Rozovian’s Music Log

www.ocremix.org/artist/4795/

Posts Tagged ‘final fantasy’

Doing it wrong

Posted by Ad on October 28, 2010

I saw a YouTube comment a while back, in which someone stated having grown up on the modern RPGs but felt the older ones (snes-era, according to the video commented on) were just… better. The graphics were 2d, no voice acting, low-resolution sprites, menu-driven combat in many of the games, static monster sprites in many of the games, etc.. So why are these games “better”?

I’ve been thinking of what makes for a good game, what about a game that makes it enjoyable. in board games, I’m pretty sure it’s the opportunity to screw things up for other players. Quarto, chinese checkers, rummy, even games as  simple as four/five-in-a-row have that. More advanced games like Illuminati is also about screwing things up for other players (tho often through threats diplomacy). One of the games that has seen the most play among our gaming group would be Blokus. For this very reason. Our Uno games tend to be competitive. Our adapted rules to other games make them more competitive. More opportunities to screw things up for other players.
So what about video games, esp. single-player RPG games? I had a short list in my head, a list of the most important features of a game, but have forgotten some of them. Oh well. Here’s what I do remember:

1. Controls. If the controls are sluggish, the game sucks. If thinking about a direction causes the character to spurt head-first in that direction, the game will be annoying. If the character won’t even move until you shove the stick as far as it goes, the game will be annoying. Some RPGs have a run button. Some don’t. And don’t get me started on menu-driven combat.

2. Exploration. Not applicable to all kinds of games, but my favorite part of a Civ game is when most of the map is blank and I can just head in whatever direction I want, see what’s there. Many RPGs have a huge world, whether or not you ever get to see a world map. Aquaria is a great example of games based around exploration. If new areas aren’t interesting enough, exploration isn’t a reward enough to keep ppl playing. if there are no new areas, your game is small, and it better have a good focus on other important elements… like investigating a mystery… Oh wait, that’s also a form of exploration.

3. Story. Yes, you kind’a need a story to justify the gameplay. No, you really don’t need much. Mario and Zelda are just going to rescue the damsel in distress by defeating the bad guy, right? That’s actually a pretty deep story for a game, it has TWO objectives (albeit accomplished at the same time the same way). Then there are stories that are long and/or thick, but still not very deep. And then there’s the worst kind, the ones that stop the game to tell a story you either already know or don’t really care about. I mean, at the start of Monkey Island 1, what would we need to know about Guybrush Threepwood besides that he wants to become a pirate?

4. Icons. A guy in a green tunic and a silly green hat? Red cap, mustache, red and blue clothing? Yellow/orange space armor with big shoulder thingies? A blue hedgehog with red boots? Classic video game heroes. As tech advanced, we got more complicated appearances for the characters, but this didn’t make them better. The good ones are iconic for their simplicity, they’re archetypes and their appearance somehow reflects this. More recent successful characters would have to include Master Chief. Why? Archetype with an easily identified appearance. Kratos? Sackboy? Whether or not the characters themselves are iconic, something in the game must be. The design of Portal and the archetype GLaDOS represents? The design of the world of BioSchock? The design of the world of Aquaria?

5. Mythology. Related to icons. By this I don’t mean a creation myth, gods and giants, and the source of life, magic, and everything. I just mean a set of rules that the world design abides by. Maybe numbers, shapes, colors, locations, maybe these things represent something, making things identified through their association with whatever is referenced in their design? If the bad guy has horns, and we all know it, other characters with horns will be perceived as bad guys, right? How about the color red, or black? How about a pitchfork? Goat legs? Silly tail? Red or black eyes? If we establish this as the face of evil, all these attributes will be associated with evil. Goatherders, farmers, and emo kids beware. How about pale skin, fangs, and cape? How about suit and tie? How about the blue water people, the brown mountain people, and the green forest people? All identified as iconic in the Zelda series, but the mythology goes deeper than that, as evidenced with a few characters in Twilight Princess, where mere colored dots under some characters’ eyes identify them as tied to one of these peoples/locations, depending on their color.

6. Freedom. Tied to controls and exploration. Sequence-breaking was one of the main features of the Metroid series, at least before being constrained to a 3d gameplay and/or a more story-driven gameplay. This freedom has been enjoyed by lots of gamers. Is it weird that a game which unintentionally includes abilities to skip entire sections of the game is so enjoyable because of such an oversight on the designers’ part? Maybe. I don’t care, I just like being able to go places. Linear exploration is like sitting in a bus, whereas freedom is having your own car. In keeping with that analogy, Aquaria had a car, and I want cars in more games. And stories that take cars into account, plz… or at least doesn’t get in the way.

7. Direction, parallel of freedom. As much fun as a sandbox game can be, without a clear story the freedom comes off as lazy game design. Huge world, somewhere something to do that moves the story forward, but no incentive to go there and not a lot of clues pointing that way either. Either make the story as free as the world, or don’t make the world so free. As much as invisible walls and seemingly arbitrary restrictions bother me, I’m more bothered by being far from my objectives because the game never told me where I was supposed to go. I would of course prefer to be able to go anywhere, and the story would adapt, give me the story of where I am, not of where I should be, plz.

8. What else… NO GRINDING! Okay so I played through game X last year, now I wanna play it again. I don’t want to have to run around area X for an hour, again, to level up so I can beat the boss. How about we do away with all this exp crap and just let ppl play on skill and knowledge? Battles back in the day were limited by tech, but they weren’t limited by loading times and long attack animations, so the grinding was a lot faster then. Still annoying when you play the old games, but nowhere near the wait it takes to grind in modern games.

That’s all I can think of atm, but I’m sure there’s more to it than this. I’ll probably revise this at some point, post a new version. These are my thoughts today. The main problem with newer games is that they’re still doing what the old games are doing, except prettier and slower. I don’t think Metroid: Other M’s story, or most modern games’ for that matter, is half as bad as some of the direction and tech behind it makes it look like. We’re years ahead of the snes, why are we still designing games as if they’re nothing but a graphical 3d upgrade of those games? With the interactive nature of video games, why are the stories still so linear?

Games like Civ and Illuminati end up as a modular story that’s based in the game mechanics. I don’t see why RPGs, shooters, and others couldn’t do the same. Anybody know anybody who does this?

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I thought this was a game

Posted by Ad on October 27, 2010

I wanna talk a bit about cutscenes. I’ve been thinking about the kind of decisions I’d make if i ever got to make a game, and the kind of things I’m advocating in the game I’m involved in (tho only in charge of the sound).

I tried to think of games where I enjoyed cutscenes. FFX came to mind as an example of having annoying characters say annoying things to other annoying characters, and occasionally Auron or Kimahri would grunt or something (which captured my feelings about the other characters quite well). As annoying as these überproduced modern FF games are, the older ones handled this so much better, despite being far simpler in design. On that note, playing through Seiken Densetsu 3, there’s a lot of cutscenes. How come these don’t bother me?

Granted, there were cutscenes in FFX that I enjoyed. The spectacular ones, the ones that showed you a world rather than showed the characters I didn’t care for steal the spotlight and ramble hormone-induced whines and conceited rants that stem from a sense of entitlement. Seriously, Tidus or Seymour, which one was more annoying?

Another example of games with cutscenes that don’t bother me would be from the Monkey Island series. While the dialogue tends to be interactive, even the parts where it isn’t don’t bother me. Why? Because it’s funny. Much like a terrible ad can really irk you, a funny ad both serves its function of making you aware of the product but can also be enjoyable and thus memorable. This is why I’d much rather use 020202 than 0100100 as my go-to service for finding ppl/places (in Finland at least). 0100100’s sponsor message got REALLY annoying when you’re watching a show like Lost and it cuts to the sponsor message… which is LOUD!

Metroid: Other M’s cutscenes give us information we either don’t care about or that we already figured out. There are a few scenes that, at least in retrospect, were good. The killer rabbit scene is one, tho it feels as if having to stop the game and have a “Where’s Waldo” minigame in order to see the cutscene is the wrong approach.

With Bobby Kotick thinking of making movies out of cutscenes in games, and a lot of big games treating cutscenes as their sole storytelling device in their games, I can’t help but wonder if we’re heading in the wrong direction. We already have cinema, and it’s _so_ 20th century.

If I could call the shots? if the cutscene isn’t spectacular or funny enough, don’t use a cutscene. portal’s storytelling is done within a fully interactive world, the game never stops the game to tell the story, never takes control away from the player, never has the story running in like a clown into an operating room shouting at the surgeons: “Hey look at me, I’m here and I’m explaining what you guys are doing and why! Hey! Listen!” Tho if I were a surgeon, I at least have the choice of going after the clown with a scalpel. I think the Hippocratic Oath has, or at least should make an exception for situations like that.

Yes, there are things that you need to stop the game for to explain, but as useful as cutscenes are for telling the story, the story should never be a clown in an OR. You can tell that the patient in surgery is important by having guards outside the OR, or somewhere else where we can see them. We don’t need someone stopping the game to tell us that.

Cutscenes can also be used as a reward, but then they’d have to be enjoyable. When they’re overused, you get a “success” jingle and a cutscene that shows you what happened. While it’s useful to somehow cue the player’s attention to whatever they just achieved, grabbing and turning their heads and pointing to whatever they just made happen is a really annoying way of doing that. I mean, we have stereo sound, we have particle effects, we have all kinds of stuff. Just widening the field of view and moving the camera slightly would be enough. You don’t need to stop the game to tell us we did something. (this is where I grab and turn your head and point to the Metroid Prime series)

It’s much more rewarding when it’s either funny or spectacular. When it’s not, it a break too short and unpredictable to be a snack/toilet break yet long enough to break immersion. And the more often it happens, the more annoying it gets. Just imagine if ever sentence you typed correctly would result in a jingle and a “nice work” screen that would last 5 seconds. Unless you’re the kind of writer that makes really long sentences or simply don’t write a lot of them you’ll get annoyed. Fast.

I think the big problem is that the visuals now rivals that of the movies, so game directors think they’re movie directors. That’s when we end up with games that play themselves while we wait for an opportunity to do something. If this evolution keeps going, all the video game industry will have accomplished is to make actors obsolete. Oh and players, too.

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Echoes of Betrayal, Light of Redemption, CD3

Posted by Ad on August 5, 2009

Bored, can’t sleep. Perfect for listening to an album and typing up some track-by-track comments. 😀

Long Dao has done some cool stuff before, but Tundra of Dwarves has emotional depth that I haven’t heard in other orchestral works by him. It’s a great opening for disc 3. Then again, so could In The Land of Dwarves be. Where Long went for melancholy ilp0 goes for something totally different. I’m having a hard time describing it, it’s a mixture of a lot of different styles and instrumentation. It’s a lot of fun to listen and compare parts, trying to figure out what to call it… and failing.

bLiNd is well represented on this album, Path of Deception being more subdued than Golbez ‘N Goblins but still keeps the beat going. From that we move to something slower, Level 99’s Calcobrena After a Night of Dinner and Dancing. It’s refreshing to hear electric guitars after the tracks so far, and this track serves as something of a breakdown on the album as a whole, as it’s about to pick up again.

Kidd Cabbage brings the metal with Treason, a metal track with a lot of variety in its parts, and kicks the album back into high gear, only to have it brought down in the intro to Until the Tower Falls by Nutritious, OA, Moonlapse, nonsensicalalexis, and audio fidelity. It’s one of those “everything but the kitchen sink” type tracks, with some vocal bits, electric guitar and rock drums, synths, orchestral parts, and violin. I generally prefer tracks that stick to one or two things, but these genre-bender concoctions are epic.

What’s a Final Fantasy album without the prelude, and what better to do with the track than to play it on piano? BogusRed’s rendition is emotional and gracefully brings the vibe back down to Earth after the last track. Appropriately enough, it’s followed by Vampire Hunter Dan’s A Savior Ascends, which after a slow, transitional intro brings the epic back, as something I’d call classical. It sticks to the down-to-Earth vibe, but with a much larger scope.

James George takes us to another world in the next track, The Still Land. Pluck-like synths, an otherworldly atmosphere, and later via a Metroid Prime-like synth part into something more like the other genre-benders, just more in keeping with the established mood, something bLiNd in his Bridge to Eternity turns into something hauntingly epic. Just get to the 2:11 chorus part and you’ll know what I mean.

While on the topic of haunting, DragonAvenger and OA did an excellent job at just that with their Éminence Grise, part one of the album’s finale. While DA’s contribution may only be voice, it’s a significant contribution, completing OA’s already chilling arrangement.

Genesis of Destruction, the second part of the album finale, is huge. While it could be mixed more impactful there’s no denying I get goosebumps from it. Especially the 4:26 choir part. I remember recording my part for that, sitting in below freezing in a summer house next to ours to have a quiet location to record in. While I can’t make out my own voice in there, I know I contributed. Albeit with very little.

audio fidelity and Nutritious are the heroes of this remix, with Cyril the Wolf and lisabela singing leads. It’s an epic concoction at 7:48 long. This one has everything _including_ the kitchen sink… figuratively, and is the largest track on the album (counting CotMM’s 10 and 35 minute bonus tracks as longer, just not bigger).

It is followed by Facing, which Fishy handles well, going from an atmospheric start to a rock finish. The final track is a bossanova-like jazz collab between Abadoss, audio fidelity, bustatunez, and theultravisitor. It was recently posted on ocr, along with its story. It’s a sweet track, perfect to end the album’s official tracklist with… it’s Kind of Green.

No promises I’ll review the bonus tracks as well, three quarters of an hour of CotMM might be too much for me but… we’ll see. 😉

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Echoes of Betrayal, Light of Redemption, CD2

Posted by Ad on July 25, 2009

Just woke up. I’m strangely tired and bored out of my skull. What do I do? I play the second cd from the ocremix FF4 album that was released last weekend. For free. Go get it if you haven’t already.
There’s something very chippy about AeroZ Mystic variations, the opening track to the second CD of Echoes. It’s followed by the cutest metal track I’ve ever heard, Metal Mage by Cyril the Wolf, his brother Lil’ Wolfie, and OA. There have been some complaint about how wildly varied the album is, and with synth madness, metal, and now a solo piano piece I’m inclined to agree. Then again, there’s nothing wrong with that, and they all fit together well, and utilize and reference many of the same melodies. Long Dao’s Smiling Hilltop for Four Hands is the piano track in question.
Then again, it’s fits so well with the following track, Step into the Light by Nutritious. Long, soft intro make it transition easily from Long Dao’s piano track. Now for something totally different, the prophet of mephisto’s Long Time Gone, which I’m having a hard time describing. Synths, beats, some guitar… Well, in any case I like it.
The Rhymes with Elixir is apparently a joke track by remixers under the alias The Scuba Divers. Liontamer had a guest spot as the mc in the intro. It’s strange track, since the sound and production is expectedly high, and the rap is to me about as serious as “real” rap. That doesn’t say actually say the rap in it is particularly good, but I do like the varied voices, especially how much character they all have. Something about Shiva’s voice and/or processing gives me goosebumps. Then again “Chocobo, Chocobo, you’re so fine, you’ve got more bling than all of those guys;” how can you take a song like that serious?
Despite usually only contributing voice, DragonAvenger did some arranging on the project, her second interlude Nom! following the rap. The idea of interludes is cool, and short as they are, they serve as a nice break from the big, loud and/or epic tracks on the project. Nathan Rich takes us for a flight in Blue Planet in Mode 7, a take on the Airship source that only bring my mind to open skies, freedom, and the ability to fly.
Goodbye Cid… That’s next, a collaboration between Wiesty, audio fidelity, and OA that features electric guitar, synths, and organ. It has a melancholic vibe, and ilp0’s Almost Fell for a Trojan shares that vibe, but takes it to a different environment and context.
One of the most stunning tracks on the entire album is Hy Bound’s and Loka LaFevre’s Somewhere to Hide, which with beautiful vocal parts, hard beats is a really emotional track, just one more haunting than the sappy ones usually associated with the word “emotional”. Strangely juxtaposed after hiding, we hear AeroZ solo on cello… at least until the tracks takes an expected turn into the territory of synths – after all, this is AeroZ we’re talking about. Th combination of cello and synths works well together, and the remixer uses them both skillfully.
Fallen Ascent by Children of the Monkey Machine, another atmosphere-orineted track, takes the same melody we heard in Somewhere to Hide and puts it in a dark cloud where we feel more than we hear. Next comes Survival Instinct by Audix, taking us forward at a higher tempo than the ethereal nightmare before. No wonder, as it’s another battle source.
Cyril the Wolf’s strong suit isn’t electronic music, which although shows in OMFG! GET OUT OF THERE!!! doesn’t ruin the track. I keep associating it with the Space Pirate music from the Metroid Prime series, which felt just as frantic the first time you played it. Again, two very different tracks juxtaposed, an ethereal intro consisted mostly of bells and bell-like synths is played after the more frantic track.
Anyone looking at the data of the current track should know that the ethereal intro belongs to my track, Lacrima. it continues into more synths, drums, and strays far from the tone of the source. So far, I’ve been getting all positive feedback for it, save for a few nitpicks I agree on anyway.
Oh and don’t skip the outro, it’s one of the strangest things I’ve ever done, or even heard – and it’s completely accidental, which makes it even cooler. Yep, my favorite part of the track is a compelte accident, that’s how awesome I am. 😀
Theme of Love for Guitar Duet is the last track on the second CD, Pot Hocket softly and beautifully bring it to a close. it segues nicely into the first track of disc 3… but that’s another story for another moment of boredom.

Just woke up. I’m strangely tired and bored out of my skull. What do I do? I play the second cd from the ocremix FF4 album that was released last weekend. For free. Go get it if you haven’t already.

There’s something very chippy about AeroZ Mystic variations, the opening track to the second CD of Echoes. It’s followed by the cutest metal track I’ve ever heard, Metal Mage by Cyril the Wolf, his brother Lil’ Wolfie, and OA. There have been some complaints about how wildly varied the album is, and with synth madness, metal, and next a solo piano piece I’m inclined to agree. Then again, there’s nothing wrong with that, as they all fit together well, and utilize and reference many of the same melodies. Long Dao’s Smiling Hilltop for Four Hands is the piano track in question.

Then again, it’s fits so well with the following track, Step into the Light by Nutritious. Long, soft intro make it transition easily from Long Dao’s piano track. Now for something totally different, the prophet of mephisto’s Long Time Gone, which I’m having a hard time describing. Synths, beats, some guitar… Well, in any case I like it.

The Rhymes with Elixir is apparently a joke track by remixers under the alias The Scuba Divers. Liontamer had a guest spot as the mc in the intro. It’s strange track, since the sound and production is expectedly high, and the rap is to me about as serious as “real” rap. That doesn’t say actually say the rap in it is particularly good, but I do like the varied voices, especially how much character they all have. Something about Shiva’s voice and/or processing gives me goosebumps. Then again “Chocobo, Chocobo, you’re so fine, you’ve got more bling than all of those guys;” how can you take a song like that seriously? 😀

Despite usually only contributing voice, DragonAvenger did some arranging on the project, her second interlude Nom! following the rap. The idea of interludes is cool, and short as they are, they serve as a nice break from the big, loud and/or epic tracks on the project. Nathan Rich takes us for a flight in Blue Planet in Mode 7, a take on the Airship source that only bring my mind to open skies, freedom, and the ability to fly.

Goodbye Cid… That’s next, a collaboration between Wiesty, audio fidelity, and OA that features electric guitar, synths, and organ. It has a melancholic vibe, and ilp0’s Almost Fell for a Trojan shares that vibe, but takes it to a different environment and context.

One of the most stunning tracks on the entire album is Hy Bound’s and Loka LaFevre’s Somewhere to Hide, which with beautiful vocal parts, hard beats is a really emotional track, just one more haunting than the sappy ones usually associated with the word “emotional”. Strangely juxtaposed after hiding, we hear AeroZ solo on cello… at least until the tracks takes an expected turn into the territory of synths – after all, this is AeroZ we’re talking about. The combination of cello and synths works well together, and the remixer uses them both skillfully.

Fallen Ascent by Children of the Monkey Machine, another atmosphere-orineted track, takes the same melody we heard in Somewhere to Hide and puts it in a dark cloud where we feel more than we hear. Next comes Survival Instinct by Audix, taking us forward at a higher tempo than the ethereal nightmare before. No wonder, as it’s another battle source.

Cyril the Wolf’s strong suit isn’t electronic music, which although shows in OMFG! GET OUT OF THERE!!! doesn’t ruin the track. I keep associating it with the Space Pirate music from the Metroid Prime series, which felt just as frantic the first time you played it. Again, two very different tracks juxtaposed, an ethereal intro consisted mostly of bells and bell-like synths is played after the more frantic track.

Anyone looking at the data of the current track should know that the ethereal intro belongs to my track, Lacrima. It continues into more synths, drums, and strays far from the tone of the source. So far, I’ve been getting all positive feedback for it, save for a few nitpicks I agree on anyway.

Oh and don’t skip the outro, it’s one of the strangest things I’ve ever done, or even heard – and it’s completely accidental, which makes it even cooler. Yep, my favorite part of the track is a compelte accident, that’s how awesome I am. 😀

Theme of Love for Guitar Duet is the last track on the second CD, Pot Hocket softly and beautifully bring it to a close. it segues nicely into the first track of disc 3… but that’s another story for another moment of boredom.

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Echoes of Betrayal, Light of Redemption, CD1

Posted by Ad on July 23, 2009

That’s the name of the remix album I contributed to. Lemme share some thoughts about it. As I’m kind’a bored at the moment, there’ll be a lot of thoughts to share. 😀

Nutritious is full of it. By ‘it’ I mean the opening track is his “Full of Courage”. It’s a grand, majestic, epic orchestral thingy, and it’s followed by the march-rock “The Might of Baron” by audio fidelity. March-rock is the best way to describe it, methinks. It has orchestral parts, electric guitar, but more importantly: boot percussion. Then comes AeroZ’ Overture – Tellah’s Prophecy, which is synths+real cello. Weird combination, but a nice track.

Then comes Avaris’ Journey to Solace, perhaps a Journey to Silius reference/pun. The track is an orchestra and synth hybrid with a heavy feel to it. When working on the project, I saw he used the same source as I did, and was a bit concerned about the competition. The two tracks are fortunately very different, and complete each other. More about how awesome my track is later.

Then comes crazy song from crazy remixer/judge/composer robot. Mostly real hardware synths, old stuff, and it sounds awesome. Ana(pro)logue, by Another Soundscape. orchestral next, with John Revoredo’s The Flying Machine, which is another one of those majestic tracks. This one is more percussive than Nutri’s opening piece. next is Mazedude’s Read the Sine, all sine wave instruments, with various effects and stuff. I’d describe it as simple amazing, which is a pun in so many ways.

Cyril the Wolf’s track Emerald beauty is number 8 on the first cd, and is a beautiful rendition of Rydia with a somewhat casual and down-to-Earth feel, unlike the mostly bombastic, artificial, and/or grandiose tracks so far. The follows 5 minutes of noise… I mean, a Children of the Monkey Machine track, an stunning, creepy atmospheric track, which is pretty much what you’d expect from him considering his other remixes. Apparently, audio fidelity did something there as well.

Tweek, with Of Fiend and Man, does something very fitting with a battle track – he makes it rock. Orchestral parts, electric guitar and drums, aggressive all the way. And it’s appropriately enough followed by an interlude based on the victory jingle by DragonAvenger. Naming a track Yay! earns her a few more points. 😀

Moving on to level 99 and audiofidelity’s The Skies Holds No Angels For Us, the intro of which makes me think of Maridia in Super Metroid. Apparently a commonly used intro melody, since I know it from Seiken Densetsu 3 as well. This is a rock track, without all the synths and orchestral parts other tracks utilize.

Edward’s Dream Quartet is next, and it’s a beautiful, emotive arrangement and performance by Abadoss and James George, respectively iirc. personally, I like the 5:40 part most, perhaps because it stands out so much more, being mostly pizzicato. From classical acoustic instruments to hard electronica, next comes bLiNd’s Golbez ‘N Goblins, a catchy and pounding track that keeps popping into my head when there’s no other music around.

Even more amazing is what OA, Nutritious, and The Fabul Men’s Choir formed for the occasion over the net have in Latin vocals, various world music, orchestral and rock instrumentation. Fighting For Tomorrow. Sempre Fabul. And fabulous it is. Like with the track before, everyone in my house must have heard it by now, it’s one of few tracks I’m not happy with just playing normally, it’s gotta be loud.

That’s CD one. So far it’s amazing, and there are some incredible tracks on the other CDs as well. The album is available for download via ocremix’ website and the Echoes subsite. You should get it. It’s amazing. I’m on it. 😀

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…it’s supposed to be out now…

Posted by Ad on July 19, 2009

I’m talking about the new ocremix.org free video game arrangement album Echoes of Betrayal, Light of Redemption. I’ve got a tack on there, and have so far gotten some nice feedback from people who’ve heard it. Now I’m waiting to hear it in context.

Despite having accesss to most, if not all the tracks on the album earlier, being one of the remixers (or arrangers, or… whatever) on the project, I’ve kept myself from listening to them. I only know two of the remixes – mine and the other one I contributed to, the latter of which I heard in an earlier version of. This is gonna be exciting…

I’m talking about the online listening party we’re having in… in a minute. Gonna be interesting to hear all the remixes, and to hear what the others think of mine. I’ll probably highlight a few tracks in a later post. Now… it’s Final Fantasy IV remix marathon time! 😀

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