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#the other day i played remix 10 and got every input other than some in night walk
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can’t wait till the day i have to perfect either remix 10 and mess up on love lizards in ds and night walk in fever.
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gayenerd · 3 years
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Another old article saved in a Word document, which I can only find behind a paywall now (but I linked it in case someone does have access to a subscription)
Green Day Rising Metal Mike Saunders, Bam, 28 January 1994 Popcore Ascending? Or Is That Just The First Phase Of 'The Greatest Band In America'?
'We were down in Irvine and Mike was having a pillow fight outside with his girlfriend. He was running away from her, and at the top of his stride he turned around, right into a horizontal beam five feet off the ground – Vhoom...Out cold. So that suggested the concept of ...misery.'– Billie Joe
WHERE IT all it the brick wall for me personally was 11th grade carpool. Four high school boys jammed into a VW bug, or worse, with the AM radio on for about 20 minutes en route to Hall High, Little Rock.
It was the season of the great Bubblegum Wars, that pint in time where the underground FM vs. plastic AM trench wars had reached the point of no return. Kids vs. pigs, rednecks vs. longhairs. Combat was the order of the day, even in music.
In the fall of 1968, the musical lightning rod was 'Chewy Chewy' by the Ohio Express: 'Turn it off' and 'Turn it down' were the majority opinions. I was for sure the only one going 'Turn it up!' The same routine was repeated just a few weeks later with the Archies and the 1910 Fruitgum Co. (the later with the classic top-five hit 'Indian Giver'), and it seems like ever since that point in time 'pop' has been a derogatory term. Something less than…what? 'Rock'?
What does this have to do with Green Day? Well, it’s like this: There’s this real lame tag – 'popcore' (say it once and erase it forever, pul LEEZE) that was kicking around for a while last year and was affixed to the East Bay trio’s style of music. Aw, hell, they’re just a great rock band.
If Santa came and went recently and there’s still no Green Day in your house, here’s a shopping list: 39 Smooth (Lookout!), Kerplunk (Lookout!), and Dookie (Warner Bros./Reprise). Forty-eight killer tracks by this country’s greatest band and, considering that only in the preceding 12 months did its members start to hit drinking age, possibly just the beginning of what could turn out to be an amazing career.
Proof is no farther away than the band’s new album, Dookie, its first for a major label, but proceeded by two LPs and three 7-inch EPs on Berkeley’s Lookout! Records.
Anyone who’s seen the threesome knows they can play like gangbusters; the difference between a tiny indie-label budget (try about $3000 for all 34 Lookout! Tracks combined) and a major-league endeavor is that for the first time you get proof 10 times over on tape. So you get raging guitar sounds and cracking snare rimshots that explode like the early who. Even the band’s chronic shortcoming – weedy studio vocals – has been corrected to an encouraging degree.
"Yeah," volunteers 21-year-old lead singer/guitarist Billie Joe, "for my vocals we used a Beyer microphone, which was used on some of the early Elvis Costello stuff. I’m really happy with the way it came out."
The entire album is a veritable role model for any guitar-heavy rock band. Says producer Rob Cavallo: "In the case of a raw, live-sounding record like this one, what I try to do is capture on the listener’s speakers the whole left-to-right stereo spread – what we heard in preproduction, listening to the band blast away in their practice room. The key to this, in Green Day’s case, is that they have such a focused idea as to what they sound like, and they’re great players in that style."
Specific elements of Dookie’s production style include a live rhythm guitar on every song, singletracked lead vocals only, and all vocal harmonies done by the second-stage voice, 20-year-old bassist Mike Dirnt.
Warner Bros.’ hands-off role, a characteristic of the company in the wake of its Mudhoney "creative control"-type underground signings, was crucial in shaping such a record. "Warner Bros. stayed out of the way and let us do exactly what we wanted to," says 21-year-old drummer Tre Cool. "All I can say is if you can get on Warners, you are one lucky son of a gun!"
The inclination to make a guitar-heavy record was present from the get-go. "I definitely wanted to get a bigger sound," recalls Billie Joe, "something with more meat to it." Which is achieved, in parts thanks to a borrowed vintage 1972 Marshall head hooked up to the same blue Stratocaster Billie Joe’s been battering since he was 11.
The wall of guitar sound was achieved with a live track and just one more rhythm guitar dropped in. "We had experimented a bit on previous records, stacking guitar tracks to try to get a thicker sound," recalls Billie Joe. "But this time with just the two rhythm guitars; we got a better distorted sound."
Like any other trademark-sound band, it’s the deviations on the record that are most interesting. We’ve got three here: 'Pulling Teeth,' 'When I Come Around,' and the album’s first single, 'Longview,' 'Pulling Teeth' leaps out of the album like a K-Tel cut buried in a techno set; it’s the tune Dave Edmunds never had to break his career Stateside. Tight harmony vocals frame a straight guitar-heavy country-rock melody with a conciseness worthy of the masters. Not one wasted word or second.
"We were down in Irvine," recalls Billie Joe of the song’s lyrical genesis, "and Mike was having a pillow fight outside with his girlfriend. He was running away from her, and at the top of this stride he turned ground – vhoom…Out cold. So that suggested the concept of…misery."
'Longview' hits a whole opposite style. It’s something you might imagine as a late’70s FM track, with a loping dumbo beat ("a rumble," suggests Dirnt) not too far off Tom Petty’s 'Breakdown', Lyrics about nothing, really-killing time, punching the cable remote, getting high. A two-chord riff to nowhere, then a basic garden-variety three-chord chorus. The trick is that the whole darn song is a hook. Simultaneously the dumbest and catchiest Van Halen guitar licks panning across the speakers.
"In a way, that song was cheap self-therapy for watching too much TV," recalls Billie Joe. "It was another case of writing about whatever mood I’m in."
Especially near to my heart (I’m from the South, y’all ) is 'When I Come Around,' an unintentional dead-on-evocation of Lynyrd Skynyrd at its top-40 hookiest. With a lazy turnaround beat like 'Sweet Home Alabama', it’s just about five degrees westward of the slightly ‘70s ballads 'Christie Road' and 'No One Knows' from the earlier Kerplunk album.
"On that one, we weren’t thinking country rock, but rather something that had a groove to it, almost like you could imagine having a martini and listening to it at the same time," explains Dirnt.
See, 80 percent of Dookie is in the trademark Green Day raging pop-punk. It’s this deviant 20 percent that makes one suspect they can pull off almost anything they want out of the trash-dump of earlier under appreciated rock styles. A mainstream audience could forge a very, very interesting alliance with this group.
Of the trademark pop-punk onslaught, averaging an airtight two minutes, 30 seconds apiece, 'Basket Case' and 'Sassafras Roots' are two of the strongest numbers. 'Basket Case' was about a friend who’s pretty loopy,' explains Billie Joe, 'but a bit about myself as well – like seeing your own trails in other people where it’s been taken to a total extreme. There are a lot more songs on this record that are about other people’s experiences, even though I might still be singing in the first person.'
The recording of Dookie went fairly fast by industry standards, the music and vocals finished last summer in three and a half weeks (at Berkeley’s Fantasy Studios), followed by an initial mix. The band then headed out on 40-date fall tour with the veteran LA punk band Bad Religion, which enabled them to come back to the project with a clean set of ears. The entire album was remixed with engineering whiz Jerry, Finn who paid special attention to the record’s amazing bottom end. At that point, the band’s 'creative input' reached its most extreme.
"We all three sat there for 10 days straight, 15 hours a day, and listened to every minute of the remixing sessions," recalls Tre Cool. Which is just short of four working-Joe (like me) work weeks without a day off.
Dookie is one of the rawest melodically oriented rock records to show up on a major label in the last zillion years. Usually when bands go from an indie to a major label, the result is a slicker product.
"When I listen to bad rock music occasionally, I just wind up going, ‘What the hell were these guys thinking of?" agrees Billie Joe.
I speculate that there have now been entire generations’ worth of bad drum sounds committed to record. "Huge room sounds on the drum with shitloads of reverb," responds Dirnit. "Flanged drum rolls," adds Billie Joe.
My favorite, rolls across the chromatic-tuned rototoms, comes in a close second.
While most bands with almost 50 tracks into their recording career hit the point of labored songwriting (that old saw about a band’s first album being its best), that hasn’t been the case with Green Day. "Actually, I think I was more comfortable with my songwriting on this record than I ever was before," insists Billie Joe. "I had a real good handle on what kind of melodies and hooks I wanted to come up with. Didn’t rush myself, just let them come out naturally. It was the previous time out, on the songs on Kerplunk, that I was consciously trying to outdo my previous songs."
The variation from Green Day’s uptempo style, now comprising a good one-quarter of the band’s most recent two albums, will continue. "We definitely are going to continue to expand the scope of our material; we don’t want to get into a rut where we rewrite Kerplunk or Dockie over again," explains Billie Joe. "There’s a lot of musical tastes that run through this band."
I did my homework on the band’s "song-about-girls" label (a tag, Dirnt complains, 'we got caught up in') going back to January 1992’s Kerplunk and assigning topics to each song. The tally was girls, four; mortality/meaning of life, three; neurosis/insanity, one; one novelty song; and alienation, motivation, and coming of age, one apiece. Dookie is more of the same, with topics ranging all over the map, the median perhaps being the pissed-off frame of mind of 'Chump' and 'F.O.D.' The girl-songs ratio is down around 30 percent.
The "girl-songs" tag must have sprung from what was the band’s classic 1990 debut, 39 Smooth, written and sung by Billie Joe and Dirnt at the ripe old ages of 17 and 16. A good 70 percent of the album’s songs related to the opposite sex, with the lead off track, 'At the Library', ranking as perhaps the best song ever written by a high-schooler.
One facet of a Green Day performance that’s impossible to capture on paper is the continuous bantering and riposting between the band and the crowd, much of it hysterical.
"It’s all part of making our audience feel like they’re at home, communicating on an eye-label basis," offers Billie Joe.
"See, before a show we’re usually making fun of each other – making a mess by playing baseball with apples or whatever, meeting new people who are funny and have jokes we haven’t heard – so we’re totally stoked by the time we get onstage," elaborates Tre.
It’s safe to say that after two trips to Europe, half a dozen ('at least') full American tours, and over four years of nonstop gigging, performance anxiety does not figure into this band’s equation. "We never have a list, we just make it up as we go," explains Tre.
I offer my theory that no matter how many fans a band has, there are five times as many people who think they stink, and 10 times as many who don’t care.
"I would see it as three different sections: the people who really like you, the people who really hate you, and the vast majority who are totally oblivious," muses Billie Joe.
The vast size of the record industry contributes to making yesterday’s barely gold act today’s 'Who?' (think Britny Fox, Vixen, and a half-dozen gold Loverboy albums). Indeed, if everyone who ever made fun of Motley Crue videos were assembled in one place, we would surely fill the Oakland Coliseum.
Speaking of videos, the world doesn’t faze our subjects – not yet anyway. "We’ve never done a video. They’ve got us scheduled to do one, so for now we think videos are cool," laughs Tre.
"We’re probably shooting the video in our house," adds Billie Joe, the "house" being what appears to be a subterranean Berkeley abode, complete with a tiny band-practice room; it’s not squalid, it’s absolutely slacker). "So…we figure our video concept will be kind of ‘Looks That Kill’ meets ‘Hot for Teachers’ meets 'Rock You Like a Hurricane'," quips Dirnt.
Given the absolutely superb quality of the band’s Warner Bros. debut, the only mystery is that a major label bidding war on Green Day took so long to materialize.
"Warner Bros. was the label initially considering the band," recounts band co-manager Jeff Saltzman. "But it was when Geffen and Sony/CBS jumped in with serious interest that Warners got serious about picking up the band."
Green Day never would have gotten so much done so fast, however, without the astute ears of Lookout! Records’ president and perpetual talent scout, Larry Livermore, who sent the band into the studio two months after first seeing the trio to record an EP called 1000 Hours, which was followed by the 39 Smooth album, which was recorded at the end of 1989 for less than $500.
"I knew Al Sobrante (Green Day’s drummer through mid-1990) from Isocracy, so I knew about his new band, Sweet Children [renamed Green Day six months later]," recalls Livermore. "My band, the Lookouts, were playing a house party up in Mendocino County, February 1989, so I invited Al’s band up to play also. I was so impressed with the band and their attitude, playing just in front of 15 people, that I hooked up with them immediately to record for Lookout! I never had any doubt about their potential, musically. I thought they were great the first time I saw them."
© Metal Mike Saunders, 1994
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salavante · 6 years
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Top 5 favorite band/songs?
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I got double tapped for this so I’m gonna do a top 15. I love music and have eclectic tastes, and so I am going to talk a lot. I think I could be asked what my top 100 were and be able to fill it out (it might even be easier). I’m also going to put this under a readmore so it doesn’t stretch anyone’s dashboard. But, if you’re interested in my thoughts, or are looking for some tunes, give it a whirl. Using “I Say Fever” as a header of sorts. 
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1. “Desperados Under the Eaves” by Warren Zevon. I first heard it after the end of my first campaign with Jake, and I associate it with Odwain a lot. There is something about it that makes me think of a great, yawning desert opening up in front of me, full of possibility. Someplace I can get lost in. My other favorite songs by Warren Zevon are “Lawyers Guns And Money”, “Veracruz”, “Roland the Headless Thompson Gunner” and “Tule’s Blues”. He would’ve been higher on my Artist ranking but the fact is I pretty much just listen to Excitable Boy over and over again.
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2.“I Say Fever” by Ramona Falls. I like the rest of Ramona Falls’ musical catalog, but this one stands out as something really unique and special. It has a sort of ominous, melancholy atmosphere, but has a pulse-pounding, frantic chorus. Oh, and the music video is dope. 
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3. A Coheed & Cambria song belongs here but it’s very difficult to choose one. I can easily say that they are my favorite band as a whole, and many of their songs are in my regular rotation, but I can’t think of one song specifically that I play over and over again over all the others. Good Apollo I’m A Burning Star IV: From Fear Through The Eyes of Madness is without much question my favorite album, but that’s because I find each song consistently good and that the album as a whole has a really rich, well paced atmosphere. I’m gonna pick more than one song to share a lot, and that’s just gonna be how it is.
“Random Reality Shift” is my favorite song that is acoustic. “In Keeping Secrets of Silent Earth: 3” and “The Crowing” are my favorites of their older material. The opening chords to In Keeping Secrets give me chills every time. “The Writing Writer” and “Once Upon Your Dead Body” are my favorite from Good Apollo. “Number City”, “Domino the Destitute”, “Ghost” and “Island” (music video is very entertaining) are my favorite of their newer stuff.
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4.  “Harvest of Sorrow” / “Mirror Mirror” by Blind Guardian. It’s hard for me to choose my favorite Blind Guardian song, so I’m gonna do a slow one and a fast one. I was first acquainted with “Harvest of Sorrow” as “Mies de dolor”, the spanish version, which I ripped off some website in 2011. And for awhile it was the only Blind Guardian song I had other than Battlefield and The Maid and the Minstrel Knight, and I was only familiar with it in spanish. I went looking through their catalog years later and found it in English, and being able to put words that I could understand to the feeling of melancholy and powerful instrumentals felt like an epiphany. I devoured the rest of their music, which I immediately connected with, and haven’t looked back since. Mirror Mirror is just fast paced and pumping with a very screamable chorus, and also reminds me of Wybjorn. Makes me turn the volume all the way up every time. (my other favorite ones are “Prophecies”, “Twilight of the Gods”, “The Bard’s Song”, which is heartfelt and hopeful, and “Sacred Worlds”)
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5. “Skin” by Oingo Boingo, which barely beats out “Just Another Day”, and also “Wild Sex (In The Working Class)” and “No Spill Blood”. Kind of a bummer but in a very cathartic way. A relatable sentiment on a few different levels (mental illness, dysphoria, etc). Sometimes you just need a song that makes you feel sad and introspective, and this is that song. 
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6. “Input Source Select” by De Staat. GET YOUR FREAKS OUT, LET’S GO. A song for when you’re on the warpath. Reminds me of the feeling of burning, righteous anger because I had it on when I was powerwalking to go give a guy a piece of my mind. Other favorite songs by them are “Sweat Shop”, “Systematic Lover” and “Witch Doctor”.
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7. “A Hazy Shade of Winter” by Simon & Garfunkel. I grew up with a lot of music by these guys, and supposedly Paul Simon’s Graceland album played at my parents’ wedding. But, this one is my favorite song by them. It has a sort of anxiety about impermanence that I gel with a LOT. Also, if I had to pick one song for Odwain, it’d be this one. The Bangles cover is pretty good too. I also like “The Boxer”, “Only Living Boy in New York”, “Cecilia”, “America”. My mom is also fond of “Punky’s Dilemma”, which makes me fond of it. 
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8. “Storm Coming” Gnarls Barkley. I said this in a previous post but a lot of the Gnarls Barkley songs really resonate with me as a person who’s, well, got some mental illness problems. It very much reminds me of the frantic ‘up’ periods I go through where I feel like a force of nature. Something thrilling but also kind of unpredictable and overwhelming. (other picks are “ Run (I’m A Natural Disaster”, “Who’s Gonna Save My Soul”, “Open Book”, “Just A Thought”, “A Little Better”. “Charity Case” reminds me of a really specific time in my life and it just twists my heart like a rag). The album The Odd Couple is all fantastic.
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9. “Ghosst(s)” by Lorn. Dark and moody with resonate, grinding orchestral instrumentals. And the music video is fucking amazing, I highly recommend it. In addition, “Weigh Me Down”, “Diamond”, “The Well”, “ Acid Rain” and “Anvil”.
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10.  “Man” by Neko Case. I don’t really know what her intentions were with this song, I don’t really care. It makes my transmasc ass feel good and like I could knock the teeth outta a guy 10 times my size. And I mean I’ve done this with every other band so far, so, other songs I like are “Where Did I Leave That Fire”, “Furnace Room Lullaby”, “Prison Girls”, “Hold On, Hold On”, and “Atomic Number” And “Supermoon”, which she did with KD Lang and Laura Veirs.  
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11. “Rabies” by Aesop Rock. Just such a menacing atmosphere to this song, with intense, snappy lyrics.  “It might’ve heard something in the walls / could’ve been voices / could’ve been claws / could’ve been the rebel yell of something more evolved”. Other picks - “TUFF”, “Kirby”, “Rings”, “None Shall Pass”, “Supercell”.
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12. “The Shrine / An Argument” by The Fleet Foxes. Folksy, Good n long with a really amazing, swelling transition. Another incredible music video, which had art direction by Stacy Rozich, who is a wonderful illustrator. I like this band a lot in general, other good songs are “Mykonos”, “Grown Ocean”, “Blue Ridge Mountains” and “English House”.
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13. “Mistadobalina” by Del The Funkee Homosapien. The Gorillaz were a gateway to me in regards to finding the rest of Del’s music. Mistadobalina remains my favorite, however, and is the catchiest shit in the world, though I also really like his Deltron 3030 stuff - “Mastermind” “3030” and “Time Keeps Slipping”.
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14. “Squarehead” by Hello Seahorse. This song is very dear to me, as it reminds me of one of my most favorite people and the stuff we’ve made together. Other songs I like by them are “Tristes”, “Para Mi”, “El Artista” and “Can Let You Go”.
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15. “Atomic Bomb” by William Onyeabor (both the Original and the Hot Chip Remix, they’re both good in different ways.) The remix is really smooth and bouncy, but the original is very mellow and has a lot of its own unique character. A lot of his songs are 6-7 minutes long, but have more instrumentals than vocals, making his voice feel precious. I also like “Fantastic Man”, “Body And Soul”, and the Heaven & Hell Remix of “Do You Want A Man”.Thank you for coming with me on this, a ~musical journey~. 
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entergamingxp · 4 years
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a new step for fighting games with old failings. • Eurogamer.net
There’s a widely held belief that fighting games are hard to get into. That their steep learning curve, niche appeal and high skill ceiling are just too much to swallow. Arc System Works, developer of both the hardcore Guilty Gear and the more accessible Dragon Ball Fighterz, has come up with a sweetener with Granblue Fantasy Vs. As an adaptation of a super popular mobile JRPG and created by arguably the best producers of fighting games today, Granblue has the potential to be truly stellar. Is this the fighting game for those who struggle to find enjoyment in the genre – or is it simply more of the same?
Starting with the roster, Granblue Fantasy Vs has a pretty shallow pool of 12 characters to pick from. If there’s a silver lining to that slim selection, though, it’s that the diversity of fighting game archetypes is surprisingly large. You’ve got everything from your classic fireball and uppercut fighters, long distance oppressors, and grapplers, alongside a myriad of others with vastly different play-styles. This character diversity comes hand in hand with the appearance of each character, as all of them seem to fill a wide range of tastes. Are you a tad edgy? Vaseraga is for you! You like things basic and simple? Gran is the most vanilla of protagonists you’ll find all year. This lack of overlapping looks and fighting styles should ensure you’ll find someone you enjoy.
Granblue Fantasy Vs review
Developer: Arc System Works
Publisher: Cygames
Platform: Reviewed on PS4
Availability: Out now on PS4
If there’s one aspect that the characters – and everything else for that matter – have in common, it’s that they’re all damn gorgeous. I can’t imagine how much work it must have taken the artists at Arc System Works to achieve the aesthetic of Granblue, but all that effort shows. The beautifully animated 3D fighters pop out from the background and rarely get lost regardless of how detailed the stage is, their movements are smooth, and every attack looks as though it has some serious force to it, while stages range from high-fantasy villages with castles jutting upwards behind the buildings, to sweeping wildernesses. Granblue Fantasy Vs is eye candy of the highest calibre.
Throughout the story you get an introduction to the playable characters if you have no idea who they are.
When it comes to the meat of it all, Granblue Fantasy Vs is everything you’d want from a fighting game in terms of depth but with a whole lot of tools and mechanics added so that it’s easy to get to grips with. Additions like auto combos and universal super attack inputs have all been done before, but Arc System Works goes further with the addition of a special move button. Long gone are the days of practicing the direction input for a fireball until it becomes muscle memory, as it now comes out with a single touch of R1. I’d say it took me around 10 minutes to get to grips with a character in Granblue before I was performing decently against other players. It’s important to note that the top tier of competitive play isn’t just mashing triangle and hitting R1, as the most damaging combos still require a high degree of practice. Granblue Fantasy finds that sweet spot between a cake walk and homework.
Granblue Fantasy Vs’ standout offering is its story mode. Rather than a slapdash inclusion without a huge amount of depth (I’m looking at you Street Fighter V), the story mode in Granblue Fantasy Vs is filled with enough features to prevent it from ever becoming a slog. These come in a variety of forms, such as weapon drops that significantly boost your character’s stats and impact their abilities. Later in the story, you unlock additional features like support skills, a shop where you can spend excess cash, and the ability to bring along an AI controller character into missions with you. The rare moments when you and your companion combo enemies into each other adds a little oomph that makes normal fights feel special. There is also an arcade mode – but it’s fairly unremarkable here when compared to the story, even if it’s where you can unlock some cosmetics.
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But as good as the story mode might be, it’s dragged down by a perplexing misstep on the part of Arc System Works. This problem – one that overshadows many of the more positive aspects of the game – is Granblue Fantasy Vs’ outdated delay-based netcode, a problem it unfortunately shares with far too many fighting games created today. Playing online right now is fine, not fantastic nor terrible. Sure, you’ll find a healthy number of perfectly playable matches where you can pull off that one combo you’ve been practicing for hours, but the unignorable presence of laggy and unresponsive games counter the good ones. Granblue Fantasy Vs online fills you with a sense of fun and excitement one moment, just for it to come hemorrhaging out the next.
To be blunt, this is an issue that has been fixed for years in plenty of other games. Rising Thunder released in 2015, Skullgirls in 2012, Super Street Fighter II Turbo HD Remix in 2008! All of which were built with netcode that allowed for an online play that doesn’t feel like trudging through a swamp. When indie devs with a fraction of your budget can create a game with decent netcode there’s just no excuse for it. Not in 2020.
The combination of vs-style combat and RPG elements creates a new spin to the typical fighting game story mode.
With this fault in mind, some of the other exceptional features sadly lose some of their allure. Take the dedicated tutorial that runs through all the basics you’d need to get you started. Relatively simple lessons like how to block different types of incoming attacks are present as you’d expect, which sounds incredibly boring right? Not many people enjoy sitting through tutorials – myself included – but the addition of mission rankings within Granblue’s tutorial mode makes a huge difference. These optional challenges are potentially huge for new players as it rewards them for completing these while fully learning the techniques within them. If you feel encouraged to actually learn how each aspect of the game works, the looming skill wall that has caused a million people all over the wall to mumble “screw this” before booting up Fortnite might seem far less imposing.
Which would be a fantastic boon for new players, if they had an adequate online environment to then apply these lessons. This leads to the sad truth behind Granblue Fantasy Vs, that despite the stunning amount of reverence towards the source material and a truly admirable dedication to making the game enticing for new players, it fails in what is arguably the most important aspect of a fighting game – the act of playing against other people. For many, playing online right now will certainly be tolerable, but as the player base inevitably shrinks over time the number of playable matches will fall as well. I’m worried that players will celebrate a period of genuine enjoyment, up until the moment frustration overpowers perseverance and Granblue Fantasy Vs becomes just another untouched title – its colourful lobbies largely empty aside from a dwindling community of dedicated fans.
If an otherwise excellent game can distract you from the online issues, or if you have people nearby who’ll play this with you IRL, then Granblue Fantasy Vs is a fantastic buy. Fans of the franchise will adore this game without a doubt, but I worry that a wave of could-be fans will be dissuaded to play not long after release.
from EnterGamingXP https://entergamingxp.com/2020/03/a-new-step-for-fighting-games-with-old-failings-%e2%80%a2-eurogamer-net/?utm_source=rss&utm_medium=rss&utm_campaign=a-new-step-for-fighting-games-with-old-failings-%25e2%2580%25a2-eurogamer-net
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basically rhythm heaven ds
okay i'm doing this with ds now. my fave. so yeah.
built to scale - every rhythm heaven factory has faulty lights :/
glee club - the other day i was playing this in megamix and it lagged and then sped back up and then i think the conductor fuckin' "together now"'d through dimensions. aka: screaming children
fillbots - oh nevermind i lied not all of them have faulty lights
fan club - YEAH YEAH YEAH yeah yeah yeah yeah HEY NOW, HERE IS MY SONG, FOR YOU, YEAH THAT'S RIGHT- I WISH THAAAAT I WAS YOURS, BUT I'M TOO SHY, I SUPPOSE iii suppose, hey!
remix 1 - haha tempo go brrr
rhythm rally - low-quality paddlers
shoot-'em-up - oh you missed an input? too bad just ok
blue birds - birb
moai doo-wop - hhh
remix 2 - because we need a tropical remix
love lizards - love lizard. singular lizard. the other one fuckin' died or some shit
crop stomp - HM HM HM HM HM HM HM HM HM HM HM-
freeze frame - i don't think this is how pictures work
the dazzles - YOU TOLD ME DREAMS COME TRUE, YEAH YEAH YEAH, YEAH YEAH YEAH- WE'LL FIND OUT, BABY TONIGHT, WHEN I GET CLOSE TOOOOOOOOO YOUUUU
remix 3 - the game's going through an emo phase i guess
munchy monk - i don't think this is how eating works
dj school - BREAK C'MON OOH! SCRATCH-O, HEY!
drummer duel - oh you missed an input? too bad just ok
love lab - i don't think this is how love works
remix 4 - fast
splashdown - more like splashdoink
big rock finish - aw man i love spam heaven
dog ninja - i have so many questions- i mean uh i don't think this is how ninja'ing works
frog hop - C'MON, LET'S DANCE yahoo, yahoo YOU KNOW IT'S ONLY ROCK AND ROLL yeah yeah yeah, yeah yeah yeah BOYS AND GIRLS yahoo, yahoo LET'S SEE YOU REALLY SHAKE IT UP NOW spin it boys, spin it boys
remix 5 - H E R E   W E   G O
space soccer - aka spam soccer toe intensifies
lockstep - what if it was unlockstep- wait no that's a cursed thought
rockers - hhhhhh
karate man - RAIN FALLS ON ME, AND NOW I'M WALKING AWAY- TELL ME, DO YOU FIND ME MORE BEAUTIFUL NOW? I'M NOT ONE TO LET YOU WATCH AS I CRY, SO I GOT TO LEAVE, I GOTTA FORGET YOU duh duh duh
remix 6 - green go brr
airboarder - IT'S PARADISE SINCE THE FIRST TIME I SAW YOU STANDING THERE, BUT THAT WAS SO LONG AGO NOW, YEAH-
built to scale 2 - okay this seems normal- OH THAT WIDGET JUST GOTTA GO FASTED OFF W H A T-
the dazzles 2 - most useless sequel (but hey, the dazzles dx is a good song)
frog hop 2 - this is piano abuse
fan club 2 - HEY NOW, SING IT TO ME, THAT'S RIGHT, I'M TALKING TO YOU ooh clap clap I HOPE THAT THIS MESSAGE FINDS YOU FEELING EVER SO WONDERFUL woooonderful, hey!
remix 7 - big rock finish: the remix
rhythm rally 2 - the best game
blue birds 2 - birb but like russia or something idk
fillbots 2 - four seconds shorter than left-hand remix
lockstep 2 - is this unlockstep? wait no unlockstep's still a cursed thought
remix 8 - BEST REMIX- i mean uh. GOTTA GO FAST-
moai doo-wop 2 - hhhhhhhhh
karate man 2 - hit three
glee club 2 - screaming children but beach
space soccer 2 - why are they cowboys
remix 9 - what is the theme here
shoot-'em-up 2 - oh you missed an input? too bad just ok
splashdown 2 - "i think you two just committed a hate crime" -probably the third synchrette after that one input. you know the one i mean. probably
munchy monk 2 - i don't think this is how circuses work
rockers 2 - hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
remix 10 - best medleyyyyyyy
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