Mega Ran released another VGM rap remix album on January 31st, this time throwing down game content-relevant rhymes atop beloved tracks off of the Final Fantasy VII OST. Check it out; or, if you prefer, check out his Mega Man 10 remixes.
February 6, 2012
January 29, 2012
News Arata Hanyuda, Earthbound Papas, Fantasy Life, Final Fantasy VI, Final Fantasy VII, Inverse Phase, Koichi Sugiyama, Kurt Rosenwinkel, MAGFest, Michio Okamiya, Music, Nobuo Uematsu, The Year 200X, Tsutomu Narita, VGM, Video Game Music, Video Games, Yasunori Mitsuda, Yoshitaka Hirota 2 Comments
Nobuo Uematsu and the Earthbound Papas were set to perform at 10:30pm on Saturday. After a long number of hours at panels and gaming, a bunch of us stood in line at Elevation Burger for a long time only to be told that they no longer had milkshakes. That was the worst. However, we quickly devoured what we got and headed to meet our friends at the show.
When we got there, The Year 200X, one of the many bands named after something Mega Man-related, was playing. I think we arrived 45 minutes early, and that was time enough for us to get optimally positioned for the Earthbound Papas. We were slightly left of center-stage, 5-10 people back, I’d guess. After some moshing and a rendition of “Dancing Mad” that was highly praised the next morning by Uematsu and his band themselves, the stage crew immediately started getting ready for the headliner amidst a sea of Colossus roars.
As you can see in the picture, the crowd for the Earthbound Papas was, as you’d expect, enormous. That wasn’t even the whole crowd, either—I took that well before they came out, if I remember correctly. Of course, everyone was going wild the whole time, and the crowd got especially pumped when Uematsu came out during soundcheck for a couple of minutes.
December 27, 2011
To be honest, the Halo obsession has always been one that is lost on me. I’ve played it multiplayer before and I’ve done a very tiny bit of the single player campaign in the both the first and second games (I was at a friend’s house), but I’ve never fallen victim to the hype. In fact, as far as FPS’s are concerned, I’m a fan of Unreal Tournament. Therefore, I’ve always seen Halo as just that: hype.
Saying that may enrage you—I understand. I’m not saying it’s bad or anything of the sort. In fact, I feel like I’m a little under-qualified to judge since FPS’s aren’t my thing. Lots of people kill for them and play Halo and Call of Duty as many hours as I spend at work each week. Those people have a great potential to be better judges than I. Though I may have a personal preference, I haven’t spent enough time ingesting these games to know what I really like about them and really don’t. All I know is that my time playing Halo did not seem special and did not leave me wanting to play more.
Regardless of my opinions on the game itself, I knew that I would have to visit its soundtrack. Fans of the game, whether large or small, covet what composers Martin O’Donnell and Michael Salvatori have done. I had never paid much attention to the soundtrack, though, and knew from the beginning that I should listen to and review it because of the high praise it’s received. At the very least I knew that I would have to review the main theme because people barely mention Halo without referring to that iconic track.
Before I get to the main theme, I’m going to start with the “Opening Suite.” I first listened to the OST in order, and that’s the first track I ran into.