The Nikanoru

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About The Nikanoru

  • Rank
    Roll (+350)
  • Birthday 04/03/1982

Profile Information

  • Gender
    Male
  • Location
    The Mighty Rivers of British Columbia
  • Interests
    Video games, art, music, writing/reading fiction, business and supply chain management, moogles, marketing/advertising, puns and other dry humour, information technology, and, believe it or not, tires.

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Instrumental & Vocal Skills (List)
    Acoustic Guitar
    Vocals: Male

Converted

  • Occupation
    Supply Chain Coordinator

Recent Profile Visitors

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  1. This is fine, but be aware that we are already eight months into the project and the more you change your approach, the less time you have for polish. ----- I see our sig banners are busted again. I don't have time to fix right now, but I'll have a look at this over the weekend.
  2. Great feedback, @classic_gamer_76! Good ideas, I'll keep them in mind. I expect each narrative to be about 60-90 seconds. LOL We all have accents to someone! Thanks, 76 - I'll put you down for Wolf. I don't know who that is, but if this person is interested in doing a voice, go ahead and put them in touch with me here on OCR or at lylat.system.clear@gmail.com. Thanks for the suggestion!
  3. I saw Launchpad in that 2nd trailer too. Another vote hoping Darkwing makes a comeback.
  4. Very happy to see this on OCR! I listened to it for the first time almost a year ago on the workshop and I've still got this track on my mix. Great track, also hoping to hear more from @DarkEco!
  5. The narratives will be decidedly non-musical. I plan to feature ambient noise or some SFX as part of the narrative, but no BGM. Don't worry, I'll keep you in mind.
  6. Alright - I said I would be working on the narrative part of this album in May, so I thought I would give an update on that. I still haven't developed a plan on what this looks like yet, but I have been thinking about the narrative discussion earlier and I'm now building the framework on what that would look like. Here's what I have so far... What I'm thinking is 3 or 4 minute-long narrative scenes and possibly an ending sequence to give listeners a bit of context and help guide the path of the journey, much like the conversations with Pepper and pilot chatter in the games themselves. Each 'scene' would likely be amongst the pilots and a few select guests, depending on the scene. Now, I do not want to go too far with this, as this is a remix/arrangement album and not an audio play; however, I'm totally open to suggestions on how to proceed or anything you think should be mentioned/included in the scene or dialogue. I do not plan to pump the dialogue full of cheese either; I might make a quick joke or two in game context - 'Watch where you're aiming, Fox!' - but I plan to keep as close to what I think the game would say. Here are some examples of where I would see these scenes in the album: Opening <-----> Title Theme (Introduction?) Boss A/Attack Carrier <----> Meteo ('All ships check in') Fortuna <----> Sauria (Approach to Sauria/Meeting Krystal?) Boss B <----> end of disc 1 (Leaving Sauria/Falling into the Black Hole?) Space Armada <-----> Star Wolf (Introduction to Star Wolf) Boss C <-----> Venom Orbital/Base (Approach to Venom?) Andross <----> Ending (Job Well Done?) NOTE: The above are suggestions - MAXIMUM 4 narratives, period. I do not want a dialogue with Pepper at the beginning because we have Pepper's monologue in SCRAMBLE and I'm also not going to build any dialogue around conversations between Fox and Andross because of the Andross monologue I'm planning to build for the Andross remix (whatever form that takes). So - please let me know what you think of the concept and/or if you are interested in possibly voicing any of the characters - and let me know which character you're interested in, if you have a particular character in mind (Yes, @TheChargingRhino, I know you're interested invoicing Krystal and @Cole Train has already given an offer to be Fox, since he's rapping as Fox on the Sauria remix anyway). Keep in mind that I'm not in a position to actually cast anyone yet - I don't even have a script - but if I know you're interested now then I'll contact you later when I'm in a position to start looking at recording. I have no set timeline for this - I'm STILL trying to find time to piece together the SCRAMBLE update and my own WIP - but I can commit to at least having the first script in place by the next deadline, wherever we decide that to be. Speaking of deadlines, six weeks to go!
  7. I get where you are coming from with limited controls/attack zones/movement making for unrealistic situations and clumsy combat, but further to my point, I argue that this is not inherently 'unfair' or 'poor design' - just limiting (and in all cases, irritating). I also get that there are situations like the bats in NG where we go 'how the **** am I supposed to deal with this?!' - there's examples in almost every NES game, some of which I'm sure were unintentional designs - but whenever I'm in that state, I always think to myself 'someone in QA testing beat the game, so that means I should be able to as well.' Taking Castlevania as an example, yes, Simon can only whip in one direction and gets knocked back 30 ft. by enemies that weigh less than his head, but the secret to overcoming this is to have the correct sub-weapon to be able to hit those gaps in your attack zone, getting hit in a way that saves you or puts you in a position to continue, and/or not getting hit at all. That's not unfair - it just takes a level of skill that you have to build yourself to. To your example, yes, it's logical that 8 directions would be more useful, but too bad, you don't get to in the first game - so now what? Turn it off because it's unfair? I mean, Simon doesn't get a BFG or a rocket launcher to use on Dracula either ... I guess I'm coming from the standpoint of 'value what you've got' instead of 'great until the next best thing comes along,' so I tend to really try to appreciate a game for what it is. You're going to find things like redundancy, tedium, and some form of bad design in almost every game you play, whether it be that awful part no one likes to do or sitting through a tutorial you've seen a thousand times that you can't skip - it's all about balancing the good with the bad. To keep on topic, that does not mean that I don't shut off or stop playing games that frustrate me - to this day, I've never beaten TMNT - but I don't blame it on the game, just the player.
  8. I disagree on this point. The 'fairness' of a video game is totally subjective; the developers were simply doing the best they could with the mechanics and physics the consoles allowed them to use and as @MindWanderer said, most of it is simply memorizing the obstacles or patterns to overcome them, with some added hand/eye coordination to manage the exceptions. The same is true for the earlier Mario and Sonic games of 8 and 16 bit generations; in fact, for these titles, lots of levels have timing aspects to them so that you could go through them at top speed without slowing down, so long as you knew the route and where the enemies/obstacles were. I mean, I've questioned the fairness myself of certain situations in gaming - Megaman's mercilessness at failed jumps comes to mind - but these unfair moments are part and parcel with gameplay. The concept of 'unfair' lends itself to forcing our perception of physics onto the game, which frankly, is silly even with today's games. Besides - 'poor and unfair design' is part of what makes these old games what they are. Training one's self to overcome these challenges is what gaming is all about, isn't it? And if they were simple and easy, how could we complain about them a thread like this?
  9. Okay, fair point - I did miss that - but technically you didn't send it to me or make any claim.
  10. You have a claim on the Map Select theme which you sent me a WIP of, but you haven't sent me anything for Boss A/Attack Carrier theme. If you want to remix Boss A, you'll have to give up your claim on the Map Theme.
  11. @JulienMulard's Raid on the Water People now has a new version! Check it out on the WIP spreadsheet. ---- I don't recall asking for a new SCRAMBLE intro, but this is actually pretty cool. If you want to use it, then I suggest that this may be something you consider putting into Clipped Wings instead - perhaps as a breakdown or bridge. Just my opinion....
  12. Totally seconded. Your experience in this mirrors mine. Ended up spending a ridiculous amount of time backtracking all the way to the Encephalon, then fighting low-end Gnosis to get myself to a level where I could compete with her. Xenosaga II is one of those games I will probably never play again, unless I either get a hankering to play through the entire series again or wake up one day feeling particularly like torturing myself.
  13. Here's the original idea for layout that I had for the mass collaboration: Intro with voice over (SF SNES): https://app.box.com/s/ivo689dxvxoxkqvhhkitai52m87t7ch4 1st Movement (SF2): https://app.box.com/s/vfylzj8bdlxggc5319bjlqcsibzjisgh 2nd Movement (SF64): https://app.box.com/s/lds3bw5as82szney1tk8q9106m7ai8b9 Then finish with some variation of this (SF SNES): https://app.box.com/s/374qmxxui5ed302qa03ks9ywe5ec6kmf ... but I also notice that there is no love for SF Zero on this album yet either, so maybe some Andross Zero would be good too.
  14. Just my two bits on this: I would say yes, but depending on the situation and what you are using it for. For my part: Start 5 convo per day - as a director of a project, I have found this to be quite limiting, especially when I was trying to recruit for the project. Of course, this limit does not extend to existing conversations, so once contact is established it's not as much of a problem; however it slows things down and can be irritating when you are so limited on your progress within the OCR forum, especially when starting out. 1 convo per minute - I have no problem with this, probably because I'm a slow typer. Multiple conversations at once do happen though; I guess it depends how much one multi-tasks when it comes to talking to many people at once. 5 folks per convo - I have found that most collaboration work in my project is generally between 2 or 5 people, so generally I think this is okay. There are places like OCR Discord to go if you need a wider forum, as well, but it would be nice to have the option/be able to request more than 5 folks per convo when dealing with project staff or larger collaborations. I think this is a great idea. As the above is hinting at, my belief is directors/producers of larger projects could make best use these additional resources, but I think ELITE SPECIAL PEEPS (love the sound of that) could apply for the same status should they require the need to do so. Hope this helps.
  15. @The Imposter has now claimed The Awesome Black Hole. Welcome aboard! 3 tracks to go! Now you can REALLY drop the mic. Which mic did you get? No, not yet - I still haven't had a chance to sit down and figure out how I want this to work, let alone write any sort of script. Since quite a few folks are asking about this, I guess I better get on it. Record it, duplicate the track, then hard-pan each track left and right. You can do stereo pretty good this way.