K.B.
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Posts posted by K.B.
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I'd call that more a snarl.
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So nice thing there's this thread here, as for some reason tonight I have a celtic love in me.
So one artist I found is Lisa Kelly - this song catches my ears:
Any other artists perhaps I should know?
Check out Loreena McKennitt. She has a diverse catalog, so I'm not sure what you'd like best (and I haven't heard most of her albums), but Parallel Dreams sounds close. I also have an album by Aine Minogue - The Mysts Of Time - that's along those lines as well. My disclaimer is that the Lisa Kelly track you linked is vocal-pop with vague celtic backing, and that these recs are almost as much instrument- as vocalist-focused and are as much celtic as they are pop. Which is more how it should be, of course.
Anybody hear listen to celtic Punk.I'm fan of Flogging Molly and The Dropkick Murphys.
Rather meh on both of their most recent albums, but they still put on kickass shows.
If you want more modern celtic punk, check out The Tossers - The Valley Of The Shadow Of Death or The Real McKenzies - 10,000 Shots. But I heard from a friend that The Tossers suck in concert.
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Sorry I don't have a WIP for my 45-minute kazoo/desk drum/acoustic guitar/toy keyboard medley yet.
Deadlines shmedlines. Just make it happen.
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Many thanks, DA!
I would never have guessed that (and would never have gotten close enough to google the answer). I am once again reminded of the many levels of ability above mine.
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Please tell me how!
Bonus points to all who appreciate the thread title.
There must be hundreds, thousands of examples, but this is all I can think of at the moment (as I'm currently addicted): http://www.youtube.com/watch?v=UR0jn8B6iJk. Skip to 0:45 for the growling (edit: it's the trumpets I'm talking about).
Is that some form of muting (and manipulation of the muting device)?
Yes I know that I should know this, but I don't. Help is appreciated.
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What's sad is that millions of US citizens think they know what Italian food is from their visits to one of those hack eateries. Best spaghetti I ever had was at a no-restaurant tied to a camping place in Italy. The sauce, the cheese... no US chain comes close to touching it. Lord help me if I had eaten at a high-class restaurant while over there; I might have passed out in delectable joy at first bite.
Though we do dominate pizza. I give us that.
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You would have avoided the confusion if you had said that before. And that it's usually the females, not explicitly them.
I really wasn't...
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I almost mentioned fighters before but didn't for the sake of being pithy. I gotta think Malaki is in the minority there. Unless you're new to fighters - in which case you could pick any character and go with it since you have so much to learn (and a little T&A could be a good incentive to keep at it when you're continually getting whooped-up on) - it doesn't make a lick of sense to choose someone based on appearance. It could make sense to choose someone weak just to humiliate an opponent, but that wouldn't necessarily be a female character.
Not that I can really talk on fighters THAT much... all I've ever played a lot of was Street Fighter II back in my arcade days and SSBM (if you want to count that) more recently. In the latter, I'd choose Shiek sometimes, but that'd only be because I'd want a break from Fox.
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He's been around.
Also, pews don't bend like that. Out of alignment = 30 Our-Fathers and restart.
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I just decided to pop in here and...
Curiously besides Final Fantasy what other "jrpgs" have you all played that made them different and memorable?Persona 2: Innocent Sin.
You can hand over the medal anytime you like.
When the gods offer you a blessing like Final Fantasy, you don't complain.I didn't used to. Then I bought and played IX. Then X. I'm really hoping I wasn't foolish in buying XII, but based upon recent history I can't be certain.
Anyway, I'm going to give every game a fair shake. I suppose most everyone else here will do the same. But, for the next FF, as my magic eight-ball puts it, "outlook not so good".
I'm just waiting for KB to pop in here and laugh in my face.HahahahahahaHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAA!!! In your face!
That'll be five dollars.
Also, I'm not excited. ...and even if the song was written for the game, it still sucks.
PS: I'm not arguing with you, just laughing at you. For the money.
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But this way we get irate viewpoints from both forums!
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Leona, you thief, I KEEL YOU!!!
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Time to go scouting at DoD!Well, OA has dropped Team England due to disinterest, but in his place steps DoD competitor Hoha! Welcome aboard, man!
There is merit in this.
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Male when the character is the actor, female otherwise.
I always try to be as close to me as possible in a game - on all choices (at least on the first playthrough) - but if there isn't anyone to 'be' then I ain't gonna stare at a dude for hours and hours.
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KB, I don't want to quote your entire thing, but the only examples you posted are from games where the events that occur have no chance of every actually happening in real life (not to mention I thought SH1 was initially referring to Shadow Hearts). The question I meant to ask was, from a moral standpoint, is it RIGHT to have fun at the expense of potentially exploiting real-life tragedy? Especially when the tragedy is so fresh and recent?
I don't disagree with telling the soldiers' story. But honestly, I doubt a videogame is the appropriate medium, because there was nothing FUN about the things those soldiers went through.
Sorry about the SH confusion; I tend to over-abbreviate.
I don't think I've played many games that reflect reality completely, but I can think of several that dealt with serious, very real topics and did so appropriately. I don't see why this couldn't work by extending this from a topic to an actual event. And I think I was wrong before; 'fun' doesn't seem to be the right word for what is kept. I think sephfire, zircon, and Bardic nailed it: fun might have to be sacrificed, but something just as, if not more, valuable could take its place.
As to exploiting, it would come down to how well or how poorly the game is made and not merely to the fact that it is made. Also, I don't see how recency is a good counter; actually, if this is indeed a tribute to those who fought and died on both sides (all other issues being handled tactfully as well), then it would be a disservice to delay this.
Sorry but this could not be less true. The masses are THE thing significant here. If not for the masses, things like six days in falluja DON'T HAPPEN. Companies pull out of deals and bail on good ideas, and decide to play it safe because of the masses, and because of popular opinion.Well, right, you need to sell enough to make a profit (unless you have a philanthropic benefactor... but I'm not holding out on that happening to a vg company). But that doesn't mean you have to appeal to the masses. Say a niche group of gamers - perhaps 5% - would appreciate a very deep, completely reality-based game and be willing to sacrifice a bit of fun (for lack of a better term) for the interactive reality. That's still a significant number of people. It could be harder to reach these people through marketing, yes, but that doesn't mean it would be impossible. Or it could be that this represents a hardcore fanbase, in which case all you need to do is make a good product and the purchases are all but guaranteed - low risk, small but definite return. I don't think we know which will be true for real-life vgs; every new type/variant of game takes a risk in this area.
I'm not saying that vg companies should show a disregard for their consumer base; I'm saying that they can turn a profit from products that do not necessarily appeal to the masses. A game might end up being popular among the majority, but it doesn't have to.
Does it make more business sense to appeal to the masses? Of course. So the vast majority of games, even well-crafted ones, are designed to try to appeal to as many people as possible. But that doesn't preclude an individual or a group of individuals from having a motive aside from or in addition to profit; more than one artist has refused to compromise his ideals, and sometimes the creations still make it to completion. That integrity and determination is exactly what this is about. Controversial vgs might have a lot more negative PR to weather, but this can be done by companies with enough faith in their products.
Now, looking at the 'masses' as the general public instead of potential consumers, my choice of terms wasn't the best. I agree that companies should try to appeal to the public to have them see the merits of their games and of vg as a medium. What I meant was that they should not appeal to widespread demand that controversial games be axed or toned down. A given game is either right in the way it handles its subject matter or it is not; the public perception of it is irrelevant. So if a company has a good game, they should try to change public opinion, not the game... and if they can't change public opinion, push on anyway with the knowledge that they have a quality, marketable product.
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The choice of (and time-selection of) outro was impeccable.
Transcending the medium. That's what truly good movies do. That's what truly good games can do.
And I'm really sorry, Malaki, but you're putting way to much emphasis on the significance of the masses. Good is good regardless of popularity. Appeal to ignorance? No, we should not. We are more than that.
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But why is this the case? Why aren't games able to pass on information, and why is entertainment antithetical to education? Hell, Sephfire has. Being entertained doesn't hinder learning, it actually helps it. You can't teach anyone anything if you put them to sleep in the process, can you?
What's the difference between Six Days in Fallujah and Black Hawk Down?
Oh cold day in Hell, be ye now! (NJ might laugh at this; no one else probably will)
The validity of this medium which we call 'video games' is the crux of this discussion. If vg's are but mere toys, the detractors are right and no further conversation is required. However, if vg is a blossoming medium for artistic and philosophical expression, then we must regard it as such. Truly, this is what sephfire - and especially his counterpart - was trying to get across.
To the disgust of many, I will respond as point-counterpoint.
There are also a ton of people who could watch a film trying to convey a similarly mature message, miss it entirely and either hate it outright or still enjoy it on other levels completely oblivious to any deeper meaning.Precisely. What differentiates vgs from movies is... (?)
Nothing delicate appeals to the masses (I show my bias). It appeals to those who can appreciate it for what it is. There are moral lines to be drawn, yes, but they must be drawn so considering context. To condemn a game because it portrays events that were (in real life) violent, realistic, and recent, is to condemn our entire race! We are the race that allows and commits such atrocities! You would not expose our faults? You would indemnify us?Just because a lot of people might not get it is no reason to shy away from this stuff.The nay-sayers must show how vg is an unfit medium to show such aspects of humanity.
This is true, but you can't deny the first point in that games are first and foremost pieces of interactive entertainment. I probably wouldn't buy Six Days in Fallujah to learn about the experience. No, I'd buy it 'cause I want to play another (hopefully)good FPS. The message it's trying to convey is, and given the nature of the medium probably should remain, secondary.Are you not exemplifying the medium in transition? What makes a good fps? Gameplay? Gameplay entirely? Hardly. There are many factors, and making the experience 'real' is just as significant as assigning the right buttons to 'shoot' and 'duck'. Would the world have gone ga-ga over Halo had there not been a plot and (likable) character development?
Saying gamers want to be able to blow shit up first and foremost is akin to saying that movies should focus on sex and violence. Appealing to base instincts may get coin, but doing so will rarely expose truth. Gamers, just like your common movie-goer, are prepared for much more.
I think we must look at the indie scene and the small developers to push the limits of the game medium. They almost HAVE to be unique and get attention to bring their game to a larger audience. And then, it's up to us gamers to support the small developers if we feel that they bring something new to the medium.Agreed, but we have honest vg critics on our side. We are already allied and fighting the good fight.
What it comes down to is that the people who get it will get it and likely appreciate a good game that didn't back down from sensitive topics. We'll never get to the point where a majority of the audience takes games seriously as an artistic medium.I vehemently disagree. Many already recognize games such as SotC as art; this is a far cry from the perception of games during the 8-bit era. To give such an absolute in passing is to deny the progress that has already been made.
By cutting that out, I get the feeling I've painted her to look like Fox's tool, which she really, really wasn't.I didn't expect much from her to begin with, but that's because I expected her to be the typical, emotional/illogical crutch for the antagonist. From what you posted, I think I was close to the mark. On viewing, yes, it was disappointing to not hear a word from her, but not much was lost.
Edit:
Actually, I would want to ask WHY people want to make games that deeply explore real-world issues.Faith in the medium. The belief that the experience is enhanced through active participation.
Here's a for-example: ever been scared by a so-called scary movie? I know I haven't (though I've enjoyed seeing them with girls, as I always seem to be grabbed multiple times by a good-looking chica). They're as implausible as flying shit. But put the controls of Jill Valentine in my hands and (with a few drinks) I'm scared out of my wits. Christ, I started singing Bad Religion's Kerosene during RE1 (PS1 [edit: GC, not PS1] remake) in my half-drug, half-horror induced stupor. Why? Because I was there.
Tell me you can create that as well in a movie. No, not even that. Tell me that it's not possible to create that in a video game.
A medium in transition. Expect more, demand more, and you will be sated.[...]but then I have never heard of a comic book or graphic novel that dealt with real-world issues in a realistic way. Not without adding in superheroes and cheesing the whole thing up to begin with.
You've played the game, I take it?Basically, the devs and soldiers wanted to show what was going on over there. Fine, fair enough. But the game medium requires that it be FUN. And in making it fun, they are indirectly glorifying their tour over there. If that's their intent, then great. But I doubt it was, seeing as how people died and the whole thing seemed rather sombre. So the end result is a game that is fun but the player feels REALLY BAD about having fun with it, I take it? That doesn't seem right, either.All such hypothesizing is for shit. There ARE decent counters to this game, but they do NOT fall along the lines of 'it's a game'. You say it's a game, therefore it must be fun, therefore it must ignore the tragedy to emphasize the fun. I'm with you until that last bit.
Tell me SH1 didn't expose the horribleness of the tortured subconscious. Tell me you didn't replay it to grasp the depth of the hollow into which Alessa fled (and tried to escape).Game developers ARE toymakers, and games ARE toys. And that's fine. Toys can do any number of things, including provoke thought, make you cry, laugh, etc. But toys can't really show you the real, horrible world, retain their fun, and make you think. To do all 3 seems impossible in any medium. Fun is lost in things like serious movies or novels. "Interesting" takes its place.Games can tell vivid, provoking tales... so long as they are fictional. Hogwash.
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In Pic 2, you can see Mahaboo's costume has a built in catheter so she never has to stop partying on Halloween at ALL.
Being a ghostbuster is serious business. She's just making absolutely sure that she doesn't cross the streams.
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Excellent, per the usual. You were very tactful on the case in point, which is something I wouldn't have been able to manage.
However, I think this situation will work itself out. Controversial video games have weathered such storms and made it to publication intact (as evidenced in your collage)... sometimes to make a tidy profit. The difference-maker is in the chutzpah of the publisher. You advocate that all publishers should stand firm to their morals (which, even if they boil down to profit, that would be sufficient justification to outweigh the PR risk in many cases), but the ones who refuse to do so will be blacklisted among at least some developers. The publishers with the guts to stand by their games will be the go-to for all potentially risky games. Developers of such games will inherently develop a rapport with these publishers and, after a few risks pay off in spades, then these publishers will have both loyalty and market share. So if, as we hope, the medium continues to advance and more 'risky' games are developed, the cowardly giants in the publishing business will either need to sacrifice their market share (and thus their profits) or start seeking out and fully embracing such games (and their associated risks).* I daresay this is more a 'when' than an 'if', but perhaps that is a debate unto itself.
In a nutshell: the market will work itself out... even if courage is absent.
That's not to say that I disagree with anything you said. I agree wholeheartedly - and not just with confirmation bias, since you always manage to bring up points I had not previously considered. But in this case more than in others, I have faith in the system. That's not to say that we can't do our part as gamers to advocate good games - both to the publishers and to the public - it's simply to say that even if the big boys tuck tail whenever a PR fight breaks out, a new kid in town with less to lose and more to gain will show and back up his developers. Truly, I think the new kids are already in town and the shakeup is eminent.
Great expectations; everybody's watching you.
*Well, games with realistic violence always face the possibility of being sued on ridiculous grounds (First Amendment be damned!), so those will always be the toughest to get through, but other 'taboo' subjects will not face as absurd a risk.
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We should do this again using Live for Speed, a vastly better looking and more realistic game.
If we can do that on the free version, then hell yeah count me in.
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Xenogears!
Shit!
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I'd believe him were it not for the comparative.
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I almost posted this in "and it made me smile" but then I thought 'what the hell, no one cares besides me anyway'.
Elizabeth & The Catapult. I decide to get back into seeking out new music and, after a few hours of research, my first album pick turns out to be outstanding. Diverse in both mood (playful to reflective to lamentful) and style (pop-lounge to bluegrass/alt country to...); talented musicians for a pop band; female singer with a good voice (though she needs to settle into her own style; her influences are apparent); decent-to-excellent lyrics. From what I can tell, they'll only get better. I look forward to following them for a long time... I hope!
And they gave me my newest 'me' song. 8/10 on the album; thoroughly enjoyable.
Edit from scanning this thread for albums (which are far more helpful than single track recommendations):
The Pack Up The Cats album by Local H. Indubitably one of the best rock albums from the 90's.Fixed.
Uber-late edit: two more links to Elizabeth & The Catapult!
http://www.last.fm/music/Elizabeth%2B%2526%2BThe%2BCatapult/_/Race+You
http://www.last.fm/music/Elizabeth%2B%2526%2BThe%2BCatapult/_/Hit+the+Wall
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While this ability is strangely awesome and while I am a mite envious, I hope you synesthesians keep the radio off while you're driving.
OCRA-0015 - Xenogears: Humans + Gears
in Album Reviews & Comments
Posted
Hello there good remixers, organizers, and all others who made this project possible! I have listened to this album several times now and have found it to be undeniably awesome in both individual tracks and as an album as a whole. To the latter point: the flow between tracks was seamless, and my worries about the division between sides and non-chronological flow was quickly assuaged. To the former: I would like to comment on a few tracks that I found to be excessively awesome. No offense intended to any I don't mention, of course; the vast majority were at least entirely awesome!
104, Prometheus - Cybernetic Love.
How someone comes up with such an idea confounds me, but the new style (or, more appropriately, styles) worked completely. Swanky. Ranging from dirty guitar to delicate piano, as well as (considering the title) an appropriately fitting synth, this is one sexy piece. Well done, John Revoredo. I wouldn't mind putting my current handle on this one if I were you.
106, Vampire Hunter Dan - Ship Of Emotion And Song.
One of my favorite remixers covers one of my favorite vgms! And he does some stuff before then too
! VHD is one of those remixers whose works are so incredible that they drive me to learn more about music so I can fully appreciate them. Also, VHD: it's what's for dinner (sorry, I had to). Not to end on a joke: you absolutely nailed Flight. I wish it were longer, but what is there is perfect.
109, Fishy - Echoes.
I heard that Gilmour. Well played, sir, on both counts.
115, Jormungand - First Meeting; The Shadowed Forest.
Oh, the restraint! The deliberate pacing is impeccable: it brings forth the suspense and mystery of the original in full color. And, as bLiNd commented in the listening party, the use of dynamics is excellent. Great interpretation, great playing.
203, Ziwtra - Crash/Restore.
Too much to say! To me, this is the most delightful work on the entire album; I find myself needlessly head-bopping along to it almost the entire way. But to simply say it's 'happy' would be a disservice; the intricacy and care taken in the creation of each section screams to be noticed. Every sound font, every layer fits; every melody is offset, balanced, or countered appropriately; and each varied section leads intuitively into the next. But to the emotions (oh, pun!): the feelings of longing (or fond remembrance), hope, and perseverance flood this work. I enjoy your remixes Ziwtra, but if this sheer brilliance is in part the product of computer problems then I would be willing to sabotage your files anytime!
206, The Vagrance - Smooth Criminal.
Stop-motion listening. That's how much I get that into this one. So yes, those beats are absolutely disgusting, so much so that sometimes when it comes on I'm so absorbed that I forget I'm listening to a remix. Then, once I realize that I go 'whoa, bonus!'. Quite silly, really. I also really like the use of same/similar sounds that were in the original. Not keen on the accelerating pace at the end, but it works within the album and it's a small thing in comparison to the sweetness that is the rest of this track.
207, Siamey - Sleeper Dreamer.
Five minutes out of fourteen seconds. How you people do something like this astounds me. I wish I could better praise this track, but I don't know my trance (or electronica in general), so suffice it to say that I thoroughly enjoyed every second of this.
208, R3FORGED - Omen (R3 Mix).
I want my subwoofer back... you killed it. It was worth it though. This is so oppressive and chilling that it makes the original Omen sound as comforting as a lullaby. This is a horror unfolding. The atmosphere starts to close in, the stark realization comes that this is very wrong and this isn't a dream, the shadows take form, and then the pace quickens to somehow leave this behind. And 2:22 is the pause at the edge of the abyss; a single rock clacks down the cliff. Then there is the struggle, frozen with fear, to turn around... and the sudden jolt of adrenaline that allows a desperate surge back through the darkness. It's futile. But they're not after blood, they're after the mind. And there is never, ever any escape from that. That's what I hear, anyway. I figure painting a picture depicting how utterly wicked and hopeless this is would work better than me fumbling for musical terms. This is horribly, horridly incredible.
211, Wintermute and Troy Lawlor - Binary Chain.
Welcome back, Wintermute! You've been missed! (And welcome, Troy Lawlor!) The electronic and the instrumental come together magnificently in this track. A very classy ending as well.
215, Avaris and Blue Magic - Defective.
Phenomenal. Everything builds, everything transitions into something more. But the panning! Starting at 0:35, it's use creates an entirely different atmosphere. 0:00 to 0:35, you have the real. 0:35 onward, the illusory, the unconscious suppression is highlighted in increasingly overriding monaural sound. With menace. And then it fades - into stereo, into the unknowing consciousness. And then the real and the imaginary intertwine until nothing is certain. A more fitting tribute to the source tune I could not imagine.
Thanks again to everyone who had a hand in this. This is one of my favorite games, and one of my favorite soundtracks, and you all have done it more than justice.