Polo

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About Polo

  • Rank
    Mascot Bio Project Co-Editor
  • Birthday December 11

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  • Gender Male
  • Location California

Converted

  • Biography Mascot bio writer/editor/uploader on OCR

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  1. On the system pages for the TurboGrafx-16 and TurboGrafx-CD, the GameFAQs reference links are broken. Here's an update for the former and latter respectively. Also, why is Akumajo Dracula X: Rondo of Blood half in English and half in Japanese title-wise? Why not Devil's Castle Dracula X: Rondo of Blood or Akumajou Dracula X: Chi no Rondo?
  2. OCR01175 - Mega Man 2 'Chillout'

    COOOOOOL opening notes - I almost imagine hanging icicles being tapped instead of piano keys. That establishing detail practically dictates the rest of the mix: the gentle, heavenly tone makes me look up (figuratively and literally) and, true to the title, really does help me chill out, especially after a hard day. Plus, the whole progression is kind of evocative of an ending theme, fostering a satisfying sense of closure/completion.
  3. Slick, smooth, swimmingly soothing stuff. I especially like the chewy, cross-panned lead and 1:18's tempo/mood shift. Listening to this makes me imagine something like a shallow coral reef rather than the wide ocean.
  4. This mix MAGNIFIES the expressive potential of every part of Danger, so naturally there's lots to appreciate here. For me, that includes: 0:48 - Fitting spot to express tension between the NES and Genesis - they meet and are working together, but don't fully trust each other yet. 1:52-4 - The whole ritardando note descent is neat, but the tail end is full of suspense the way it slowly rises back up... 1:59 onward - Not only is the fusion dance complete, the main melody is now bent on fully exploring its body like it's blasted through puberty at terminal velocity. 3:32 - Unconventional time sigs are fun, here helped by the smoothly gliding lead. 4:26 - By this point, the mix is reaching beyond the cosmos, finding sublime meaning in things we humans can't begin to comprehend. When it's all over, I'm left satisfied and out of breath. Makes sense, since others have said this is like sex/an orgasm/a drug trip.
  5. A few highlights: 0:12 - Love the explosive drums here. They're masters of their domain. 0:23 - This quip alone gets me geared up for a training montage. 0:37 - AW YEAH! Badass bass! I'm rarin' to go! 0:40 - ...Wait, what the - ? That rising arpeggio is distracting and doesn't quite mesh melodically. The energy I had just deflated. Fooey. 1:52 - All-over-the-place drumwork makes me wanna dance in as many directions because of its newfound liberty. 2:26 - The drums go off the rails again, but now I'm tricked into thinking it's the lead synth that's hypnotizing me into shaking my body this way and that. Not one of my favorites, but it's got enough charm to keep me coming back every once in a while.
  6. Of all the themes being tackled in this, I'd say I'm most surprised/impressed by the interpretation of Don't Be Afraid. I personally find that source tune somewhat lackluster compared to other FF8 songs, and its treatment here (plowing through without regard for emotive nuances) practically morphs it into another song altogether, one I like. That section, and the rest of the mix, is, in a word, boss.
  7. Looks like it's dand101's sig space: a .jpg from ffartwork.com.
  8. - Visiting the first page of the Metal Gear May Cry review thread produces a sign-in box with the message: A username and password are being requested by http://www.ffartwork.com. The site says: "Compass Rose Arts Beta"   - The Cave Story source song "Cemetery" is misspelled "Cemetary" and "Oppression" is misspelled "Opression."
  9. - I like how this extracts and plays with the source's bass melody first (0:24) - it's a clever and natural way to warm up, set the tone, and glean some extra mileage out of the song. - When Mystic Cave's higher-key melody enters (0:56), its staccato adaptation creates a tug-of-war between the notes played, like they're saying "This! No, this! No, this! (etc.)" Fun little bit. - While most of the activity-heavy sections add to the strip club vibe going on, the "haunted carnival" parts sound like... well, a haunted carnival still, not a strip club. Not that that's a bad thing - though they stand apart in imagery/tone, they're seamlessly linked with the "rough and tumble" ride that is the rest of the mix. So when I'm not visualizing gyrating hips and pulled G-strings, I'm still grooving with the snappy synthwork and dirty drumwork.
  10. I am thoroughly enjoying this thanks to: - the deliciously badass combo of grungy bass and rapid percussion (I can't get enough of it) - how the order/arrangement of the sources makes it seem like Simon is getting glimpses of the challenges in the next two areas while swaggering through The Cave - the sine wave/whistle-y quips of The Submerged City (4:09+) - the occasional church bells The artist sure isn't kidding when he says he had fun making this. Not hard to see/hear/feel/smell/taste why.
  11. It's impressive - aside from the fact that the source tune already carries a lot of emotional baggage in its narrative and that a different piano adaptation has been done prior, this mix manages to juice the song even further for its emotive prowess. All I can say is that when it comes to solo piano pieces, I'm a sucker for sections that linger over high notes (e.g. 0:36-0:41), contemplate existence (the slow midriff), and leave me wanting more (don't run away from me, 2:53+...). During any of those times I just feel like tearing up, inside or out. In short, I'd say the artist succeeded.
  12. Such a warm intro and outro - they wonderfully build upon the source's tacit plea for Mikey to keep going because Goonies never say die. In general, I love the gentler parts in this mix, especially the heavenly break at 2:20. 0:36 is a fitting boost in energy, although the lingering guitar at 0:42 (slightly panned left) detracts from the mood a little. This is one example of a synth in a busy section holding a note for a few seconds before "releasing" it (a prominent example is 2:32-2:37). I'm sure these instances are meant to add to the mood, but instead they kinda muddy it. Speaking of which, I can't say I'm a fan of that growling guitar at 1:45+. It sounds like another song overtaking/imposing itself on the main melody and disrupting the emotive reputation it's built up. I'm also not sure what purpose the alarm whistle at 1:57 serves (sounds surprising and feels incongruous). Still worth a listen overall, because the Password theme from Goonies II is underrated.
  13. Right off the bat, cymbal-ish tap + shaker + bass = bright 'n spicy synthwork. They help establish an ongoing groove that makes me imagine that Cat-O'-9-Tails enemy almost constantly spinning to the beat. Flow is top-notch, from the warping wake-up call at 0:31 down to the extended wrap-up section at 5:40+, so I'm always groovin'. The main lead and faint choir help color the mood in a way that says "be alert - there are near-hellish dangers to consider," which only adds to the jungle-feverish hawtness. I also like how the source-originating quip at 4:34 keeps on repeating - it's like Protricity decided to take it for a spin on a playground roundabout and see how long it would maintain its power and appeal. Hot, glowy, and untouchable.
  14. I'm absolutely in love with the emotive overhaul Chaos Temple has been given here. It breathes the meaning behind its title in ways that are more than welcome. Entering first is a "G#, E, G#, E, A-B, A, G#" note pattern which creates a foundation (or home, if you prefer) for the mix, and serving as the outro makes it seem like an extended musical tonic to help tie things together. The lead at 0:22 shines in such a way that it could pass for one of the orbs of light, and the string sample at 0:33 is so silk-texture gorgeous I wanna wrap it around myself like a blanket. The original sections go further and build up anticipation of reaching one's destination: 1:07+ and 2:13+ are like spiritual boosts, and 2:36+ exudes melancholy and reminiscence about one's journey and a feeling of wrapping up. You can't go wrong with expressing nostalgia and final satisfaction in a mix. Love it, love it, love it a thousand times over.