José the Bronx Rican

I guarantee it'll die before the 'vocals' argument.

Sure there were, in both versions. A little rap here, a little scat there, but definite vocals.

You came 'round just in time, as we were about to contact you. My design for the digipak is nearly ready, and it looks like your work will be a perfect fit, especially since it's on a clean white background. You'll get a PM on what and where to send. To the others offering, the design for the digipak doesn't leave much room for other works. The tracklist and credits likely could take up the remaining area. But stand by: when I submit to Dave and Larry and them, we may yet decide whether something else is needed.

Putting aside this weird concept of 'after-the-fact' licensing, where we infringe first, and then wait for the creator to negotiate what would make it all right... Baio seems like a smart man, so it's easy for me to blame this current Internet culture being such that it didn't occur to him to ask about an iconic piece of artwork before reproducing it; can't assume 'fair use' is enough protection. And now we're too hung up on monetary values. Maisel asked for an amount - probably pulled out of his ass - that may have been significantly increased or reduced after a full trial. It may have turned out to be zero, and Maisel ordered to pay for Baio's legal defense. Or the opposite. We don't want Baio punished at all, which is understandable: he slipped, big time, and we're kinda certain he didn't do it with impugnity. But the courts, who would be closer to the facts than we will ever be, decide how much harm was done, and the amount it takes to compensate; we don't, as much as we like to act like we're experts on the negative effects of infringement. The litigants' personal incomes have no say over whatever amount is determined. So, settlement. I'm assuming Baio's still alive, still coherent, still makes a living, and now is a big fat crusader for fair use advocates. But no one has brought up the 'deterrence' aspect of this situation: what happened to him was sudden, serious, and affected his livelihood... that's entirely the reason it occurred to him to license the music. If there might be trouble, and you can't pay your way out, don't risk it. I wouldn't be the only one who doesn't think '8-bit style' is transformative enough, especially as the cover on a commercially sold product. If the subject was Floyd's "Dark Side of the Moon", would Baio be as ignorant about it? His examples of 'fair use' weren't very convincing, mostly because those were under very different situations, and he left out the all-important question of whether the creators of any of those original works were even made aware of these products, much less paid or compensated for them. He makes it sound like anyone could get trapped in a dark alley and attacked with a subpoena, but usually, if you don't do anything, you don't get accused of anything. Baio asked for a cover idea that won't land him in court. Is he kidding? There are a thousand things he could do. Do a faceless 'Miles & trumpet' sprite at 64x64 on a blue background: conveys the same 'message', and doesn't infringe on any photographs.

Enter now and someone may twist my arm into immortalizing you and Nob into a silly piece of anim!

Guess who?!? Hu-huh-huh-HAAH-huh...

I'm with Moseph on 'Friday's' lyrics being embarrassingly insipid, which was my main turnoff there. Not to mention Becc's 'deer-in-the-headlights' look. If we're having a thread for comparison's sake, then here's my take: I've had the same result here as with 'Friday'... I just can't force myself to get past the first chorus. I guess that would mean they're about equal.

'Edward Scissorhands 2: Shear Awesomeness' Happy Birth Anniversaries.

You can isolate each sound channel in a Genesis chiptune through the playback plug-in's control panel. If you're playing the boss tune ('Attack the Barbarian') .vgz in WinAmp with the VGM plug-in, for example, go to 'File Info', go to 'Configure', and uncheck every sound channel except 'DAC'. Then record or export. BTW, I hate that the available file on this particular tune is incorrectly looped; one of these days I should fix it.

What noise do amphetamines make? I understand disappointment when something doesn't sound like what you expect, but not off a title. We've been learning that lesson for over a century. The Art of Noise's 'Chameleon's Dish' beckons. 'Background of a lounge bar' still does not address the 'pace' of a song, only a generalized impression of its 'style', which, by the way, was not my impression in the slightest. I know it's not the first time it's been done, but 'slow' was always a ridiculous way to describe jazzy/lounge/smooth/whatever music. It can go as fast and as crazy as 'Jonny Quest' big band. I only recall the word being used when the style is not what the listener wanted or expected.

"Slow pace" is usually code for "unwanted genres". Call it 'MVC2 Syndrome'. I'm fairly certain this conclusion was reached after "Under Construction" started, because it came after the ONLY song that can actually be considered "slow", 'Fifty Rings to Ride.' None of the other tracks clock in at under a tempo of 100. When you have two consecutive tracks belonging to the 'not that jazzy crap again!' genre, you'll get 'slow' comments from those expecting nothing but grilled face sandwiches, especially after "Project Chaos". I'm exaggerating, of course. This crit might've been avoided for the most part with a slightly altered track order; who knows? The original soundtrack isn't exactly Guilty Gear meets Streets of Rage; it's upbeat, bouncy, and melodic. Sure sounds like what we've achieved here.

There's a comment floating around how they didn't like the sound of the 'generic samples', judging from the trailer. Naturally, I thought to myself, "Harmony & DrumUltima, looks like the jig is up."

Haven't followed since maybe V2 (liked it a lot even though the engine was closer to SOR3 than SOR2), so I'm stoked to see everything they've done with this title. If they released it in five versions over several years, consistently improving the product and utilizing feedback and extensive testing, I'm pretty sure they could. Just sayin', but I damn sure wanna check this game out immediately!

It was too late for the video, but our man Dave pulled a NO OVERRIDE on Hana, making the case that Squall was three times a lady and therefore must be featured.

Yeeaahhh oh *salute*

I'm reminded now that my rusty ass got a taste of Bardic's skill at MAG. It's been a while. I'm picking up my copy this week, and although I failed to keep my promise with SFIV, I'm gonna really try to get some work in with this one.

Just like clockwork.

Yeah, I almost hate myself for laughing at the subject.

There are a total of 3 'specials', each uniquely interpreted: 'Subsonic', 'Fifty Rings' and mine.

...Or music players 'iPods' or facial tissues 'kleenex' or lib balms 'chapsticks' or flavored fruit drinks 'juice' or....

Link or... well, you know. EDIT: Page 2? Bastards. Never had a PICO; hell, was that officially a gaming console?

OK, OK... you're project people, so you'll get a peek.

I'm sure they will, but it hasn't happened yet. It's really nothing fancy, except for the 'giant finger.' It was set up like a media player touch screen, and each album featured one track, the album art and a few game screens. It's strictly for use on the panel, and the featured albums are meant to be rotated as new ones come and go, so no point in showing it anywhere, 'cause it'd become dated immediately. However, since I had a minute, I captured a few screens: Needless to say, everyone got a kick out of this cover.