Geoffrey Taucer

I loved the extended endings. Btw, the indoctrination theory still holds.

Just to be safe, maybe you should ask to have your forum handle and remixer handle changed to prophetik music. EDIT: Internet vigilanteism would be a BAD idea at this stage. We should wait until the case is settled.

THIS THIS THIS THIS THIS lowercase

Do a youtube search for "indoctrination theory." The more I think about it, the more I like it.

I just sprayed tea all over my screen. Anyway Congrats, mazedude!

Really wanted to come, but couldn't get a ride

I'll hopefully be there.

I disagree. The most central theme of the entire trilogy was the internal struggle between Shepard's paragon and renegade sides. This was the entire point of the trilogy, right from the get-go. It's a central mechanic to the game, it's a central part of the narrative, and it's a central part of what draws the player in. The whole space opera thing is just a platform to explore the philosophical and moral dilemmas it brings up. The ending fits this perfectly. Yes, it gets abstract, and for a game whose most compelling aspect is not what takes place on screen, but what happens in the player's mind, abstract is fine.

Just finished Mass Effect 3 (after playing through the entire trilogy over the last few weeks). Holy shit. Treating the Mass Effect trilogy as a single game, I'd put it easily among my top five favorite games. I don't think I've ever gotten that emotionally invested in a game before. I honestly and genuinely cared about the characters. I honestly and genuinely stressed about the decisions I made in the game, and spent much time wondering if I'd made the right choices. I felt genuine companionship with Garrus, genuine affection for Liara and Tali. This trilogy is an absolute masterpiece (2 and 3 moreso than 1). As for the ending: I quite liked it. The whole scene with the kid on the crucible was clearly a hallucination or dream sequence. Possibly the entire post-beam section, but definitely everything after the death of Anderson and the Illusive Man. There seem to be a lot of complaints about the ambiguity or lack of closure in the ending, but I don't really think that's a valid complaint. Since when does art have to concrete and obvious in its meanings? To draw a parallel: everybody's read "The Giver," right? Remember the end? Did the main character die? Did the infant die? What happened to all the people left back in the city? Who the fuck knows? It's ambiguous. It's meant to be. And that's completely fine. There is nothing at all wrong with art being open to interpretation.

Awhile back, the Xenotones (harmony, audio fidelity, nonsensicalexis, bustatunez, drumultima, and I) were working on an irish folk mix of Bloody Tears awhile back. We never really did a final recording, but if that's something you guys might want to use, I bet I could get the band interested and we could get it knocked out pretty quickly. As for any of my other mixes you may wish to use, feel free (though since most of them are collabs, you'll have to ask my partners-in-crime as well). Or, if you want to make it a more official thing, you might try contacting Liontamer or djpretzel. I'm sure they'd LOVE to make a community soundtrack out of it.

Spent another afternoon playing with my brother, and I continue to be impressed. Overall, it feels very balanced -- there are a few weak characters, but MOST of the characters feel like top-tier characters -- which is as it should be.

I wonder if this will become standard for tournament play? If so, I might get back into tourney smashing

My brother and I played a bit of this yesterday. It was glorious.

WHOAH! Definitely interested!

Production has room for improvement - the lead guitar tone in particular really doesn't mesh with the rest of the mix at the beginning, though it sounds MUCH better when the slide starts in. Otherwise, I love it! OCR definitely needs more bagpipe and banjo love.

Cute, extremely catchy. This is one of those mixes that just makes you think "this is how this melody was MEANT to be arranged." Production certainly has room for improvement, but I can't complain -- it adds a bit of charm to the piece.

A few timing errors, but some really cool sounds! First part is basically a straight up cover, and the ending doesn't sound anything like the source. It's real short -- are you going to extend it?

The foreshadowing of romance between Korra and whatsisface was painfully hamhanded. Otherwise, I love it so far.

First impressions: I'm less impressed than I was with ME2. I don't like the engine as much, I don't like the lighting (or lack thereof, in most places), and I don't like the fact that 3 hours into the game I still haven't gained the ability to fly around the galaxy -- which means the game has so far been completely linear.

Who the fuck are you?

Whaoh, why all the hate? I mean, seriously, we don't even have the vaguest clue what the gameplay is like. I'm certainly willing to keep an eye on this and see how it develops.

I'm with willrock -- I just don't hear much dedede in there at all.

I love everything about the game except... the controls seem so awkward and ineffective to me that I'm having a lot of trouble getting into the gameplay. Funny story: one of my girls at the gym is a huge Zelda fan, and ever since she found out I play Zelda, every day the first thing she does when she gets in the door is tell me about her latest progress in Skyward Sword.

Love it. Love the back-and-forth between lofi and hifi, love the choices of synths, love the chippy arpeggios, love the way you layered different sections of the melody over each other. Very well done.

Thanks for posting!