Friday, July 28, 2017
Song of the Day (Volume 11): Set the World on Fire (The Lie of Lies)
I got invited to a Symphony X concert in 2007, and declined. I didn't want to spend the 15 bucks, and didn't know who they were.
A week after the show, someone gave me a copy of their newest album, Paradise Lost. I put it in my Walkman (seriously) and Set the World on Fire came on as the second track.
I immediately regretted my decision from the very first riff, regretted it even more during the amazing chorus, and still do to this day. I will make it to a show some day! If only they were as big here in the states as they are in Europe...
-TRO
Thursday, July 27, 2017
Song of the Day (Volume 10): Opening-Bombing Mission
Cloud's gonna get you by hoof or by crook
Is this the best song in Final Fantasy VII? No, that title probably goes to the sweepingly epic One-Winged Angel. But it's been stuck in my head all day, and now it will be in yours. One of the finest opening tracks in video game history, and an excellent start to a truly historic and superb game. Enjoy!
-TRO
Wednesday, July 26, 2017
What I'm Playing (Volume 9): Final Tactics Advance A2: Grimoire of the Rift
There is very little that's more challenging for me than reviewing successors to, or previously unexplored precursors to my favorite games, records, and movies. I'm sure that my recent review for DAMN. falls in this category, as well as my review of Banjo-Kazooie. I probably under appreciate things that fit this category, as I'm blinded by my love for the original, so you'll have to take this review with a grain of salt, and I did my best to give A2 a fair review.
I LOVE Final Fantasy Tactics. The original Playstation game is in my top 10 PS1 games of all time, without question, and I think that Final Fantasy Tactics Advance took a phenomenal game concept and transferred it to handheld in a masterful way. The changing of the gameplay to make it less focused on a central narrative, and more focused on wide ranging missions in a more fun and bright environment made for an excellent handheld experience, and I'm not sure that there's a better Game Boy Advance game, although there are a ton of worthy contenders for the crown on that magnificent system. Also, the (partial) removable of permadeath made the game a bit more fun, and encouraged risk taking.
All of this is to say that reviewing A2 fairly was really tough, so you can feel free to play it yourself and see if I'm right.
A2 is a good game, flawed by a few major departures from FFTA, and similarly flawed by a lack of boldness to improve on its predecessor. Like its predecessors, it is a strategy RPG that takes place on tiles. You maneuver your characters into advantageous locations on the map, and attempt to defeat your opponents with a dizzying array of jobs, abilities, weapons, armor, and sheer grit.
As usual, I'll start with the strengths of the game. It looks and sounds excellent, although the look and sound of it has its weaknesses (I'll get to this later). The controls are excellent. The system by which you switch characters between jobs, learn abilities, and get to customize your character with abilities learned in any job has maintained its excellence from the previous game. They add two new races, with four jobs each, and a few new jobs for each existing race.
The DS version uses the extra screen extremely well, displaying the strengths and weaknesses of the characters on the top screen, as well as the order in which they will act. This allows you to plan out exactly what you're going to do, and to be able to get ahead of your enemy's plans. For example, if you are within range of two enemies, both of whom can be finished in a single attack, you can use the extra screen to look at which of them will act first, and finish them off to avoid taking any unnecessary damage.
The game features an enormous set of missions that you can complete (400), and will certainly eat your time. If you're interested in investing in games which can entertain you for a long time, I only managed to finish a little more than 200 of the missions before beating the end boss, and completing those missions alone ended up with a game time of nearly 60 hours. You can save your game after beating the end boss, and continue your adventures after the game is over, beating the remaining missions at will. I enjoyed the game enough that I plan on doing this, but wanted to write the review now that I have technically beaten the game.
A2 fixes a few competitive balance issues in the game, evening out the distribution of power between races/classes (a bit). For example, one change they made is that instead of beginning each battle with full magic points, and regaining a bit every turn, they changed it so that you now start with 0 at the start of the battle, and gain more per turn. This takes down powerful classes from FFTA like the Illusionist, who could use over 30 MP per turn to hit every enemy on the map with powerful magick. In order to use even one spell, thus, you'll need to wait 3 turns without doing anything, whereas in FFTA, you could use the powerful spells on 3 consecutive turns, at which point the fight was probably over anyway. This comes at a cost, however, of making high MP classes like the Illusionist functionally worthless. I would have liked it, perhaps, if you'd started out with 1/2 MP, or a flat 10 or 20, making using those classes more viable.
I loved the Bazaar/loot system, in which you get loot from enemies, and can trade it in at the store to make newer items available. Very similar to the system in XII, this made grinding for loot rewarding, and the shop experience was much better than in FFTA, where new items became available at the shop as you advanced in the quest.
There were a few negatives for the game, however. First, it felt like the number of recycled assets from the FFTA game were far too many, and this made poor use of the DS' relative power. The sprites for every class, weapon, armor, accessory, and enemy were identical to the last game, which was kind of head scratching. Even updating a few classes and weapons would have been a nice touch, but they went with the lazy approach. The new sprites for new classes and enemies are nice, however, and keep with the aesthetics of FFTA. Some of the new environments looked nice, but rarely did they blow you away compared to FFTA. The new bosses, however, were light years ahead of FFTA, so I have to give them graphical credit there. It was pretty astounding though, given the limited improvement graphically over FFTA, that the game suffered from frequent slowdown, a problem I never would have expected.
The game was also far too easy, as I only struggled with the end boss throughout my playthrough. And by struggled, I mean I came in poorly equipped, restarted, properly equipped, and wiped the floor with the boss.
The laws system feels completely toothless, and while it was an irritating feature of FFTA, it feels like they toned it down too much. In FFTA, violating laws could result in punishments as tame as losing gil, or as severe as having your characters imprisoned and needing to bail them out of jail. Here, the only penalty is that you can't revive your characters during battle (rarely needed with the feeble difficulty level), and won't get some rewards (typically tepid) at the end of battle. But the most frustrating thing about the laws system is that it lacks an internal logic. For example, let's say that the law in a given battle is that I can't use weapons or abilities that use the fire element. If I go up to a person and attack them with a fire elemental sword, I'll break the law and incur the penalty. But if someone attacks me, and I have the counter ability on that character, and I hit them back (not being able to control it), I don't break the law.
This is a perfectly defensible design choice, if it's consistent. But it isn't. There are other times in game where your character doing something that you can't control will violate the law. For example, if the law is that I can't knockback enemies, then if I get hit and counter attack, and my counter attack is a critical hit and the enemy gets knocked back, then I WILL break the law. This makes no sense, and these kinds of contradictions are everywhere in the rules. For example, if your character gets confused or charmed and does things against the law, it will county as breaking the law, despite the fact that you aren't controlling them. Again, it would be fine if involuntary actions broke the laws, as you could game plan for them. If the law prohibited fire weapons including involuntary use of them, I could keep the weapon on, turn off my counter ability, and just use non-fire abilities. But as you can never tell which involuntary abilities will be taboo and which won't, you are left in constant flux as to the what actions are permissible and what precautions you should take to ensure that the law remains unbroken.
Perhaps my biggest pet peeve with the game is the changing up of hit percentages. In both Tactics and FFTA, standard hit percentage from the front is low. Ensuring a hit requires sneaking around behind a character, or to their side in order to increases the likelihood of hitting an enemy. Regardless of where you attack, though, the ability will do the same amount of damage.
In A2, however, hit chance is always high, and it's damage that increases when you go to the side or back. In fact, the damage you do from the back is nearly double that which you do from the front, a stark change. This is, frankly, a dumb change, as not all abilities rely on damage to succeed, but all rely on hit chance. For example, an ability that does no damage but applies a powerful status effect will have the same percent chance of succeeding from the front, back, or side. Basically, this changes the gameplay focus from balancing the risk of going deep behind enemy lines to do damage and inflict status effects and having a high value on positioning for all characters, to an approach which rewards going behind with big damage dealers, hitting one hit KOs, and applying statuses from afar, as your likelihood of success there doesn't rely on position. This completely changes the makeup of the game, and reduces the number of aggressive and tactically risky strategies that you can take with your status dealers.
I also struggled to enjoy the story. It basically rips off the premise from FFTA (boy gets sent to a different land through a magical book, takes up with a clan, and completes quests to try to get home), but missed out on all of the depth of the story of FFTA. In FFTA, the biggest subplot (spoiler alert) is that your wheelchair bound brother and bullied friend also come to the new world with you, and they don't want to come home. The tension between brothers, one of whom wants to come home, and one who wants to stay in the world where he can walk, play, fight, and have fun is palpable, and really makes you think what you would do in the situation. The same is true of the boy and his friend, as the friend is bullied at home, has a loser for a father, lost his mother, and doesn't want anyone to destroy his new world in which he is the prince. FFTA2's story is a mess, revolving around a shadowy syndicate that has a weird villain who isn't developed and who is just basically your mirror opposite. Boring.
Anyway, I am probably being too hard on this game. I genuinely did enjoy it, and think that most people who enjoy games like Fire Emblem, Advance Wars, Disgaea, Final Fantasy Tactics, Ogre Battle, etc. will probably enjoy this one too. It's a fun strategy RPG that's heavy on depth, light on difficulty and story, and long on fun. I'd give it an 8.5/10.
Here's a teaser for my next handheld review...can you guess it?
-TRO
Tuesday, July 25, 2017
DAMN.
I've been on Kendrick catchup duty this week, listening to both untitled unmastered and DAMN. I gave the song of the day yesterday high marks, but find myself a bit disappointed by DAMN.
Not that Kendrick's newest record is a bad outing, by any stretch. It has several great tracks, including HUMBLE., LOYALTY., and my personal favorite DNA.
The one thing that separated To Pimp a Butterfly from the pack of rap records was not just that it was a trail blazing record, but that it was largely a trail that no one else could follow. Great records and artists always produce imitators, but no one could have mimicked Kendrick's approach on that record, similar to the earlier works of Kanye. It was just the perfect collection of Kendrick's vision and lyrical talents that made it 100% unique.
On DAMN., Kendrick seems to take an approach that is more firmly rooted in the sounds of the day. Much like Kanye's unfortunate detour into popular hip-hop and R&B on 808s and Heartbreak, DAMN. feels like a record that captures a man who has become more fully enthralled with the creative output of those around him, and is trying to fit in.
This is an awkward fit, and frequently plays badly on the record, particularly on tracks like YAH. Kendrick frequently sings in a style more like other popular rappers, which rarely works (he sang plenty on To Pimp a Butterfly, but with a uniquely "Kendrick" style). His varied flow on previous records has become more repetitive on some tracks on DAMN., frequently distracting the listerner from the ever present brilliance of his lyrics.
When Kendrick adheres more closer to his strengths and his genre bending creative vision, he's at his best. This outing doesn't feel like his consistent best, but it's still a solid record, and his rapping and the high quality beats on the record make it worth a listen. I'd give it an 8.2/10.
-TRO
Monday, July 24, 2017
Song of the Day (Volume 9): Untitled 2 I 06.23.2014
I'm currently listening through Kendrick Lamar's untitled unmastered and am really enjoying it. So far the standout track has been the second track, in which Kendrick seemingly casually absolutely destroys, accompanied by a phenomenally minimalist and supremely creepy beat worth of Clipse. Enjoy!
-TRO
Friday, July 21, 2017
Top Ten SNES Games
My favorite console of all time is the Super Nintendo. One of my favorite things to do online is to look at top 10 lists and videos. While I doubt this will break much new ground, here goes (this was really hard).
10. Street Fighter II
I don't care which of the 12 versions of the game is included. It's the most important fighting game of all time, and the SNES version destroys the Genesis'. One of the top multi-player experiences on the system.
9. Donkey Kong Country II
It's super fun, and still looks and sounds gorgeous.
8. Final Fantasy IV (Released in U.S. as Final Fantasy II)
The great leap forward that roleplaying games had been searching for ever since Dragon Quest. It added a layer of cinematics and character development to the genre that was unmatched. All future JRPGs owe an enormous debt to this masterpiece.
7. Final Fantasy VI (Released in U.S. as Final Fantasy III)
While I actually slightly prefer the masterful, but never released in the U.S. Final Fantasy V to this game, it's based purely on battle, job, and leveling systems, because on story, music, and character development, VI is king. I'd include V on this list, but as it wasn't a Super Nintendo game strictly speaking, my hands are tied. VI builds on the titanic leap forward with IV, offering a superior experience in every way, and a remarkably better translation.
6. Super Mario RPG
Man there are a lot of Squaresoft games on this list. And I'm not done yet ;). Mario RPG combines my love of Mario characters, setting, and musical tone with the technical and storytelling genius of the creators of Final Fantasy. Enough said.
5. Mega Man X
Here's where it started to get hard. Mega Man X is probably a top 20 game of all time for me, and barely breaks the top 5 for the SNES. Wow. Read the linked reviews for more detailed treatments of this gem!
4. EarthBound
Brutally hard. My introduction to non-Pokemon RPGs, it's a hilarious and quirky treasure that offers perhaps the most memorable experience on the SNES.
3. The Legend of Zelda: A Link to the Past
Putting this game at number 3 almost physically hurt. It's surpassingly brilliant, remarkably beautiful, and etched in my memory forever.
2. Chrono Trigger
This one didn't hurt as much. It's just right at number 2, although it'd be number one on most consoles! This is the game that got me into JRPGs as a teenager as a part of the fantastic Final Fantasy Chronicles collection on Playstation. Perfect soundtrack, perfect gameplay, perfect story. It's everything you'd expect out of a game designed by Squaresoft and Enix, featuring character designs by Toriyama. But it ultimately can't beat out...
1. Super Mario World
My beloved Super World, rescuer of bad days. Soundtrack of my youth. It's the one game I recommend to anyone who's never played video games, or is trying to get into them. Fun on the surface, with an enormous amount of depth for those brave enough to explore it. It embodies "fun" more than any other SNES game, and for that reason, it's my number 1. It still amazes me that it was a launch title.
-TRO
Wednesday, July 19, 2017
Song of the Day (Volume 8): Sara Smile
Hall and Oates deserve way more credit and recognition than they get. When I worked at the grocery store as a naïve teenager, one of the things I liked best was the music. I didn't know the artists who played them, however.
Then one day I watched the Behind the Music for a group I'd never heard of before, Hall and Oates (excellent episode of Behind the Music, by the way). Imagine my excitement as jam after jam played as background music, and they talked about the hits these two wrote and performed that were some of my favorite muzak (google it)! I sometimes joke that the soundtrack at the grocery store was all Hall and Oates, all the time, but the truth is that it was only 50% Hall and Oates, with a bit of Elton John, Kool and the Gang, and Billy Joel mixed in.
You Make My Dreams, Maneater, I Can't Go For That (No Can Do) (YOU CAN'T GO FOR WHAT? WE WANT TO KNOW!!!!), Kiss on My List, Rich Girl, She's Gone, and You've Lost That Lovin' Feeling were all H&O staples on the Muzak, but none was more beloved by me than Sara Smile. If you don't like this song, you may never have been in love, and/or do not have a soul. Enjoy!
-TRO
Tuesday, July 18, 2017
What I'm Playing (Volume 8): Banjo-Kazooie
It's a bear! It's a bird! It's...a bear with a bird in his backpack?
It angered me to no end when I tried to show my sister-in-law A Link to the Past, and she said she couldn't play it because it "looked like Pokemon". ARRRGHHHHHH! She was coming into the experience from her own vantage point, which compared the game to her existing template, which was Pokemon. She hadn't played too many retro games, and from her experience, the game looked like Pokemon, which is technically true. It angered me, however, because she was making a grievous error by anachronistically comparing A Link to the Past to Pokemon, rather than the other way around!
But now I understand. There was a shadow laying over my playthrough of Banjo-Kazooie, which is that I was constantly comparing it to its successor, Donkey Kong 64. I had to fight so hard to stop from thinking that Banjo-Kazooie was a carbon copy of DK64, when it was in fact the other way around.
As a result, and with a lot of effort, I have come to devalue the DK64 experience, and value the Banjo-Kazooie experience at a reasonable level, although I'm sure my bias still affects this review. Anyway, I'm going to try to review it like I'm playing it for the first time at launch, with a shiny new Nintendo 64 (for the record, I was playing the XBox One version on Rare Replay, although I've heard they're very similar, minus a few little tweaks).
Banjo-Kazooie was fun, but a bit too long, and featured a few dim spots on an otherwise good experience. Cut in the mold of the true masterpiece, Super Mario 64, Banjo-Kazooie is a 3D platformer which has you exploring a wide range of contained levels connected by an overworld, and unlocking new levels by getting collectibles in each level (stars in Super Mario 64, and puzzle pieces and music notes in Banjo-Kazooie). You play as bear and bird team Banjo and Kazooie, who use their combined talents to rescue Banjo's sister from the evil Gruntilda. Along the way, the duo will unlock new abilities that they will use to find new treasure to unlock subsequent levels along their path to Gruntilda.
When you can't be great, mimic the great. Super Mario 64 is just SO good. It's an instant classic and is better than any 3D platformer of the PS1/Saturn/N64 era. All as a launch title on N64. And Banjo Kazooie begs, borrows, and steals from Super Mario 64 with panache, offering a few little tweaks and improvements along the way. The controls are basically identical, with B punch, A jumping, Z crouching, Z+A doing a backflip, and A+Z doing a ground pound. Banjo Kazooie, however, allows you to get a few new abilities in addition to the standard Mario 64 fare, including shooting eggs, laying eggs, getting speedy shoes as well as shoes that enable you to walk on thorns and other hazards, becoming invincible, and flying. The flying in particular is improved from the clumsy Mario 64 interface. There are plenty of secrets to find along the way, and a wide range of levels to explore.
Banjo Kazooie's music is quite good (although it makes DK64 look very lazy due to the heavy degree of straight up theft of Banjo-Kazooie melodies and tones you find in DK64), and includes a very nice touch in which the music changes when you go underwater. The controls are very responsive and work nicely, although the hitboxes on Banjo's attacks can be unclear.
The world is huge and impressive, and while the graphics are a bit dated today, they hold up acceptably. The final boss fight was very fun and challenging, and I'll remember it fondly.
The game was not without it's negatives, though. Rather than the tightly focused levels of Mario, featuring it's focus on obtaining one star at a time, levels in Banjo-Kazooie focus so heavily on exploration and discovery that sometimes it's hard to know where to go next. This is particularly noticeable in moving from level to level, where it's sometimes necessary to go back to a previous floor to unlock a level, and then go a completely different place to enter the level. This is one great change in DK64 that I wish they would have thought of earlier. The placements of the levels and unlocks of levels are frequently so challenging and remote that I NEVER would have found them without a guide, particularly the unlock outside of Mad Monster Mansion (absolutely horrible design).
The game probably had 2-3 too many levels, and played itself about 10 hours too long. The last 5 or so levels are undertaken with a completely full kit for Banjo and Kazooie to upgrade, making their path between levels purely about obtaining completely arbitrary puzzle pieces and music notes, rather than about getting the duo the abilities they'll need to finish the game. This was another nice piece about DK64, which felt like you were unlocking new abilities constantly, and were only collecting gold bananas and regular bananas as an afterthought.
The ending board game (you'll know it if you've played it) is some of the worst level design I have ever seen. Good luck not tearing your hair out at the completely anti-climatic nature of this portion of the game.
Each level in Banjo Kazooie needed a boss. There were very few in the game, and in comparison to DK64's excellent boss design and execution Banjo-Kazooie is very lacking.
I know this game gets beat up a lot for its camera, and it was not great, but I don't think it was as bad as everyone says. But I would have thought they would have reworked it for the Xbox version, which they really didn't (as far as I can tell).
Anyway, it was a worthy playthrough, but flawed. If you like Mario 64 or Donkey Kong 64, I can guarantee you'll find something to enjoy in it, but it is probably not quite as good as either of those two games. I'd give it a contemporary review of 8.0, and a for the time review of 8.5.
Here's a teaser for my next console What I'm Playing, and I swear I'm working on the handheld one (very long game)!
-TRO
Thursday, July 13, 2017
Song of the Day (Volume 7): Hangar 18
In honor of the Megadeth show I attended the other day, today's pick is my favorite 'deth song, Hangar 18. Enjoy!
Wednesday, July 12, 2017
Concert Review: Lillake, Tesseract, Meshuggah, Megadeth
One of the things I love most about metal is how active the bands are in touring, and how electric the atmosphere at a live metal show is. Sure, take away the music and you get some pretty dumb looking behavior (get on that youtube), but enjoying it live is a remarkably fun experience everyone should have. Seriously, go see an Iron Maiden show and I pretty much guarantee you'll have a good time.
So recently I was able to go see a show that ticked off two of my "must-see" bands off my list: Megadeth and Meshuggah. When it was announced that they were on tour together, and coming to my town, and that there was a Groupon to get tickets for $20, I literally bought the tickets, and created Google reminders for a month before, a week before, a day before, the morning of, and an hour before the concert.
I was a little excited.
So here's a brief write up of the show.
Lillake put on a nice show, made very entertaining by the stage presence and sheer technical ability of drummer Eric Moore. Former drummer for Suicidal Tendencies and one of my favorite side projects, T.R.A.M., Moore is a technical wizard, and made his presence on stage known with a wide range of stick twirling and tossing tricks, as well as some absolutely mind-blowing fills, grooves, and beats. Moore was worth the $20 alone, although the band did bring some nice tracks, including Half Dead, to which you can listen at the band's page. Check them out!
While I don't mind djent (look it up), Tesseract was boring in the typically djenty way, doing a poor imitation of metalcore with Meshuggah's guitar tone, and lacking severely in the fusion. The clean vocals lacked the catchiness of Killswitch Engage, and the heavy sections were frequently boring. They did have some super cool breakdowns, though. Oh, and it started to rain immediately into their set, although I can't fault them for that.
Can I?
All metal bands must inevitably come to grips with the fact that they will never be as consistently awesome as Meshuggah. Other metal bands may have made better individual records than any of Meshuggah's best, but I can think of none that has consistently put out better material in a 20 year stretch than Meshuggah's stretch from Destroy Erase Improve to Koloss. My expectations were high, and Meshuggah exceeded them in most ways. Their setlist was phenomenal, and impossibly technical. I listened to I on the way to the show, thinking "there's no way they attempt this polyrhythmic impossibility live." And they totally did it (cutting out the first part of the track to account for the lack of time in an hour set). They also played some of my favorites, from Bleed to closer and one of my favorite tracks of all-time Demiurge. I would have absolutely loved to hear the progenitor of djent, Future Breed Machine, but they packed about as much greatness as could be expected into their non-headline status set, while also plugging their newest stuff, a necessity that the casual fan just doesn't typically understand. The fact that my neck still hurts from rocking out to Demiurge and Bleed after about a week shows just how hard these guys rock. I was a bit disappointed in the crowd, as there simply weren't very many Meshuggah fans there. I'd estimate the crowd was about 90% there for Megadeth, 5% for Meshuggah, and 5% for the rest. So I was really expecting some crazy moshes and the crowd to be more into it, especially during "that" section in Demiurge (begins around 2:25). But that's hardly Meshuggah's fault, and their music is definitely not for everyone.
Megadeth is one of my favorite bands, and certainly my favorite of the Big 4 (Metallica, Megadeth, Anthrax, and Slayer). Rust in Peace is the best thrash album ever, and one of my top 10 metal albums of all time (another post for another day). And Peace Sells...But Who's Buying? is one of the best records of all time as well (as well as having one of the best eponymous tracks ever). But Megadeth is a bit over the hill. Dave Mustaine has always struggled with being a step behind Metallica publicly, given his personal history with the band. He's a fantastic guitar player, great song writer, and a singer (ha!). As Metallica has faded into obscurity in recent years, it's felt like Megadeth no longer had that chip on their shoulder. As Dave increasingly drifted into weird right-wing conspiracy, and has run out of songwriting ideas, my excitement for each subsequent release has waned (United Abominations was the last one I was genuinely excited for, and I didn't enjoy it much).
So my excitement heading to the show was tempered. They've had a lot of turnover in the band in recent years. The newest records have been fine, but nothing spectacular. And Dave is just getting old, as is long-time and newly rewelcomed to the fold bassist David Ellefson. So I was preparing to enjoy some staples (Sweating Bullets, Symphony of Destruction, Peace Sells), for them to dodge the more technical parts of their discography (Hangar 18, Holy Wars...The Punishment Due, Wake up Dead), and generally enjoy the environment of being surrounded by thousands of fellow Megadeth fans.
Megadeth absolutely blew my expectations out of the water. Their set list was fantastic and varied. They played across all eras of the band, from the Poland, Friedman, Broderick, and Loureiro eras. They played everything from the casual standards mentioned earlier to the technical wizardry of Hangar 18 and Holy Wars. They played my personal favorite ballad, Trust. Loureiro was excellent on lead guitars, technically nailing all of the Poland and Friedman material, while almost getting to Friedman's remarkable ability to insert his personality into his phrasings and tone. Ellefson sounded fantastic, as did newcoming drummer Dirk Verbeuren. Mustaine not only played well, but he also took on a ton of the soloing, including extremely challenging sections of opener Hangar 18. The band played through technical failure with grace and perseverance, as Mustaine's guitars failed on numerous occasions. Dave's vocals were about what you'd expect for a 55 year old man who's spent 35 years of his life screaming at audiences with very little vocal talent, but Megadeth was never built on great vocals. And the catchy choruses that Mustaine has a tendency of writing were completely carried by the audience, who sang along wholeheartedly during Trust, Peace Sells, and Holy Wars. Dave was a consummate professional throughout, and the band appeared to really enjoy the crowd and playing together. Dave's final line was superb. "Thank you. You have been great. We have been Megadeth."
Altogether, it was a fantastic show with an up and coming band in Lillake, and two veterans of the metal scene in Meshuggah and Megadeth operating at very high levels. If either come nearby again, they can have my money again.
-TRO
So recently I was able to go see a show that ticked off two of my "must-see" bands off my list: Megadeth and Meshuggah. When it was announced that they were on tour together, and coming to my town, and that there was a Groupon to get tickets for $20, I literally bought the tickets, and created Google reminders for a month before, a week before, a day before, the morning of, and an hour before the concert.
I was a little excited.
So here's a brief write up of the show.
Yup, these guys are definitely metal.
While I don't mind djent (look it up), Tesseract was boring in the typically djenty way, doing a poor imitation of metalcore with Meshuggah's guitar tone, and lacking severely in the fusion. The clean vocals lacked the catchiness of Killswitch Engage, and the heavy sections were frequently boring. They did have some super cool breakdowns, though. Oh, and it started to rain immediately into their set, although I can't fault them for that.
Can I?
All metal bands must inevitably come to grips with the fact that they will never be as consistently awesome as Meshuggah. Other metal bands may have made better individual records than any of Meshuggah's best, but I can think of none that has consistently put out better material in a 20 year stretch than Meshuggah's stretch from Destroy Erase Improve to Koloss. My expectations were high, and Meshuggah exceeded them in most ways. Their setlist was phenomenal, and impossibly technical. I listened to I on the way to the show, thinking "there's no way they attempt this polyrhythmic impossibility live." And they totally did it (cutting out the first part of the track to account for the lack of time in an hour set). They also played some of my favorites, from Bleed to closer and one of my favorite tracks of all-time Demiurge. I would have absolutely loved to hear the progenitor of djent, Future Breed Machine, but they packed about as much greatness as could be expected into their non-headline status set, while also plugging their newest stuff, a necessity that the casual fan just doesn't typically understand. The fact that my neck still hurts from rocking out to Demiurge and Bleed after about a week shows just how hard these guys rock. I was a bit disappointed in the crowd, as there simply weren't very many Meshuggah fans there. I'd estimate the crowd was about 90% there for Megadeth, 5% for Meshuggah, and 5% for the rest. So I was really expecting some crazy moshes and the crowd to be more into it, especially during "that" section in Demiurge (begins around 2:25). But that's hardly Meshuggah's fault, and their music is definitely not for everyone.
Megadeth is one of my favorite bands, and certainly my favorite of the Big 4 (Metallica, Megadeth, Anthrax, and Slayer). Rust in Peace is the best thrash album ever, and one of my top 10 metal albums of all time (another post for another day). And Peace Sells...But Who's Buying? is one of the best records of all time as well (as well as having one of the best eponymous tracks ever). But Megadeth is a bit over the hill. Dave Mustaine has always struggled with being a step behind Metallica publicly, given his personal history with the band. He's a fantastic guitar player, great song writer, and a singer (ha!). As Metallica has faded into obscurity in recent years, it's felt like Megadeth no longer had that chip on their shoulder. As Dave increasingly drifted into weird right-wing conspiracy, and has run out of songwriting ideas, my excitement for each subsequent release has waned (United Abominations was the last one I was genuinely excited for, and I didn't enjoy it much).
So my excitement heading to the show was tempered. They've had a lot of turnover in the band in recent years. The newest records have been fine, but nothing spectacular. And Dave is just getting old, as is long-time and newly rewelcomed to the fold bassist David Ellefson. So I was preparing to enjoy some staples (Sweating Bullets, Symphony of Destruction, Peace Sells), for them to dodge the more technical parts of their discography (Hangar 18, Holy Wars...The Punishment Due, Wake up Dead), and generally enjoy the environment of being surrounded by thousands of fellow Megadeth fans.
Megadeth absolutely blew my expectations out of the water. Their set list was fantastic and varied. They played across all eras of the band, from the Poland, Friedman, Broderick, and Loureiro eras. They played everything from the casual standards mentioned earlier to the technical wizardry of Hangar 18 and Holy Wars. They played my personal favorite ballad, Trust. Loureiro was excellent on lead guitars, technically nailing all of the Poland and Friedman material, while almost getting to Friedman's remarkable ability to insert his personality into his phrasings and tone. Ellefson sounded fantastic, as did newcoming drummer Dirk Verbeuren. Mustaine not only played well, but he also took on a ton of the soloing, including extremely challenging sections of opener Hangar 18. The band played through technical failure with grace and perseverance, as Mustaine's guitars failed on numerous occasions. Dave's vocals were about what you'd expect for a 55 year old man who's spent 35 years of his life screaming at audiences with very little vocal talent, but Megadeth was never built on great vocals. And the catchy choruses that Mustaine has a tendency of writing were completely carried by the audience, who sang along wholeheartedly during Trust, Peace Sells, and Holy Wars. Dave was a consummate professional throughout, and the band appeared to really enjoy the crowd and playing together. Dave's final line was superb. "Thank you. You have been great. We have been Megadeth."
Altogether, it was a fantastic show with an up and coming band in Lillake, and two veterans of the metal scene in Meshuggah and Megadeth operating at very high levels. If either come nearby again, they can have my money again.
-TRO
Monday, July 10, 2017
Friday, July 7, 2017
The Tragedy of Small Market Teams
The great thing about having a blog is that I can write about whatever is particularly on my mind. Typically, that's music and video games, but if I want to, I can write about politics and reporting, or for the first time ever, sports!
I've always been a sucker for the underdog. I'm a Cubs fan, a Browns fan, and I became a fan of the Utah Jazz while watching them get kicked around by Jordan in the 90s. I always rooted for the team that wasn't favored to win, for whatever reason. Perhaps it's my nature as an eternal optimist, but I love the fresh start of a year for a lovable loser, and the potential that they could ascend to the heights of their sport. That's why last year's Cubs team was the best sports year of my life. I, after decades of fandom, finally got to see my beloved Cubbies win the World Series, even if I had to stay up way too late on a workday to watch it.
The Jazz have always been the best of my three teams, until the Cubs passed them last year. The Stockton/Malone years were excellent, and they had a relatively small dip before beginning the Boozer/Williams era, in which they made two consecutive Western Conference Finals. Once Williams was traded to Brooklyn, the Jazz began a long tenure at the bottom of the Western Conference, but actually made those years very productive. Yet even those productive years highlight the enormous challenges of fielding a small market team.
The Jazz have made as few mistakes in the years following as could be hoped, and have had some huge successes. Draft night steals and excellent player development of guys like Gobert, Millsap, and Hayward have always kept Utah relevant in the Western Conference, if not always competing. They have played the free agent game as well as could have been hoped, acquiring talented veterans at reasonable salaries like Joe Johnson, Boris Diaw, and George Hill, while they avoided chases for huge free agents who could never be attracted to Salt Lake City (e.g. Lebron, Kevin Durant, etc.).
Yet simply making few mistakes has not proven enough. The reality is that in order to succeed in a league like the NBA, you have to not only draft extremely well, but also draft extremely well in a very tight time frame. As much as I love the Jazz' drafting and player development system, the reality is that the gap between the Millsap pick and the Hayward pick was too long to take advantage of that window, as was the gap between the Hayward pick and the Gobert pick. Utah has long been caught in the trap of being just too good to get top 3 picks (and largely wasting one on Enes Kanter), but not good enough to be at the top of the conference and build a reputation for winning that can attract big free agents (see, San Antonio).
Vaulting your lovable loser or small market team to the top takes a bit of luck, but you absolutely have to capitalize on the opportunity when you get it. Opportunities like the chance to get David Robinson and Tim Duncan on the same team don't come around often (due to Robinson's injury the year before Duncan was drafted), and draft successes like the Warriors in recent years (taking Curry, Thompson, and Green in subsequent years) simply don't come around that often. If the Jazz could have, for example, replaced Enes Canter with Tristan Thompson, Kemba Walker, Klay Thompson, Kawhi Leonard, Kenneth Faried, Reggie Jackson, Jimmy Butler or Isaiah Thomas (all taken lower than Canter, and only Walker, Thompson, and Thompson were taken above Alec Burks that year), then the story from this week could have been far different. Consider a Kawhi Leonard, Gordon Hayward, and Rudy Gobert led team. I truly believe that that team could have taken the Warriors this year, or come close at least. And that team may have been able to attract a Kevin Durant or Lebron type of free agent talent with that core, just like the Warriors did.
But of course, these tasks are simply so challenging. Even a good team with good management and good players can run up against the wall of being to good to rebuild, while being too bad to succeed (see the Hawks, Pacers, Rockets, Raptors, Wizards, Clippers, etc.). Capitalizing on a narrow window of failure has been the path to success in the NBA lately, and the Jazz did a good job at it. But not quite good enough, now that Hayward has signed with the Celtics. Ugh.
Oh well, there's always next tank!
-TRO
Thursday, July 6, 2017
Song of the Day (Volume 6): Super Freak
Whenever I'm riding with "new" people in the car, and we're sharing musical tastes, I always end up putting on today's song of the day, "Super Freak". And I am almost invariably pushed to frustration when one of two comments invariably come up.
The first is, "I thought this was MC Hammer!", or some variation of that statement.
The second is, "I'm Rick James, bitch!".
Yes, MC Hammer SAMPLED Rick James' brilliant masterpiece, Super Freak. Yes, a slightly exaggerated (but only slightly) version of Rick James appeared in the admittedly hilarious and infamous sketches on Chapelle's Show. Rick James was indeed a chronic addict to a wide range of substances, was a known abuser of women, and did, indeed think that cocaine was a hell of a drug.
So I get it. Rick James deserves our shame and scorn for what he did to those women, and deserved the prison sentence which he served for that crime. As Chapelle shows (ha), his over the top destructive behavior was so extreme as to be comical, although it is a dark comedy indeed.
Many people, however, have absolutely 0 knowledge of the talented person he was, and the potential that he destroyed by allowing himself to destroy his life and the lives of others around him.
Super Freak is a window into the soul of the man who could have been, a supremely talented songwriter, bassist, and fantastic singer. He remains, in my opinion, one of the largest "what-ifs" in music history, with a career cut short by his own self and others-destructive behaviors. Listening to his phenomenal discography just highlights what a terrible loss he inflicted on the world (very similar to Michael Jackson). Anyway, enjoy the great track, and mourn a once rising star and the destruction he wrought.
-TRO
P.s. MC Hammer was only popular because of the extremely high quality of Rick James' Super Freak. This is simply empirically true, and I dare anyone to argue.
Wednesday, July 5, 2017
All Gaming is Role Playing
The key to understanding video games, I think, is to understand that all gaming is role playing. Even in games that aren't role playing, the degree to which you can really sink yourself into a believable environment through your tv screen, and achieve things greater than what you could ever achieve on your own, is the core of the video gaming experience.
I love traditional role playing games of all stripes. I adore the classic Final Fantasy and Dragon Quest series, along with other classic RPGs like Breath of Fire, Chrono Trigger, Lufia, Suikoden, etc. I also love more action RPGs like the Mana series, Diablo, Final Fantasy VII: Crisis Core, and others. But perhaps my favorite kind of RPG is the sports RPG, which is basically every sports game out today.
The whole notion of a sports RPG can perhaps be traced all the way back to Tecmo Super Bowl. In Tecmo Super Bowl, you not only had the ability to play a game between two teams, but also to play an entire season as one team! This seems silly now, but to 6 year old me, it was completely revolutionary. (Note: there probably is some title, likely a baseball one, that featured this gameplay feature before, but Tecmo Super Bowl is the first game in which I experienced this concept, so I'm running with it, much like Bo Jackson). Now you were not only placed into the shoes of your team for a game, but you were literally running the team. You chose what plays to run, which players to focus on, and the team of your choice. What's more, your season wrote a mental story in your head, in which you were the central character, as play caller, general manager, and player. You could take your lovably losing team to the Super Bowl, or you could ride Bo Jackson to the Super Bowl. Your talented team could flounder against an opponent over and over again, and you develop a rivalry that's entirely in your head. This escapism is true role playing in every sense, with a well developed combat system that happens to have the rules of football.
While I have played hundreds and hundreds of hours of these kinds of games, always in a mode in which you can captain a team through several seasons, or a player on his meteoric rise to the hall of fame, one recent title stands head and shoulders above the rest as the premier sports RPG...MLB: The Show (many apologies to my beloved Madden, MVP Baseball, NBA Jam Tournament Edition, NBA 2K, and especially the NCAA Football series). The Show is a Playstation exclusive sports title that simply does everything better than the rest of the sports competitors out there. It's main strength is that there are very few moments in which the spell of role playing are broken for you by poor presentation or mechanics. I'll give a few examples, and counter them with Madden or NBA 2K ( series that I enjoy, but are frequently spellbreaking).
First of all, the graphical presentation is flawless. In Madden, you'll frequently see super weird looking people on the sidelines, or have people walking through each other, or weird graphical glitches. This is partly because football has so many interpersonal actions (where one player's body collides with another), whereas baseball has only tags (basically). But everything looks fantastic. The swings look authentically like the real players, as do the pitchers' deliveries. The faces are about as realistic as you could hope, and the ball behaves in predictable ways when it leaves the pitcher's hand, or the bat.
Second, the commentating is FANTASTIC. You never get tired of hearing the commentating, and they never hear completely ridiculous statements from the commentators. For example, in Madden, my brother-in-law and I had a dynasty with the Redskins, and we had won about 7 Super Bowls in a row, and Robert Griffin III had about 7 MVPs in a row. And still, EVERY time we would start up a game, the commentators would come on and say something about how RGIII had won a Heisman trophy at Baylor...are you kidding me? Or in NBA 2K, your guy can be scoring an average of 20 points per game, including shooting 40% from 3, but if you hit a 3, they'll still say "you don't expect that guy to hit that shot". WHY? By contrast, the commentating is fantastically adaptive in MLB: The Show. One time, I heard the commentators discussing the how the ivy is finally starting to change colors due to the change in seasons at Wrigley Field. That's right, they programmed a line of dialogue, and had the announcers record it, for a game in Chicago, in a certain month of the year. That's a level of dedication I've never seen in a sports game.
Finally, The Show gets the quirks of baseball just right. Madden and 2K are very easily broken. You can identify an abusable strategy that will get you 10 yards a play, even on All-Madden. Each Madden has these strategies, and so offense typically becomes a cakewalk to a touchdown, for those with enough practice. Further, the abusable strategies are generally modified each year due to nerfs to particular tactics, but this often times takes the randomness out of sports. For example, in one year of Madden is was super easy to block kicks. I'd block about 80%. But in the next year, they'd change it to make it impossible to block kicks, to the point that if you intentionally had the center run away from the line and leave the center of the line completely wide open, the defensive line STILL wouldn't block it. The Show, on the other hand, has random things happening all the time, and it feels like the AI adapts to your tactics. For example, I had a guy drop a pop fly one time. In about 1000 games played. If Madden had programmed that, it would have been happening never, or every other game. But The Show's inclusion of that 1/1000 chance makes it so that you never take anything for granted. The AI also prevents you from abusing strategies. If you pull the ball all the time with your hitter, the AI will start playing the shift against you. Alternatively, if you focus on slapping the ball to the opposite field, the pitchers will start to pitch you inside. If you stink at hitting the curveball, they throw more of them. I can't actually confirm that the AI is making these adjustments. But I can say that The Show FEELS so real that if feels like I truly am a character in the game, and that the computer is watching my games, scouting me, and trying to figure out alternative strategies to neutralize my approach at the plate.
Anyway, if you've never played The Show, and you like baseball, you now have no excuse. You need to go get it. It is, in my opinion, the greatest baseball and sports game of all time, and I actually have played a ton of sports games. I'd give it a 10/10.
-TRO
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