Episode 2: Firestarter
Episode 2 opens on Sameji playing a video-game while narrating about how she “saw a god.” Later in the episode you will learn that Sameji is not only a pyromaniac but she begins to fawn over Canti as she sees him just like she saw Tasuku and believes him to be the god of flame that inspires her to spark those flames, would protect her from the demons of her past, and act as a reminder of how much she was enamored with Tasuku.
As this occurs we are granted
(1) Instant Music-Instrumental
This song is used to underscore Naota’s frustration with both Haruko and Sameji’s antics. In some way the song connects them all; Sameji is called “Naota’s wife” by his friends as he scolds her for following him around and Haruko bugs the hell out of him with her silly antics while discussing the growth on his head similar to the one he received from the first episode. It’s very brief, so I don’t have too much to say about it. I don’t think I’ve even listened to the entire song in years.
What I will say is the “shimmering” and “wavering” sound of an instrument that I can hardly describe is something that is native to the pillows, and it also supports the idea of fire, as Sameji narrates the fire on the liquids screen of her video-game, and later in the episode you will hear overlapping narrations and see blurry text almost as if you’re watching the heat-waves radiate off of a burning fire.
(2) Sad Sad Kiddie-Instrumental
Honestly, I find the song “Sad Sad Kiddie” to be a bit lackluster. It does have an interesting bass swing, but it sort of serves as filler-fodder. It strikes on the scene where Canti does chores around Naota’s home and continues through Kamon’s narration and ends as Naota says “see ya” to Sameji. What I like about the transitions of these songs is that as one song opens and another closes it serves as an effective audio cue to signify a scene switch.
Considering that FLCL is an OVA, the music helps signify that in reality this isn’t constructed like most other anime adaptations, and signifies that each episode is a loose compilation of quickly-cut scenes. What I realize this go-‘round is that the following scene with “Hybrid Rainbow” may actually be a scene that occurs anachronistically. The “Hybrid Rainbow” scene is probably the reference to where Sameji says she “saw a god the other day.”
(3) Hybrid Rainbow
I believe that “Hybrid Rainbow” is only used once for this scene, and it is probably the most perfect application of music to a scene.
It starts off with a quiet rumble and strikes on the scene where Sameji is enticed by Canti, sporting a halo on a wire and black wings before he climbs the ashes of a burned building and makes a dramatic flash before flying into the sky. The chorus of the song “Hybrid Rainbow” strike perfectly, the first time you hear CAN YOU FEEL being when the sunbeams shine from the sky as Sameji’s expression of awe follows the visual and the second time you hear CAN YOU FEEL striking as Haruko revs her vespa and Naota begins his narration, which is perfectly timed for the ending chorus of the song to strike as Naota’s narration ends in front of a rainbow appearing over the lake.
Speaking of the lyrics following the first “CAN YOU FEEL THAT HYBRID RAINBOW” chorus here is the English translation:
Can you feel?
Can you feel that hybrid rainbow?
Even we, who weren't chosen up till yesterday
Are waiting for tomorrow
What I want to draw the most focus to is this, the final verse of the song which translates to:
Can you feel?
Can you feel that hybrid rainbow?
I wanna believe that here is only partway through
I can feel
I can feel that hybrid rainbow
Even we, who weren't chosen up till yesterday
Are holding onto tomorrow.
Honestly, I have a hard time deriving meaning from these lyrics. What I do like is how the emphasis on the “Hybrid Rainbow” appears on certain scenes that display natural phenomena. For example, the first time you hear “hybrid rainbow” is upon the sunbeams that Canti ascends into, and they begin to shine brightly throughout the remainder of the first chorus. The final use of the term “hybrid rainbow” is on the final verse, and as the final verse ends you see an actual rainbow on the closing lyrics.
(4) Carnival- Instrumental
The song “Carnival” is used a lot as well, it is yet another song that starts off slow and simple before spiking with harsh sounds. This one opens as Canti begins to explore the ashes of the boathouse that Sameji likely lit on fire and it begins to spike as Naota sees Sameji in the river, the focus on Naota’s shocked expression as he begins to piece together the idea that Sameji is the arsonist. It’s very soft, but it is a good tune to show the character dynamics and the perspective they each have. Canti explores the area with curiosity but fear as he cowers away to ensure that he is not seen by anyone, Naota’s friends explore the area with detached curiosity as they speculate on the arsonist, and Naota seems to look at Sameji with indifference but then with shock as he begins to piece together the conclusion that Sameji is the arsonist.
(5) Beautiful Morning With You- Instrumental
Another quiet tune that begins to swell with tension as “Beautiful Morning With You.” It’s a great song that has its moments, but not my favorite. The very brief use of the bass line before the another instrumental kicks in (one that I will not address b/c it is not a complete song) helps underscore the tension between Naota and Sameji as instead of walking side-by-side with Sameji quite literally clinging to Naota, Sameji walks a few meters ahead of Naota with her head craned downward, slowly dragging a bat with her and breathing in her cigarette with a very nonchalant attitude. Naota walks behind her with a sullen expression as well before briefly stopping as Sameji drops her video-game.
The tension in the air is heavy b/c Naota all-but knows that Sameji is the arsonist that everyone’s been talking, and that is underscored by “Beautiful Morning With You” in its quiet rumbling bass and hi-hat, not even able to reach the culminating chorus that speaks the song’s title.
(6) Stalker-Instrumental
Unfortunately, the music for the very esoteric scene with text and overlapping narration uses music that I will not cover since it is not a full song. What happens next is the song “stalker” plays its instrumental as everyone slowly pieces together what is going on.
Haruko speaks to Miyu-Miyu the Cat about her secret mission before Naota views the fire at the riverbed and the song spikes. It also underscores Naota’s narration of how he figured out Sameji is the arsonist and captures the emotions of suppressed anger that suddenly starts to boil as it spikes in tandem with Naota speculating that Sameji started a fire years ago and that the scene of the fire is where Tasuku first met Sameji. It gives more context to all of the decisions being made now and the sudden realization of it all is captured with the music.
What happens next is a great visual and audio transition as the music swells toward its end, the hum of the electric guitar is garbled as it plays through Sameji’s radio inside of her makeshift prayer circle as opposed to being woven into the scene normally.
(7) Advice- Instrumental
The instrumental to the heavy and energetic song “Advice” signifies another action scene. Quite like the first episode it carries the alternative heavy-metal style guitar as the battle between Canti and the robot wages on. I would point out how the lyrics of the actual song would support the emotional weight the scene carries, but since the instrumental plays as opposed to the actual song I will opt to not go there. The song ends abruptly even though it was reaching its end anyways as Naota shouts “Tasuku” before immediately going silent to allow the viewer to focus on the action and dialogue that briefly interrupts the action.
(8) Little Busters
In this scene and several other scenes, the song “Little Busters” is used to absolute perfection and nearly became my favorite song!
The song begins as Naota enters Canti and the opening chorus hits in the sickest way possible to start up the action. The chorus plays as Naota/Canti begin to overpower the robot enemy and transform into a cannon, blasting that sucker with a massive energy bolt.
What really gets me is the chorus, which is actually sung in English:
With the kids sing out the future
Maybe, kids don't need the masters
Just waiting for the little Busters
In fact, these are the only lyrics ever sung in tandem with this song.
The fact that the song talks about “kids” and says that they’re “waiting for the little busters” adds so much emphasis to the context of the scene. Naota is trying to enter the role of an adult by taking control of Canti even though he is still a “kid” and in the moment Naota is quite literally “a little buster” as he transforms into a cannon in the action scene.
When I think of the term “buster” in shonen anime and video-games like the Mega Buster from Megaman, the Buster Sword from Final Fantasy, and the anime Little Busters: Refrain, I think that the term “Buster” as opposed to a “gun” or a “cannon” represents a childlike fierceness represented by the shonen-anime style action of the video-game examples and the childlike fierceness of how children in Little Busters: Refrain see the world, each-other, and approach their situations.
(I haven’t actually seen that anime but the elementary research I’ve done into its artwork and the subject matter gives off a very shonen vibe. If anyone wants to correct me, please do so).
I honestly like to call this song “Naota’s theme” because whenever he springs into action this song plays, and it also is used a sort of “end of the episode” transitive point that lets the viewer know that Naota has learned a lesson or gained some new information that fundamentally changes who he is, and he will always be out “little buster” that we’re supposed to be rooting for as he finds his own way.
