Filed under: Games, 3, Azn Badger, blog, Crash Bandicoot, death reel, Games, Naughty Dog, Playstation, PS1, Warped
January 28, 2012 • 5:27 PM 1
Crash Bandicoot 2: Cortex Strikes Back Death Reel
Filed under: Games, 2, Azn Badger, blog, Cortex Strikes Back, Crash Bandicoot, death reel, Games, Naughty Dog, Playstation, PS1
January 27, 2012 • 5:25 PM 0
Crash Bandicoot Death Reel
Filed under: Games, Azn Badger, blog, Crash Bandicoot, death reel, Games, Naughty Dog, Playstation, PS1
November 5, 2011 • 5:36 PM 0
Great Composers You Ought To Know: Reijiro Koroku Pt. 2
I didn’t plan on dividing this post over 2 days, but as fate would have it, I just had too damn much to say!
That being said, today we’ll be continuing our look at some of my favorite works of composer Reijiro Koroku.
After Godzilla 1984, the next big soundtrack I can remember hearing from Koroku, was his work on the Kyoshoku Soko Guyver OVA series.
As I’ve mentioned elsewhere on this blog, my cousin back in Hawaii turned me on to the Guyver manga way back in the day, and ever since it’s served as a huge influence on my creativity.
Something about the incredibly detailed, yet purposely hoaky character designs, combined with the darkness and severity of the storyline resonated with me in a way that makes me hopeful the manga will eventually reach a logical conclusion.
On that note, when I first found out that a Guyver anime existed way back in the day, you can sure as hell bet I went out of my way to track it down as soon as I could.
Unfortunately, as it turns out the 12 part OVA series was actually kind of ho-hum, even by the standards of an impressionable grade-schooler.
The voice cast was pretty good, and the animation was decent if not inconsistent, however the plot was an absolutely horrid distillation of the source material, cutting short many memorable sequences, and outright ignoring a number of important story beats.
Oh yeah, and unless you want to see some of the most hideous animation ever put to film this side of a budget hentai, then you’ll probably want to avoid even looking at a single frame of episodes 7 and beyond.
Seriously, I loves me some Guyver, but that was some ugly shit.
That ugliness aside, much like the not-always-so-fondly-remembered Godzilla 1984, the Guyver OVA just happened to benefit from an incredible soundtrack courtesy of Reijiro Koroku.
Though the music is stylistically very similar to his work in Godzilla 1984 just a few years earlier, Koroku’s Guyver soundtrack incorporates synthesizer and electric guitar in many of the tracks.
What can I say, it was the late 80’s and synthesizers were very much “in” at the time.
That’s not to say Koroku’s more electronic approach to the Guyver soundtrack was at all a poor choice.
Heavily inspired by tokusatsu heroes like Kamen Rider and Kikaida, Guyver’s inherently tragic character and brutally violent atmosphere made the property a perfect match for Reijiro Koroku’s potent melodramatic style.
Just give a listen to probably my favorite track in the series, included in the first third of this video, to see what I mean:
Once again brooding and downright creepy at times, Koroku’s score for Guyver shows a great deal of restraint for what basically amounts to a superhero story, however in many ways I feel this is it’s strength.
Like chanbara films of old, the style of action present in Guyver is largely efficient, with each movement and attack being distinct as opposed to the more repetitive style found in Dragonball Z among other things:
I sincerely apologize if you were dumb enough to watch all of that.
Because of this, the music actually benefits from keeping it’s crescendos in check, as otherwise the music would overpower the intensely violent, but relatively low energy nature of the onscreen action.
This track, once again featured in the first third of this clip, serves as perhaps one of the better examples of how Koroku’s powerful, but relatively lax music could effectively supply the series with solid action beats:
Despite how much I love the soundtrack for Guyver, the one downside to it is that the score is very limited in terms of breadth.
Composed largely in suites intended to be recycled throughout the series, the music is quite beautiful by itself, but loses some of it’s luster when heard in the OVA, as the tracks become repetitive after a time, and as such, lose their distinction and sense of place.
Even so, the Guyver OVA soundtrack was once of the first import CDs I ever purchased, and to this day I’m glad I picked it up.
Moving on, the last time I can recall hearing Reijiro Koroku’s music, was from his work on the early PS2 title, Kessen and it’s sequels.
An RTS set in the Japanese warring states period, Kessen was a big hit that enjoyed several sequels, however it’s not one that I ever really got caught up in.
Chances are I was to busy playing garbage like Street Fighter EX 3 to give a shit about Kessen.
Despite my lack of appreciation for it, Kessen’s music was a whole ‘nother story altogether.
Truth be told, much like was the case with Noozles, I wasn’t aware that Koroku had done the soundtrack for Kessen, however when I did learn of this, I was not at all surprised given his track record.
Booming and proud, the soundtrack for Kessen brings to mind Koroku’s military marches for Godzilla 1984:
Lacking the brooding tone of Koroku’s previous works mentioned earlier, the Kessen series had an appropriately colorful sound to it, though one that was quite dignified despite it’s epic scale and over-the-top design aesthetics.
It’s funny, hearing this music again kind of makes me want to go back and actually give Kessen a try.
Based on what I remember hearing of it, I doubt I’d be disappointed if I did.
Anyway, that’s about everything I could think of to say about Reijiro Koroku.
Hopefully you learned something over these past 2 days, and if not, at least you got to hear to some nice music!
Filed under: Comics, Games, Great Composers You Ought To Know, Movies, Tokusatsu, Uncategorized, 1984, 2, anime, Azn Badger, blog, composer, Dragon Ball, Dragonball Z, Godzilla, Guyver, Japanese, Kamen Rider, Kessen, Kikaider, Koei, manga, music, Noozles, OVA, Playstation, Reijiro Koroku, Sony, soundtrack, Street Fighter EX 3, Tokusatsu
June 15, 2011 • 7:12 PM 13
Isaac Frost Might Be One Of The Hardest Bosses I’ve Ever Fought
So, I’ve owned, and have been playing the shit out of Fight Night Champion for a few months now.
While my first impression of the game was rather poor, after several hours tooling around in the demo; I finally decided to break down and buy the game.
After having gotten the hang of the new control scheme, (for like the 4th time in the franchise’s history…) the game opened up, and now I’m proud to say it’s one of the better games in the series.
In either case, it’s not everyday boxing videogames aimed at hardcore boxing fans are released; so even if the game was utter crap, I still probably would’ve picked up Fight Night Champion from a bargain bin at some point.
Anyway, over the past few months I’ve obliterated a handful of people in online play, I’ve rewritten history through countless bouts against the CPU; but as of now, I’ve yet to complete the game’s much lauded Champion Mode.
For those who are unaware, Champion Mode represents a first for the series, in that it serves as a sort of pre-arranged campaign mode, complete story cutscenes between and during bouts, featuring it’s own cast of characters.
Sadly, the actual narrative is kind of lame, with most of the characters being shallow stereotypes of the genre, and much of the dialogue coming across as more than a little inorganic due to the rather forced inclusion of exposition-y game speak.
At the end of the day, Champion Mode ends up being a slightly watered down version of Soulblade’s Edge Master Mode, or Street Fighter Alpha 3’s World Tour Mode.
Basically, one plays through various boxing matches as the character Andre Bishop, though several matches require the use of specialized tactics or the completion of certain in-match achievements in order to win.
While limited in the sense that I’ve played similar, and better modes in games from 15 years ago; Champion Mode was a welcome addition to the franchise, though with one little catch:
They made the “last boss” too fuckin’ hard!
The “last boss” of Fight Night Champion is a massive, tattoo bearing, short-haired motherfucker named Isaac Frost.
I’d make a joke about how Frost looks more than a little more like a UFC spokesmodel, or I don’t know, RANDY FUCKING ORTON; than a heavyweight boxer, but doing so would be beneath me.
I’d also make a joke about the plausibility of an unbeatable white American heavyweight champion in this day and age being slim to none, but some would perceive that as racist.
I’d perceive that a statement of fact, but to each his own…
Like any “bad guy” in a boxing story, Frost is a massive prick, though seemingly for no other reason than the fact that he likes being a prick.
The man has zero backstory, so there’s no real explaining his prick-ish demeanor; but the point is:
Frost is an ass. You’re supposed to hate him. In spite of all this, he also happens to be a FUCKING BEAST in the ring.
That last part serves as my reason for not having beaten Frost as of yet.
I don’t know if it’s brilliant programming on the part of the folks over at EA Montreal, or really fuckin’ cheap programming; but Frost is a fuckin’ force of nature to contend with.
He’s very tall, making his long strides more than a match for your best footwork.
He’s a genius at cutting off the ring, leading to more than a few instances where he actually tricks you into stepping right into his fists.
His punching power is off-the-fucking-charts, making 2-3 consecutive punches a recipe for putting you on queer street, or flat on the mat.
And on top of that, his AI is entirely based on the Fight Night engine, meaning his actions are engineered to be unpredictable.
While most videogame bosses typically hold all of the above advantages in terms of attributes, the one thing that really makes Frost unique, at least to me; is the fact that he doesn’t have any set attack patterns.
In short, like any fight in a Fight Night game, the battle with Frost plays out like an actual boxing match.
There’s no golden mechanic for winning the fight, with every engagement serving as a moment-to-moment clash of wits.
I’ve always made it my business to win underdog fights against the computer in Fight Night games, largely because I derive a great deal of satisfaction from winning said bouts; but fighting Isaac Frost is an entirely different affair.
Like many fights in Champion Mode, you’re expected to take on Frost in several stages, employing different tactics as the rounds go by.
The first 2 rounds see you dancing around Frost and basically trying not to get hit.
I can usually do this without going down, but not always.
The next 3 rounds require you to land a total of 75 heavy body blows on Frost, and that’s as far as I’ve managed to get against him.
I’ve tried stepping into his chest to diminish the punching power of his long arms, but usually I get caught by an uppercut.
I’ve tried leaping in after one of his jabs to hit him while he’s pulling back his punches, but I usually get caught by an uppercut.
I’ve tried hanging back and using my head movement to counter and then step around him, but I usually get caught by an uppercut… Among other things.
The point is, Frost’s punching power is so dominating, and his punch accuracy so sharp, that I simply can’t find a way to get inside on him without getting brained in the process.
After much frustration, I’ve come to the conclusion that Isaac Frost may be one of the most difficult boss fights I’ve ever run across.
Oh well, at least I can still enjoy the game without beating him…
Filed under: Boxing, Games, Wrestling, Andre Bishop, Boss, boxing, Capcom, Demetrius Jenkins, difficult, EA, Edge, end, fight, Fight Night Champion, final, hardest, Isaac Frost, last, Namco, Playstation, PS3, Randy Orton, Samuel Peter, Sony, Soul Blade, Steve Cunningham, Street Fighter, Street Fighter Alpha 3, Vitali Klitschko, World Tour, wrestling, WWE, WWF
May 16, 2011 • 7:45 PM 1
The Top 10 Videogame Songs, #4
Wow, hard to believe we’ve actually gone 3 days on our list of the Top 10 Videogame Songs without mention of a Mega Man song.
That being said, today we reach #4 on our list, which takes us to that most awesome of Mega Man spin-offs, the Mega Man X series:
#4. Mega Man X4 – Makenai Ai ga Kitto Aru
Mega Man X4 was the first of the series to debut on the (at the time) next generation console, Sony’s Playstation.
While Mega Man X3 pushed the Super NES to it’s limits by throwing in a host of features, both notable and forgettable; X4 was a far more straightforward production, albeit one with sensational animation and sound.
While my initial reaction to X4 was actually kind of lukewarm when it first came out, it’s since grown on me and easily ranks as one of my top 3 in the series.
I suppose that’s not quite as big a deal as it sounds, given that the first 4 games out of a total of 8 are just about the only ones worth playing.
Seriously man, if ever there was a game series that lost it’s way in it’s second half, Mega Man X would have to be it.
Mega Man rant aside, the song of the day, namely “Makenai Ai ga Kitto Aru” AKA “Unbeatable Love I Surely Have,” is one that I was sadly never fortunate to have experienced in-game.
Only featured in the Japanese version of the game, my initial exposure to “Makenai Ai ga Kitto Aru” came via the, then brand spankin’ new client download service, Morpheus.
I was in middle school, with access to a 56k modem, so you better believe I spent hours downloading Mega Man midi files and mp3s that I would later struggle to find programs to play them with.
In searching for “Rock Man” in Morpheus, I ran across a file with a series of squares for a name, which I would later find out was “Makenai Ai ga Kitto Aru.”
Given that it’s ranked #4 on this list, I’d say it goes without saying that I really like this song.
It’s been in my music library since 1997, and to date I haven’t gotten tired of it.
Sung by Yukie Nakama, the song has a rare combination of Jpop-y “uppity-ness” and sincerity that make it noteworthy in an typically soulless genre of music.
The instrumentation in particular is quite inspired, as some of the synthesized guitar work is exceptionally potent, lending a lot to the strength of Nakama’s beautiful vocals.
As great as the song is, it’s interesting to note that, after having finally heard it used in Mega Man X4, I honestly don’t think it fits all that well.
Take a look:
Great song, poor usage.
Anyway, that was #4, check back tomorrow as we crack the Top 3 of the Top 10 Videogame Songs!
Filed under: Games, Top 10 Videogame Songs, Uncategorized, 4, Azn Badger, blog, Capcom, Games, Japanese, Makenai Ai ga Kitto Aru, Mega Man, Mega Man X, Morpheus, music, NES, Nintendo, Playstation, PS1, SNES, songs, Sony, Super, Top 10 Videogame Songs, videogames, X, X4, Yukie Nakama