound-animage.html

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In the middle of playing music for
the Tokyo Kid Brothers Musical (Saramumu)
 
 
There's barely anywhere to sit
among the flood of records in Ohno's room


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—SF equals synthesizers was quite a big idea—   

Well then, when it comes to the theme of the new anime "Captain Future", how did your direction react to it?

Ohno
What I found interesting with this program is that the people over at NHK & Toei really want to make a human drama,
more so than science fiction. When it comes to SF, there's a high likelihood of mecha running around. Warp technology and all of that... But no matter how much times change, humans never do. That's why it ended up becoming interesting, because they chose to focus on the heart instead. I thought that was interesting, too.

So, in order to present that in the sound as well, I tried my best not to make something SF-sounding. I needed to create it in the auditory world. That's why I chose the sounds of disco. It truly was just massive disco sounds, though on the lighter side.

Put simply, when I watched the foreign TV movie "77 Sunset Strip", I remember being really moved by the music I heard in it. I wanted to make others feel that. I wanted to make something that sounded as distant from current anime music as much as possible, to have them think, "I don't know what it is, but I want to see it every week". "There's something very modern and cool about it, isn't there?"—that's the feeling I wanted to go for.



That means that you never thought of using the synthesizer just because it was SF?

Ohno
I hate the "SF > Mechanical > Synthesizer" train of thought. In order to make a synth as mechanical as it can be, you need to use it as a hidden spice. I use a synth quite a lot, too. But I use it in the back instead, as a way to add more color to something else. If you do that, it sounds splendid.

Also, the reason you use a synth shouldn't be because it's a synth, but because there's no other instrument that fits the goal. "What I want isn't the oboe, it isn't the trumpet, rather it's something where the two are kinda mixed. Is there an instrument for that?" That's when you use a synth. If you do, the synth will sound naturally fitting. I believe it is, in no ways, an all-encompassing instrument. If you start thinking that way and constantly go along that train of thought, you're making a big mistake...

Isao Tomita's world is great because it's his. I love his musicality for the world that it is, but I have my own world, so I don't think there's even a smidge of a reason why I need to make everything like his.

(Note: Isao Tomita: composer, first user of the synthesizer. Greatest work: NHK "Shin Heike Monogatari" theme)

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(Top caption)
"If he was any thinner he'd look like Lupin"
-Ohno's manager


(Bottom caption)
Ohno mid-composing.
By his side is his stopwatch for measuring the song's length