Fullmetal Alchemist (2003)īut these popular pieces are perhaps not the compositions that draw me most to Ōshima. There are no leitmotifs for the characters, as in some stories, but rather a basic canvas of suspense and emotional support for the dialogue-rich story. If the Godzilla films are filled with marches and militarized drama, then Fullmetal Alchemist is broader, more subtle, and less wall-to-wall coat of many colours - lurking sometimes meekly and sometimes powerfully throughout a complex story with many strong characters. The proximity of these works, during what was apparently a busy period for the composer, can be heard in some of the cues and military themes used. Ōshima arguably came to wider fame as the composer for three Godzilla movies between 20, followed swiftly by the soundtrack to a highly successful television series: Fullmetal Alchemist(2003) – a touching action adventure about two brothers who vainly attempt to reverse their mothers’ death through alchemy, but in the process create monsters instead. It’s claimed that Ōshima is one of the most prolific living composers for film, anime and video game.
With scores across wide areas, such as anime, film, television, video games and concerts, she is reported to have written scores for over 100 movies, over 200 television titles, video games, various types of events, concerts, theatres, among others. Only in recent years have some of the more successful anime series been translated and even dubbed with horrendous American voices that leave out the most important part of Japan: Don’t mess with Asian Cuteness culture!īut, back to the composer! Trying to list Ōshima’s accomplishments would be a hopeless task, and of little interest to readers here, since her music is hardly known. In a sense, Japan’s riches are denied Western listeners and viewers by a regrettable language barrier. These songs are major hits that draw stadium filling events (every Japanese kid could sing along to the songs from Neon Genesis Evangelion (1995), or Demon Slayer (2019) etc.). No animated film or series would be complete without an opening and a finishing song. Moreover, there is a strong connection between popular songs and anime. The complexity of every composition, alongside the understated skills of the players, creates layers to Japanese culture that are generally overlooked by the mainstream West. Whether in pop music (J-pop), or in Heavy Metal culture, Japan doesn’t do anything by halves. If you didn’t know much about Japan, you could be forgiven for not associating the country as a major force in music, yet music is a serious business in Japanese culture - and the level of both musicianship and composition is almost unparalleled in its quality. Like all aspects of Japanese pop culture, her music is fluent, highly melodic, and swathed in coming-of-age romance and adventure - in marked contrast to the more auspicious `respectable classical’ Japanese composers who verge towards experimentalism and the avant garde. And her sheer output and technical prowess dwarf that of many of the more familiar names in the West.
There are surely few high profile female composers in the world at large, but Ōshima is not only prolific, web sources cite her as one of the most productive living screen composers of any gender in any country. Some months ago, I wrote a little about Joe Hisaishi, perhaps Japan’s most internationally celebrated contemporary composer ( Ryuichi Sakamoto notwithstanding), alongside his seminal and magical works, I have a highly unique set by Ōshima on my frequent playlist - and yet she remains tragically unknown here in the West. 大島ミチル, Ōshima Michiru, born March 16, 1961, is a multi-award winning composer of film, television, computer games, and concert works, popular in Asia, but less known in the West. Yet, no film music enthusiast’s knowledge of the genre is complete without having heard this talented and prolific Japanese composer. Try searching Google for Michiru Ōshima and you won’t find too much to whet your appetite in English.