One of the first things I did after the discontinuation of Anime Strike was delve into Re:Creators. It was thoroughly entertaining, and Hiroyuki Sawano knows his way around a soundtrack. His opening themes, in kind—especially “gravityWall”—were very good, but they still had me pining for another particular work of his.
Each session of the game starts off with agent Joanna Dark typing some random stuff on a Carrington Institute computer, followed by an augmented reality main menu. Select the Combat Simulator from there, and you enter their rendition of multiplayer in the most awesome of ways.
A sentiment that pops up every so often these days is the feeling that, unless microtransactions and loot boxes are your jam, there are no new things under the sun. A couple of recent games, however, compel the argument that maybe we ought to look for limit-defying experiences in the under-explored depths of unlikely…
I was forged by many things as a malleable, impressionable teenager. One of the strongest of forces, a product of a very specific moment in time, was an ultra-geeky cauldron built from the focal point where anime, video games, early-2000's electronic music, and an older pre-social media incarnation of the internet all…
One should not judge books by their covers, as the saying goes, but everything about the proverbial cover for this song is too delectable to not point out. That is a true blue badass song title, for one; even better is the band name. Ringo Deathstarr. A hilarious yet epic Hall of Fame all-time classic—nay, maybe the…
A jazz segment lasting all of nine seconds. A voice lodging itself into the cerebral cortices of an unsuspecting populace. A mantra on constant repeat, six times per minute, hurtling towards eternity. Breathing voice. Breathing eternity. Breathing ride. Breathing Mahvel baybee. Breathing Magneto. Breathing wheel.
This series was fated to be an irrationally personal watch of mine regardless of quality. I’ve finished it since that first write-up, though a full rundown of what I thought would take up another story entirely. As for right now? I just want to bask in the glow of one of my favorite ending themes from last year.
The Dragon Ball FighterZ open beta went live for everyone yesterday, but instead of fighting Saiyans and androids, many players (including me) were forced to fight severe network issues. Only around 11:30 pm Eastern could I finally join lobbies. What I found out next was wholly infuriating.
I first heard this song from someone who said that he found out about it through a feature spot in 2K Sports’ last-year entry of its basketball video game series, NBA 2K18. Genius even straight-up lists its album as the “NBA 2K18 Soundtrack”. Plenty of reason in my book to consider this a video game song.
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During this period of time when everyone, in their own ways, reflects on the year that was 2017, I aim to do my part by partaking in that most noble of pastimes: Having (bad) opinions about the United States of America’s tastes in pop music.
None of the video games from 2017 that I’ve played have been bad, per se. A few of them, however, sure have been disappointing. Chiefest among them was DC superhero fighting game Injustice 2, whose should’ve-been-great character customization “gear system” instead ended up dragging the game down.
Today is the last Thursday of the year, and I think the occasion would be best spent looking back at all of the songs highlighted in this weekly music-writing series. This project was only (re)started in earnest five months ago, yet as should be evident here, that still covered a whole lot of ground.
Behold!! the DOOM 2016 of 2017! A seemingly improbable mashup of Nintendo’s Mario with Ubisoft’s Rabbids that went from laughingstock to object of extreme interest to improbably awesome game in mere months. I think some not-insubstantial credit for that belongs to a certain composer’s work.
Last week’s Loved Trax holiday bonanza may be over, but I am still thoroughly stuck in a winter season mood. That plays a major role in what I am highlighting this week. So let’s marvel at this alt-rock gem of an opening theme, shall we?
Apologies for the thoroughly conventional song choice, but there was no other way for any other song to take up the final day of this holiday week series: A statement of hope that the holidays for us will be holly. And jolly. Plus, it’s a pretty great little tune.
It is exceptionally hard in the modern day for brand new, original songs to get added to the holiday music canon. This one, which is among my favorite Christmas songs ever, deserves to have a place in it.
An original Christmas song from a nearly two decade-old quasi-harem anime series—where said “harem” is a dozen siblings—is probably the thing anyone might ever expect to be solid, let alone a highlight. But ours is the strangest timeline in which we live.
I’m one of those people who will go to bat for Paul McCartney’s “Wonderful Christmastime”. That will not be happening here, however. As enjoyable as that song is, there is still something far greater in the tradition of synth-tastic holiday songs.
Ask little me, and my excitable self would have have given the honor to “Christmas Eve/Sarajevo 12/24" with nary a second thought. These days, however, this song is my favorite from the Trans-Siberian Orchestra catalog, a distillation of everything they do right.