I have seen quite a number of people that have clamored regarding the predictability and the “dwindling Hata syndrome”, as I call it, that can be found in the manga. Well, with these spoilers, I see less and less of you. What happened? Where’d you all go?

Really, with the choices now, you can go a couple of ways. Either he chooses Nagi or Athena. Which is more predictable, choosing Nagi or Athena?

If you say Nagi, here’s another question. Which is more predictable? Athena becoming the “big bad”, or Isumi finding a way to save her without breaking the stone?

If you say Athena, here’s another question. How will Hayate deal with the trauma that is Nagi? Sure, she’s matured quite a bit, but do you think a “betrayal” (and since he can’t explain himself, it would be easily viewed as a betrayal) is a shruggable offense?

If you want my opinion, I hope that Hata will let Hayate choose Athena over Nagi. This is somewhat surprising to those than know me, since Athena is among the bottom three characters on my favorite list in Hayate no Gotoku. The reason I want it to happen is that I want there to be a big misunderstanding between Nagi and Hayate, and I feel Hata can pull off Hayate walking the fine line between pain and happiness by continuing to attend Hakuou afterwards.

However, with the clues given thus far, it is all but sure Hayate will pick Nagi over Athena, just because of that “little glimmer of hope” cliche.

If that’s true, it’s a shame.

Fall 2009 is upon us, and because of that, we have definitely new openings. But before I start covering, I want to make something clear: take everything with a grain of salt, as these are opinions from a unique blogger with unique circumstances.

To Aru Majutsu no Index To Aru Kagaku no Railgun (A Certain Scientific Railgun)
While I may not like the overall world of the Index universe, this song seems to fit. It seems like an OP, fits the universe, and helps set the tempo for the series. Standard fare, most series need their OPs to do the silent talking.

The ironic thing here is that I’m taking Linguistics as a Major and I hear some of the strangest English I’ve heard in the past three months: “Looking this prism this planet to such away/only my railgun can do let me want to that”. Awesome. Just ridiculously awesome. (Note I was using some subs, and I’ve gotten updated versions: “Look in the prism, discriminate through such a way./Only my railgun can shoot, letting my soul out.” We’ll see what’s more accurate.)

The big thing that’s gonna play a wild card with this series is Kuroko, based on the OP. It’ll be hard to tell if she’s gonna be the great supporting character or the reason the series fell flat. Sure, time will tell, but what else are OPs for?

Kampfer
Kampfer’s OP is reminiscent of a couple of OPs I had created back in the day, all of which had the same problem: a lack of confidence. Sure, it doesn’t helpful that said singer is off-tune about 30~% of the time, but the fact remains, Kampfer’s OP doesn’t spell wonders for the series.

The novelty item in all of this happens to be the main character, a guy/girl named Natsuru Senou. Yes, guy/girl. This is probably the initial selling point, and by how the series looks from its source, the only thing worse than this would be a sluggish pace, something the OP tends to waver on (a.k.a., we’ll see some nicely-paced episodes and some slow-paced episodes, like the show can’t make up their mind).

Oh well. Kampfer will have to have a lot more confidence in itself to survive the season unscathed.

Nogizaka Haruka no Himitsu -Purezza-
I don’t even want to get into how mad the OP makes me. It doesn’t feel like an OP for that universe for one, and secondly, the OP seems to let us know that the comedy will be taking a backseat this season, though it will appear once or twice, and that’s not a good thing.

For the attraction this time around, we have a new character, an OP-only character (for now, at least), and a rekindling flame. Do I expect another Shima incident? Yes, and something that might cause a little harrowing in the fields, IYKWIM.

I don’t doubt that this series can make it, but the things that it put together for its success seem to not be all there this time around. What’s the new formula?

Seitokai no Ichizon
Uh, hello. I was pretty content with this apparent Slice-of-Life style OP until I see the guy at the end. Are you kidding me? Heck, the ED fits the series even better than the OP, and I’m not an ED guy.

What you can tell from watching the first episode? 0% Plot, 100% References. What you can tell from watching the OP? Not a lot of glue to keep it together. Many other blogs are already referencing this, but at least the OP proves it.

Before I got befuddled with the inclusion of the male figure at the end, it was difficult to figure out who was the main character, something I think is underappreciated by a society that mainly prefers to know everything beforehand. However, it’ll take a lot of rear wheel power for this rear-wheel vehicle to get going, but at least it can get out of it. It’s up to the series to let itself off the hook.

Natsu no Arashi! Aikinai-chuu
I don’t think it takes a lot to understand this OP. Anything goes. Simple, sweet, and to the point. So what’s the problem?

Simple. When you take A and B, mix them together, and people like it, ordinary people would continue to do it again and again. And for those that hate milking money from a series, that’s for you. Arashi is taking the same route again here, using what made it popular among its watchers here again, without a new trick in store.

That, unfortunately, tends to end up in disaster. Of course, to get there, they have to stumble and fall, so at least you’ll have a plausible reason to watch it.

The Sacred Blacksmith
Man, the OPs of this season are depressing. Cecily seems like the kind of character that would normally beset a typical male harem lead, except it’s fantasy fare and she’s female. Big diff, right?

Not really. Rarely do those kinds of shows develop the lead anything but mentally, and Cecily will gain confidence. Standard fare for this kind of show, so it’s not really anything novel or new.

Of course, with that interesting little “Justice of Light” part at the end, it might be the needle in the haystack. Or it could be the ground, covered up by something even more useless than itself.

Kobato
I get CLAMP vibes looking at the characters. *checks* Yeah, it’s by CLAMP. Cuteish opening but again I’m disappointed by how standard fare everything seems to be. There’s nothing big hidden like in Macross Frontier’s OP a while back, and while I don’t expect that, I wanted something small, like the second OP of Bakemonogatari: Mayoi’s OP. I mean, why does the OP have to reveal everything? It makes it kinda not fun in a way.

Okay okay, you got me. I don’t like CLAMP. I wholly believe that in order to be unbiased, you have to choose not to review a couple of things: your likes and your dislikes. Sure, you can have an opinion, but not for something like this. All I’ll say is it’s not my cup of tea, but the OP is nice and quaint, allowing for many different directions. Focusing on one should be the goal of the ED, and then at least you can go places and see things.

Kimi ni Todoke
Heh. Another series that’s brutally honest. Todoke’s OP just says exactly what its premise states: female that is considered off-limits but approached by male that honestly wants to get to know her. Shoujo anime, right?

The thing here to watch for, IMO, is the dynamics. There’s gonna be the constant “playing hard-to-get” clashing with “I want you”, as per typical, but there’s a little added bonus to the mix, “what am I to myself” that might come out a lot more forceful than the OP lets on.

Of course, if you don’t watch shoujo, like me, the above probably meant nothing to you. That’s alright. For those that do, don’t let the imagination run wild with this one, go with the flow. That’s what the story wants.

I don’t use this on real people, though. It’s too boring, and I absolutely dislike music in which I can understand the lyrics (especially if the lyrics are not in tune with what I believe). Anime music seemed to be a proper hit to this ballpark.

(There are Macross F spoilers listed below.)

When you consider the intricacies of music, you have to wonder how it is possible how it as an art form was ever devised. Its ability to say exactly what you are thinking, feeling, and wanting to do without changing the song you’re singing speaks volumes about the many hidden branches that many of us don’t want to ever get into.

As an example, I gave a friend of mine this link as well as the long version of the song. I had her listen to the song first, then watch the video. Her response to it was what you would expect from a natural person: simple.
“It’s interesting…reminds me of some of the songs that Lia did. I actually like Lia a lot.
I think i could see this being the opening to an action/mecha song…but with a touch of nostalgia. XD”

I, on the other hand, had a different pattern of thinking. As I demonstrated before, I have that ability, but this is how I express that ability in words.
“Here’s my thoughts on it:
The song definitely has a flow, something that is usually missing in action animes. Flow songs usually depict that the series is a romance, relationship, or slice-of-life. The latter isn’t possible because there’s a slight sense of urgency, and while you can feel the tempo urging you along to strive to be better, it’s only a minor pulse, but its strength is best felt after it hasn’t been listened to in a while.” I cut it there for the sake of space, but this is the kind of language I understand from it, and I’m certain I haven’t even cracked all of the surface’s layers.

Another example I did right after with my friend is Macross Frontier’s two Openings, found here and here. I also supplied the music, but this time, for an experiment, there was a catch: I had never heard the music before.

Now, before I get down to it, there’s something I should tell you. I haven’t ever found an exception to this rule about 2-OP series:

The first OP is what the series stands for and what it’s about. It also reveals what’s going to happen in the final episode. The second OP, on the other hand, emphasizes the main point of the current (and if there’s one more, subsequent) arc, and draws it out so that the viewers will be drawn to the conflict, rather than the spoiler produced by the first OP.

With that in mind, this was her analysis for the first song:
“Maaya Sakamoto! I can recognize her voice. I’m a Maaya Sakamoto fan. XD
Though, I’m not sure which series this song would be.
It’s probably shoujo. ^^
And probably an ending theme.”

I popped in to say “They’re all opening themes.”

“really? There’s something about it that sounds like it could be for an ending theme. I think most opening themes are more upbeat.
Are you familiar with the opening theme to Oh My Goddess, by Ishida Yoko? I get the same feeling listening to this song as I do that one.”

Mine differed again:
“This is from a Mecha show? Then again, I shouldn’t be surprised. Heavy Action shows like this one typically have two styles: subtle force and very direct force. This one is of the former variety. and now you can hear cute little Ranka too.
To be honest, I kind of feel that the style here represents some sort of romantic triangle, though you can’t easily tell from the music itself. You need to listen to the voices in this one, and especially the clashing between the supposed voices of Ranka and Sheryl. And because of the style’s strength, subtle force will be the way the winner wins. And it’s not who you’re thinking of.”

The second song had a similar result:
“The last song is kind of interesting. The first few seconds are kind of light and airy…but then the guitar kicks in, and changes the tone of the song. Then, there’s a change in the middle…it’s also pretty upbeat in general. So it’s also Macross Frontier?”

Yeah.

“It’s quite different. But the second definitely sounds more action.”

And my own, of course:
“The slower tempo of Lion definitely proves that the main singer in both songs has lost some confidence between initial contact and the situation right now. I don’t have to watch the anime (which I haven’t, btw) to know the love triangle problem that’s existing is now a big problem. All of Ranka’s lines are almost subsequently bumped out by Sheryl, despite the fact it’s only one singer (if there’s more than one, it wouldn’t change anything) singing. The urgency that was merely an uprising is now fervent here, and almost everyone can tell this is an action or romance hybrid anime. Luckily for many, it’s both. I know Impz won’t like this, but even before this OP supposedly aired, my following of the anime led me to one conclusion: who Alto ends up with. And honestly, it’s what I wish for him. He deserves it. The song verifies that with the harmonics’ rounded voices as opposed to being in the background and softened. Because the harmony plays a role in the chorus, and because its prominence is a theoretical Level 3, both members will play a role in the final battle.”

What is it about music that causes people to do many different things? I don’t want to talk about the negativity of this, though I will acknowledge it exists, and quite rampantly. I do want to say that music is the production of feelings, words, and motives through non-audible sound.

I want to ask you…what is the music of your soul crying out for you to do, and why do you want to drown it out with external music? Or perhaps, you haven’t realized it all this time. In that case, I have a suggestion.

Listen to your heart, and listen to your soul. Define your limits, boundaries, and your position. The music of your soul, and NOT your heart, will guide you properly. Many people nowadays say “listen to your heart”. The heart is merely the rhythm. The soul contains your true feelings, and so listen to it, because it’s the proper “you” replying back.

Don’t lose yours, like I lost mine. That’s really what I’m saying.

~Vincent

But I think the problem today in anime isn’t about whether an archetype is “refreshing”, “new”, “pleasing”, etc. Characters don’t necessarily have a problem with using an archetype that works, because there are so many to choose from. The problem, in my humble opinion, stems from the lack of difference, or rather, the lack of an essence that separates one character from another, and not just in artwork and name.

Let’s take Yue Ayase from Mahou Sensei Negima, and couple that with Patchouli Knowledge from the Touhou series. Granted, the former was based off the latter, but the comparison is still clear. Despite the world difference, and the quirks each person has, neither of them can fully break away from the other. They both seem to be the same base, with add-ons (something like the same soup with a different garnish), rather than something deeper (like the same noodles but a different soup base and a different color, not to mention a different flavor).

I agree with an earlier post that states on how characters are only memorable if they hold a place in one’s heart. But what makes up that memorable status? It’s not just merely about “I agree wholeheartedly with this character”, or “I can feel the life of this character”, but about both, and beyond that.

Or, at least, that’s how I view it.
So, what do you think?

While I haven’t explained this yet, just know for this excerpt that poems signify not only a gathering of mental strength but also casting of spells.

(Format for this excerpt is scriptfic, meaning that this hasn’t been written, transcripted, and edited yet. Just merely transcribed for you.

Alexan:
Within the tranquil twilight where “that mission” was foretold,
Was it those things before you that drew up your inner cold?
Perhaps the things ahead of you were those that shocked instead:
The voices living in your heart; in thoughts meant for your head.

When fate calls us to do our part, can we all not agree
That we do not have any choice; there’s no more “I” in thee?
Our strength comes from within and we are forced to understand
That power comes from not a one but this old, weary, land.

Kiria:
To you, who walks in darkness solely, I would disagree,
The path of light and dark as one is not as one might see.
You are just one who looks at me and tells what I adorn,
See, if I don’t reveal this, I will never be reborn.

Alexan:
What do you mean, you are yourself, you do not need to die?
Your life, my life, they are all real, so why spit out that lie?
Are you that covetous of me you wish to put me down?
The words you spew are falsities, stop acting like a clown!

Kiria:
…

Alexan:
…

Kiria:
Post…Temperans*…Lux. [After Darkness…Light.]
(I need to make sure this is the proper Latin Phrase, and this I’m not 100% sure.)
Alexan, you need to learn this my way.

May the Shield of Light protect me!
Come, O darkness, overwhelm me!

Alexan:
…!

Except, something changed. And along the way me and my beliefs were horribly beaten. I was surprised to find someone more entrenched in his beliefs and more “right” using my materials than I was. I started to rethink some aspects of what I believed, and I turned again back to Vargus and his anime addiction. There had to be something there that allowed him to be so cheerful and yet so calm.

Now, I really never caught on to it like he did. I actually disliked most of what he watched. It was only those he called “slice-of-life” that I enjoyed the most. I prefer to explain my choice this way:
Series on television (examples from your century include shows like CSI) always have a recurrent plot theme. Every episode, it’s a problem of the week sort of thing. New episodes are always solve X, Y, and Z, and that formulaic approach in anime shows, as Vargus reports to me, are disliked.

I prefer shows that don’t have this predictability about them; I want to understand and not merely be a watcher. And yes, before anyone asks, my personal favorite show isn’t an anime, but what’s in it is sort of what I like in an anime in television form. Slice of life is a genre I feel many people dislike because it’s not familiar, and yet, I kind of think familiarity breeds contempt. I want to stop that before that happens, because disliking something, though I do it often unconsciously, is not something I do best.

~Karita

I know we’re just drawings on a cartoon board, supplanted by CG, artistry, and colours to make us seem like an anime character, but doesn’t anyone realize we are real? Our body may be fake, our actions transparent, our decisions immaterial, our plans predetermined, and our selves erasable, but weren’t our lives real? When you’ve watched any anime, one of us must have impacted you, physically, mentally, or spiritually, and either positively or negatively. There’s rarely anyone that watches at least two series that says that not even one of us impacted him or her.

And really, I think that’s what life is about. Not whether a person breathes or can think or things like that. Life is about making an impact; being known. And frankly, I think we have a better chance at life than all of you. We may not be alive, but we are real, and to me, that’s what determines whether one is living or not.

~Vargus

What can I say about this? If the theme is going to be melodies, I wouldn’t be surprised to see more of the instruments showing up. Memories was the theme of the first anime, and it was very well done, threaded and weaved together inconspicuously.

Still, I’m not holding out hope for this to surpass the first season. I’ve never been a fan of sequels myself, so I’m hoping this is one of the few sequels that works out.

Animesuki Thread.

(Warning, spoilers if you have not seen the entirety of Da Capo prior to the current airing season.)

Da Capo is a series, in my opinion, about harmony. It’s strength is not in the main couple but rather in the people supporting the couple. This is not about a solo, but rather, an orchestra. While Nemu and Jun’ichi would be happy together, their happiness is brought to life by their friends, or harmony.

If we look at the strings in the EDs of the former Da Capo’s S.S., we can find different colored strings, with Nemu’s being red. The ED has been widely interpreted as the strings being their connection to Jun’ichi, with Nemu bearing the red string of fate. I do not deny that the possibility is there for this interpretation, but I see it in a whole different manner. I actually see the strings like the strings on a stringed instrument, like a guitar or a violin.

Now, I play the violin, and I can tell you the sweetest notes in solo are the ones that require a “higher position” (it’s a term that means I move my hand position to a closer one to my shoulder). These are also lightly pressed, and that plays an importance. When we add other notes to this light one to make it a harmony, there needs to be a shift back to the original position; however, the note stays the same because there are very light presses that can be done to achieve a higher note. (There are four strings on a violin: G, D, A, and E. [The “C” between G and D is middle C on the piano.] If I use my 3rd finger on the “A-string”, I get the note “D”. If I then use my 3rd finger on the “E-string”, I get the note “A”, but on a higher octave than the “D”. And then, if I bring my finger back to “A-string”, but lightly press, I can get the note “A”, an octave higher than the “E-string”. This is what I mean.) Then we can add strong presses of other fingers to create a harmony.

This can be represented as Jun’ichi and Nemu’s friends. Their love, to them, is sweet. It probably wasn’t the best of circumstances as to their commitment to each other, but their love lasted past their initial emotions had faded, and that’s a good thing. However, I can guarantee that Jun’ichi and Nemu’s wedding wouldn’t have been more joyous for them if their friends had not attended in a manner that they approved of the wedding. I’m 100% Kotori, and to a lesser degree Mako, still had their feelings unresolved up to that point, and it was a matter of them to “cry over their ‘loss’” and move on. However, with their being truly happy for Nemu (female friends are usually able to tell if their friends are being sincere or not, and I sensed that Nemu had indeed sensed that they were sincere in their wishing for Nemu and Jun’ichi’s happiness together), the joy of their presence could finally be felt. This copulated joy is a harmony, existing primarily for the strength of their bonds together. As such, I viewed this OP with this in my mind.

Some points about the OP that I had found:
- When I looked at the original, I found a lot of freeze frames. I figure that these are intentional, and meant to be a framing of the memory of these characters in each other (OP, then, portrays it from Yoshiyuki’s POV).
- Another point I made a note of is the individuality of each character, and how there is no grouping (besides Yume and Otome, but they’re the Nemu-like characters of this generation), much like the previous OPs before that. I do not feel that betraying the original intent of the OP is an idea in and of itself.

So, this is my take on the full OP’s animation.

0:00 - 0:12
Lead-up, no animation.

0:13 - 0:16
Animation Starts. Shows Yoshiyuki’s clock. (Representing Yoshiyuki.)

In intervals, ending at around 0:35
- Shows a kitchen knife on the kitchen counter. (Representing Otome.)
- Shows one of Yume’s textbooks. (Representing Yume.)
- Shows the main room. (Representing all three of them.)
- Shows a plate of curry rice.
- Shows the kitchen sink.
- Shows a bitten apple.
- Shows the main room’s kotatsu.
- Shows the round snack.
- Shows the television.
- Shows the medicine cabinet
- Shows the front door.

Follow the original OP animation for 0:36 - 2:01.

2:02 - 2:08
Show more of the blue sky. Have the two birds (from 1:05 - 1:08) flying together across the screen, with a third one following behind at the end of the clip.

2:09 - 2:57
Parallel the themes of 0:35 - 1:22. Set the stage as around the school during and after classes, and also with regards to where everyone is.

2:57 -
Parallel 1:23 - 2:01 loosely.
- 2:57 - 3:12 will be more of the same “character-after-character” sort of thing (1:23 - 1:30), except this time the split will start on the other side. Also, they’ll shuffle through each person’s ability (instead of just the greetings by the secondary characters), starting with Yoshiyuki and ending with Yume. However, this will persist into that “picturesque” area of the OP (1:31 - 1:38).
- 3:13 - 3:27 will switch focus; instead of Otome and Yume’s respective endings showing, it will cycle through Minatsu’s, Anzu’s, Koko’s and Nanaka’s together, and then Sakura’s, leaving enough time to lead up to the next scene, which starts with Yoshiyuki looking out at the sky.
- 3:28 - 4:10 continues from Yoshiyuki looking out at the sky to the sky itself, and once again brings back the three birds from before. This time, they’re flying in a “v” shape, and then the right one falls behind. The left stops for a bit and the middle one returns to help it, but can’t and the two start falling. Eventually a group of birds (different-colored to represent each person) come in and help out, but it isn’t until a bigger bird colored green helps out that everyone can resume flying.
- 4:11 - 4:24 gives us another (albeit short) view of each character, but during their down points. Cue Sakura flutter.
- 4:25 - 4:40 follows the same pattern as 1:23 - 1:30 again, but this time with the grown-up version of Da Capo (Jun’ichi with Yume, Nemu with Otome, Kotori with Nanaka, Miharu with Minatsu, Mako with Koko, Moe with Anzu, and Sakura with Yoshiyuki), extending the clips slightly so they can make their own personal poses.
- 4:41 - 5:02 slides the multiple scenarios on top of Sakura and Yoshiyuki’s, and then Yoshiyuki’s hand is focused onto, for a moment (to show the “strings of fate” from DCSS’ EDs), before having Sakura lead Yoshiyuki back to the Sakura tree. Aerial view comes down to a ground view, and then the characters are placed off-camera before a green and black flash fill the screen.
- 5:03 - 5:49 are filled with shots of around the island, showing each major person’s house towards the end, ending with Sakura’s, followed by the Sakura Tree. It should end in the sky, where the title should fit.

I’ll be also using this section to talk about the novel’s terminology. I plan to tell the story from a perspective that’s familiar using terminology that isn’t. (I mean, it’s kind of obvious if I call the chapters Quesha [KE-sha] and the books Barlque [ba~REL-ku-eh].)

So, let’s see…character posts, terminology posts…I guess I could add attack, spell, and ki schematics if ever I need to come up with something.

Yeah, that’s what I have planned for this section. Occasionally, one of the characters may do a post. I’ll let you know who’s the one doing so. For now, I’m signing off.

If you’re confused with names, I’ll be revealing more about them once I have time.

It was probably when the shield vanished from my hand that I knew this was going to be a hard fight. However, I knew this was all a dream, and so it didn’t matter whether I won or lost. And then I thought back. Back to how just a few minutes ago, that robber had threatened everyone with a knife. My brother and his martial arts teacher were both cast aside very easily, and I didn’t know what to do. So I made up my mind right then and there. I was going to win this fight. Sure, I had fought with a spear only in the dream world, but here it was. And I was in it. There was no way I was going to lose to something my mind made up.

I remember that battle like it was yesterday. It wasn’t the fighting that I remembered best, nor was it the attacks that were used, though I did like that Shield Blaster I pulled on Ralshay. No, it was probably on how I fought, how I put my effort into that battle, how each movement was to be determinant of my survival or defeat. It was the best feeling in my life. The feeling of actually accomplishing something; the afterglow is still with me.

Now that I’m a Hyiforer, I have to give this my all too. Who knows? Maybe this really is a long dream. At least, when I wake up, I would have accomplished something.

Kiria’s ears perked up at the sound of someone knocking at the door. She paused for a moment, holding a breath in anticipation for that simple pitter-patter. Kiria’s ears heard it again, and was convinced this time that the knocker means no harm to Vargus. She quickly signed her diary, closed and locked it, then grabbed a towel, bringing it with her to the door. Her plan was to pretend that she was busy, so that if the person wasn’t the one Vargus was waiting for, she would have an excuse to excuse him or her. She opened the door, and let out her breaths in quick succession. It was Lucille, all right, and a welcome was in order.

“Ah, Lucy, come in.”
“Excuse me, but who are you?”
Apparently, Kiria had completely forgotten that her staying at Vargus’ house was a fact completely unknown to Lucille. She had to find a way to clear the misunderstanding, and fast.

Think you could do better? Post your versions here!

My lack of knowledge of Japanese helps here, because it allows me to be creative. In fact, it’s something I recommend we all try, blogger and reader alike. Even if you don’t write fanfiction/fiction/novels, poems, or scripts, you can still benefit from a little mind-jogging.

Yeah, that’s it. There’s not much else to this section other than this. I look forward to reading your versions of the full OP animation.

Anime Titles are quite numerous and have varied effects on the anime itself. For example, Pumpkin Scissors was an anime that some people watched merely because of its Engrish title. Another one, called Love Hina, was so rampantly popular it became known as an abbreviated version of its title (LH). However, that’s not my point. While anime titles are this effectual, what is their function, and are they intended to be used this way?

Some people, in regards to my asking of a memorable anime, can name the anime’s title almost immediately. What you may not know is that this is actually uncommon. Most people, when confronted with the remembrance of an anime that is quite close to them, do not remember the titles. They remember characters, or perhaps the episode that made it memorable to them, but only occasionally will someone be able to name the anime’s title.

So, here’s my question. What do you think of anime titles? What makes them effectual at linking the the entirety of the anime together? Does the awkwardness or smooth-flowing name make it harder or easier respectively to discuss about it?