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Messages - broodwars

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101
Oh hey, look at that: It seems Taylor was at least being misleading, if not outright lying about the situation. The offer was apparently $3,000 - $4,000 PER SESSION, not in total. Taylor wanted a 6 figure salary & royalties.

Source: The Press Sneak **** himself.

https://t.co/qcW0g0z2hm

102
There's enough random stuff appearing on Netflix and Hulu that my family's kept the subscriptions going, but Disney+ and Crunchyroll go off and on depending on what's new. It just doesn't make sense to keep these subscriptions if we're not going to use them. We currently only have Disney+ because of a heavily-discounted Hulu bundle, and I suspect that'll go away as well once Disney inevitably yanks that discount to put it in line with their other price hiked tiers.

We also have Paramount+ because...well, because my Dad is fond of the stuff on there. Still, if you're ever in the mood for 90s Nickelodeon Game Shows, that's definitely the place to get your fix. Maybe someday I'll finally get around to watching Star Trek Voyager instead of just letting SF Debris do it for me.

103
Dude, all five people left on the forums can see what you're doing here. You don't need the dates; you're moving the goalposts again. You have repeatedly dismissed the most important detail about the payment claim: Hellena Taylor has three lead credits in the Bayonetta IP alone. Full stop.

"You're moving the goalposts again" says the person who claimed the CV would detail everything that Taylor had been doing during her long IMDB absences, when my previous post was that her CV was vague, childishly written, and didn't provide sufficient information to determine who; what; when; and where so you could not use it on its own to patch in the IMDB holes. I literally stated in a previous post that I stipulated to your assertion that she had years of theatrical experience that wasn't reflected in the IMDB page, something that you just refuse to just accept and move on from.

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Full disclosure: I saw this post last night, and I waited 18 hours to see if you'd edit it and address more than three cherryicked sentences in my previous-previous post. Nothing. At this point, I can only surmise that you were forced to confront your own biases and flawed logic, decided you didn't want to do that, then pounced on the part you could continue moving the goalpost on.

*miscellaneous ranting, etc.*

Or maybe I determined that this wasn't worth the time (especially considering my original response post literally cost me most of an hour), and mine was better spent doing anything else. I'd said my piece, I addressed what I cared to, and I was content at leaving it there. I don't particularly care for the Bayonetta franchise, nor Platinum Games in general. I don't have a horse in this race. I just found Taylor's actions questionable and briefly voiced my opinions on it considering she decided to attack a voice actress who's voiced a lot of characters I very much enjoyed. At this point, I'm done caring what you think about that. It's a public forum. The half dozen people who make up this community now are free to post or not post as they please.

I find it especially ironic your comment about me "digging in my heels" on this when you are the one who just won't let it go, and you've made it very clear from your 1st post that it's because it's "problematic" to do anything but nod in agreement every time someone who just happens to be a woman makes an accusation, with or without proof.

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You want to clutch your pearls about Taylor supposedly throwing shade at Hale but also insult Taylor and diminish her talent, skill, training, accomplishments, and body of work to what, try to prove a point (badly, I might add). surejan.gif

Taylor is a public figure, and I am not a colleague in her field. I can criticize her all I want, and I'm sorry that you apparently take that very personally. I already admitted previously that I was unaware of her work history outside of voice work in previous posts, but her work is seemingly universally poorly sourced and inconsistently recorded so it's difficult to track.

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That said, it is clear that you are not approaching this discussion with any notion of good faith or objectivity. This has been yet another painful reminder of why I don't stop the forums as often.

Have a nice life. I'm sure the forums will still be right as you left them the next time you're feeling bored.

104
So no, there was no reason to just assume she was doing theater acting during the large gaps in her IMDB listing, especially since trying to find her theatrical biography online appears to be somewhat difficult. Even the Bayonetta Wiki lists roles without a timeline or cited references.
What's there to assume? You literally posted a link to Taylor's website which has her CV on it.

https://hellenataylor.co.uk/bio/

Once again, there are no dates on that page, and the details are slim. Like, I know from the Bayonetta Wiki what her "Guest Star" appearance on Stargate Atlantis was as, but that's not listed here. How many episodes was she in? What season of Atlantis was the episode(s) in? How long did she play these various theatrical roles, and when were the shows playing?

Now, this is a CV not a wiki so just having vague information listed is somewhat expected, but you can't just point to that page and say "well that explains all the gaps in her IMDB history". Because as far as as that page is concerned, those roles could be 2 years ago or 40 years ago. And I fondly remember the role of "Lead" in Barcelona, but it just couldn't compare to the tour de force that was "Day Player" in The Sweetest Thing.  ;)

Her CV Voiceover page is at least far more detailed when it comes to the names of the roles and the nature of them, though it's still largely lacking in dates.

105
With three decades of acting experience under her belt, she should never be offered the minimum union fee for a lead role. Her IMDB voice credits are irrelevant here. What did you think she was going between those IMDB credits?

It is extremely common for voice actors to have normal day jobs between roles, office and restaurant work being the most frequently cited. Just about every article I've ever read or podcast I've heard about the North American voice acting industry mentions that. So no, there was no reason to just assume she was doing theater acting during the large gaps in her IMDB listing, especially since trying to find her theatrical biography online appears to be somewhat difficult. Even the Bayonetta Wiki lists roles without a timeline or cited references.

106
Actors with Taylor's experience are not offered the minimum union fee for lead roles, and in this instance, one they've held for over a decade. Everything about that was done in bad faith.

"Her experience?" WHAT experience? She's played mostly one character with very little vocal range for a minor series from a failing developer in a handful of projects for 13 years. You can like her performance all you like, but she does not have the work history to justify the kind of clout you assigned her. You mentioned she has stage experience, so I'll stipulate to that, but just going by her IMDB she is a minor-tier voice actor at best and seems to be quite content not pursuing voice-over roles besides Bayonetta.

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Sheesh. Where to even begin? You demand proof from Taylor yet are "inclined to believe Kamiya on this one" when his response *checks notes* didn't provide any proof refuting Taylor's claims. You're not even attempting to be objective about this.

I spent the better part of an hour going back and forth adding and removing parts of that post before I submitted it. That was a remnant of that, but since you asked I'm inclined to side with Kamiya (despite the lack of proof on his end) because the man has no filter and he has very little reason to lie about this. In fact, him coming out and admitting they didn't have the budget for Taylor would raise eyebrows considering Hale, but most fans would probably be inclined to be understanding. The poor financial condition of Platinum Games & their constant string of failures (Nier Automata notwithstanding) is well-known.

Kamiya shouldn't have said anything but "no comment" if he wasn't prepared to back up his own claims. That was unprofessional of him, not that I suspect any expects more of him these days (no, I'm not a Kamiya fan, either). That said, he is not the accuser in this situation. Taylor is. The burden of proof is on her.

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And this is, in fact, not a business negotiation. It's a woman airing her grievances about an industry that attempts to takes advantage of people at every turn and a company she feels disrespected her, both in the hopes that it will help her colleagues get better working conditions.

The situation she was discussing was literally a business negotiation.

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1. Why? That's how this and other industries got so bad in the first place. Corporations don't want this out in the public so they can continue low-balling talent.

The low pay that Voice Actors accept for their roles is not the industry secret you apparently think it is, especially if you follow the anime industry (which has their own controversy going on right now with Mob Psycho 100 Season 3).  Remember the SAG Aftra strike from a few years ago? #PerformanceMatters

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Additionally, your assertion that Taylor's comments wouldn't win any favors with her colleagues doesn't track with the responses from industry vets who have largely corroborated her statement that $4000 was a lowball offer and/or shared similar stories about their own careers. Since you're all Proofy McEvidence over here, do you want to back up your claims?

I was specifically referring to Taylor's comments about Hale not winning her any favors with her colleagues, not the failed negotiation altogether. That said, from what I've heard it sounds like Hale herself is being a professional and largely ignoring those comments.

107
According to her website, Hellena Taylor previously lived in Los Angeles but moved to London. If you want English voice work, you live in Los Angeles; New York; or Austin/Houston Texas. You don't live in the United Kingdom. I suspect her unwillingness to live near production studios has a lot to do with how little work she's done. Some productions will go the extra mile to get a voice actor they really like to do remote work (such as the case with her 1 episode role of Hellsing Ultimate, a dub that had several UK actors), as a lot of high-profile voice actors have their own personal recording studio, but most of the time you have to live where the work is.

https://hellenataylor.co.uk/bio/

If she lives in the UK, she should have tried getting a role in the Xenoblade games.  NOE must pay pretty good if they were able to get Jenna Coleman to come back and voice Melia again for the Future Connect part of Xenoblade: Definitive Edition a few years ago.  I doubt she would come back for only $4000.

Yeah, I wondered about the Xenoblade games as well when I was typing that. Someone more knowledgeable about NoE would have to answer this, but does NoE create its own English dubs very often? I feel like the most common scenario would be NoE just using whatever English dub NoA created, with maybe callbacks to some of the actors to re-record a handful of lines that were changed in the British localization.

Even Xenoblade hasn't been altogether consistent when it comes to localization. 1, 1 DE, 2, and 3 all used British actors at NoE...but X used American voice actors with 8-4 Ltd.

108
Even though I feel bad for Taylor, I do have to wonder why she hasn't done any voice work in 8 years.  It's kind of like how some times there's actors that were all over TV and movies for a few years and then just disappeared.  Then you read years later this person was so difficult to work with eventually all the studio's had enough.

According to her website, Hellena Taylor previously lived in Los Angeles but moved to London. If you want English voice work, you live in Los Angeles; New York; or Austin/Houston Texas. You don't live in the United Kingdom. I suspect her unwillingness to live near production studios has a lot to do with how little work she's done. Some productions will go the extra mile to get a voice actor they really like to do remote work (such as the case with her 1 episode role of Hellsing Ultimate, a dub that had several UK actors), as a lot of high-profile voice actors have their own personal recording studio, but most of the time you have to live where the work is.

https://hellenataylor.co.uk/bio/

109
A woman claims bad faith negotiations, and you're demanding proof? Do I really have to explain how problematic that is?

Taylor could release the email from Kamiya. We really should be past this though. She has nothing to gain from this besides shedding light on a decades old problem.

I don't see the "bad faith negotiation" here. In Taylor's scenario and using your math, Platinum wanted to hire her, so they made an offer that complied with Union standards. She tried to negotiate a higher salary, so Platinum made a 2nd, higher, offer that she declined so they decided to go with a different actress. There's nothing "bad faith" about that. You can argue that gamers and game developers should value the contributions of voice actors more than they do (and I would agree with you), but she just flat out lost the negotiation. Taylor makes no claim that Platinum deliberately low-balled her in an effort to get someone else to play the part, just that the pay they offered was not to her liking.

Yes, I am asking for proof of her allegations, something I would also ask for if someone like Troy Baker had made a similar claim. This is a business negotiation, not a sexual assault claim. She could provide a copy of the offer contract likely in her possession. She's already breaking NDA and possibly committing defamation by airing all this in public, so the damage to her career has already been done.

This matter is something that Taylor should have kept behind closed doors. She has a union and probably an agent that handles situations like this on her behalf. Development costs are rising across the board, and everyone has less money than ever thanks to sky-rocketing inflation. She didn't help her career and she certainly didn't help her fellow voice actors by putting all this into the public eye in such an unprofessional and, frankly, petulant manner.

Incidentally, I noticed you side-stepped her comments on Jennifer Hale, which also wouldn't win her any favors with her colleagues and prospective employers.

110
I have some fundamental problems with Taylor's video, as someone who does NOT have any emotional attachment to the character or her performance as said character.

To be frank, her response comes off as incredibly unprofessional, and the more I hear of her the more I understand why Platinum recast the role. Setting aside her coming out of her own accord to likely shred an NDA she certainly signed, she provides no proof of her claims as she defames her former employer. I have no doubt that Platinum cuts corners wherever they can, but without proof I'm inclined to believe Kamiya on this one.

On top of that, she goes out of her way to attack Jennifer Hale, who did absolutely nothing wrong. She auditioned for a role, and she got the part. Yes, Taylor, you originated the role. You do not own it, any more than any actor in the history of human performance art has ever owned a role. Actors get re-cast all the time, so to come out and essentially say "Jennifer Hale doesn't have the RIGHT to say she's the voice of Bayonetta. I'm the ONLY voice of that character" is, once again, incredibly unprofessional. You do not attack a colleague, especially unprovoked.

I also have severe doubts that Jennifer Hale, one of the best-known and most prolific voice actors in the last 30 years and apparently a champion of higher VA pay, was cheaper than re-hiring Taylor.

This video comes off as a rant from an entitled actor who's pissed that she didn't get a part, something you would think someone her age would be beyond at this point.

111
General Gaming / Re: Shocktober III: Season of the Witch
« on: October 04, 2022, 01:12:49 PM »
Didn't pick it up with this in mind, but I've been making my way through Infernax the past few days. It's an exceptionally gory 2D sidescrolling horror action gane in the model of Castlevania 2: Simon's Quest. So far, I'm quite enjoying it, though I wish that dungeons had checkpoints so you didn't have to claw your way back out to save every time you made significant progress and needed to restock on healing items and lives. The music is...well...it doesn't exactly live up to its inspiration. The pixel art is fantastic, though.

Made it through 3 of the 1st 5 castles as a "Good" character. You can enable essentially god mode at any time, and perhaps I'll do that if I do a replay as an Evil character. Grinding XP and gold via quests and drops to level your character up is fun once, but I'd rather skip that on replays.

112
The Jazz have traded Bogey to Detroit in exchange for trash, inexplicably. Sounds like a salary dump.

https://www.slcdunk.com/2022/9/22/23367270/utah-jazz-trade-bojan-bogdanovic-to-the-pistons-for-kelly-olynyk-and-saben-lee

113
Me rooting for Pat Bev:


Saw a rumor that the Suns are trying to trade Jae Crowder for Bojan Bogdanović. Resident Jazz fan, thoughts?

That's an upgrade for the Suns, though not a huge one. You're trading a guy who will fight in the paint for rebounds and can shoot a 3 for a guy who can drive to the basket and hit a 3 better but has way less energy. Crowder's a guy I wished we could have kept around the last few years since we really needed a high energy guy who will fight in the paint (a "junkyard dog", if you will). I'm not sure you want to give that energy up just for a guy who has better stats. Still, Bogey would probably get the ball more as a Sun than he ever got as a Jazzman.

114
Curtain Call probably got more hours out of me than any 3DS game.  I've debated getting the Kingdom Hearts rhythm game to try to fill that void but I don't know the series or its music so I haven't bit on it.  And I'm glad I didn't because now I can get this instead!  My backlog has now become hopeless because I will spend 90% of gaming time on this.

I actually recently completed Melody of Memory and quite enjoyed it. That said, if you have no familiarity with Kingdom Hearts and its music, I can't say you'll get anything out if it.

While it's nice to see Theatrhythm again, I find its lack of presentation underwhelming after having played Melody of Memory. It's just the 3DS gane again, but you can buy more songs separately now. Yay.

115
Can't say I'm familiar with TrueTrophies. I generally use sites like PlayStationTrophies or PSNProfiles, which will list completion time if someone creates a guide for it but otherwise don't. And I'm finding less guides these days than there used to be, in which case Google is your friend. I do appreciate that PSNProfiles will tag certain trophies explicitly for being "grindy."

116
Well, there it is. We traded Mitchell for garbage, Collin Sexton, and picks Danny Ainge seems to have no intention of using. Let the tank begin.

https://www.espn.com/nba/story/_/id/34502825/sources-cleveland-cavaliers-trade-3-first-round-picks-two-swaps-utah-jazz-star-donovan-mitchell

117
I tried to get into Hades last year, and it just didn't click with me. I'm sure with enough time I could eventually acquire enough upgrades to beat the game, but I just don't have that kind of time or interest. I've made it to Hades himself exactly once on what was an usually good run, and he stomped me in seconds. I kinda lost all interest in the game after that, especially since I know you have to beat the game many times to get what passes for an ending.

Me and Roguelikes just don't click. The only one in recent memory I liked was Returnal.

118
I played through the 1st NES Turtles game last night, as I'd never gotten past level 3 on the NES.

My god, that game is bullshit. Ambitious, certainly, but bullshit. Healing items are rarely available, and while they are farmable they're tucked away behind waves of enemies who sap your health away with cheap hits on the way in AND the way out that I don't think it's viable. You don't get health back after stages, so when you end a stage with nearly your entire party dead your only option is to suicide to get a free continue heal. But you lose all your subweapons, all stage progress, AND you only have up to 4 continues with a code. It doesn't help that movement is so stiff and unreliable that NES Simon Belmont looks like DMC Dante by comparison.

The sheer amount of enemy spam in that final hallway before Shredder is insane. This game reminds me a lot of Battletoads, in that everyone bitches about the Turbo Tunnel/Dam levels, but the games have SO much more egregious sights to show you beyond them. I think it's an achievement clearing this game even WITH rewind and save states. Glad to finally have it out of the way.

Really wasn't prepared for how stiff the movement is on the NES games, and those are some wonky hit boxes in TMNT 2: The Arcade Game. At least you can tweak the dive kicks so their timing better reflects Turtles in Time.

119
Perhaps this is a stupid question, but I gotta ask, if doing things like this is such a terrible experience and you hate a game, then why do it?

I'll tell you why I've done it before as I've wondered that myself. Part of it is stubbornness. I don't want the game to beat me as it were by the challenge. Then there's the time factor. I feel that if I walk away from it then my current skills at the game may be rusty so if I'm ever going to do it then now is probably the best time while my mind is still well in sync with the game and what its systems and controls are like. There's a little bit of a personal pride or "bragging rights" mixed in with knowing that most players probably won't have finished this challenge but you conquered that mountain. And there's still a sense of some satisfaction that you can mark off and consider the game fully beat and complete. When you look at the game or see its title, you don't think about how you never finished this or that. There's no niggling feeling in your brain about it. That itch has been scratched.

Just to add on to this since Khush touched on some of it, I've always been a completionist with my games, long before there were achievement systems. Just as an example, I have a Wind Waker save file on my GameCube memory card with all the statues unlocked, and you get absolutely nothing for doing that. It probably stems from my family being extremely poor for most of my childhood, so when you got a game you played the **** out of it. You squeezed every last drop of enjoyment and intrigue out of every game you played, because outside of rentals you wouldn't be seeing anything new for a while.

I find that you don't really know what a game has to offer until you've explored all its systems. Sometimes that's for good, like when I beat the original Bioshock on its hardest difficulty with the Vita-Chambers turned off (something that was a lot harder in the PS3 version than it is now in the remasters). That really caused me to experience a game I loved in a whole new way, where I had to really learn the environments and how to manipulate it and the enemies to my advantage.

Sometimes that's for bad, like when a charming little turn-based RPG like Ni No Kuni was absolutely ruined by trying to get all the familiars and their variants. But you don't KNOW going in how these things are going to shake out. You don't KNOW going in that NNK's method of managing familiars is utterly tedious and that some familiars have absolutely ridiculous spawn rates. You don't KNOW going into easy-going World of Final Fantasy how utterly grindy it is to clear all the monster ability boards, or how bullshit the post-game dungeons are.

Going back to Kingdom Hearts, you don't know what an utter clown show Dream Drop Distance's design is until you veer off the critical path. You don't know how the portals are tied into the drop system, because the game NEVER explains how the Forecast system works or how portals rotate between drops so you have to keep swapping characters. I played the entirety of the main campaign preventing the game from swapping characters until I cleared each world with one character. The game ENCOURAGES you to do that, so you don't realize you're actually punishing yourself by skipping content. You also don't realize till late in the game how poorly the Dream Eater system is designed, as the their mechanics are only very loosely tied to the main combat and exploration mechanics.

And you know what? Sometimes grind isn't a bad thing. Melody of Memory was an utter grind killing 100,000 enemies across all the songs, as well as beating all 150 songs on every difficulty and Full-chaining at least 50 of them on every difficulty. Despite that, I found the grind relaxing, because you're really just doing what you do in music games: replaying songs to improve your skills and shoot for higher scores. I found grinding for levels in Yakuza quite relaxing. Just throw on a podcast or movie and run around killing high-value targets, same as players have been doing in games for decades. Just don't actively annoy me while I'm doing it.

One final thing worth noting is that with the way modern games have been designed to appeal to anyone and everyone, there just isn't as much joy in merely rolling credits on a game as there used to be. Modern games roll over. They WANT everyone to complete them. I find achievement systems allow developers to still give their game a bit of teeth for those that want just a little more out of their gaming experience. They push me to explore outside my comfort zone a bit. Within reason, of course.

120
Things are looking grim. Backlaugust is winding up with the traditional day long meeting I'm obligated to attend. Metroid Dread is very close to completion but I might not be good enough at games to finish it! I don't know.
Consider Overland, Ori and 100 Days abandoned at this point.

Gotta respect Broodwars for aiming for 100% trophy collection. God I'm just credits and done. Imagine 100%ing Pokémon Black 2. Crazy talk.

Well, I certainly don't try it with everything, but I do try to do it with games I'm already devoting huge time commitments to. Funnily enough, though, I have Platinumed several Pokemon clones: Ni No Kuni 1 and just this year World of Final Fantasy. And yes, they were both wretched experiences to 100%.

121
It's been a long...long road, but I finally did it. After 110 hours of play, I finally Platinumed Yakuza: Like a Dragon.



It's an exceptional RPG, but man that game is a huge time commitment. I can finally delete that game from my PS5's HDD.

And yeah, My hands were shaking so hard by the time I beat the last rival in Dragon Kart.

122
Figured with a week left until Soul Hackers 2 came out, I would throw a little bonus round in and try to finally finish my Platinum run of Yakuza: Like a Dragon, a playthrough I started last year but put down upon running into 2 post-game roadblocks: Dragon Kart and the True Final Millennium Tower, a completely bullshit ultra hard dungeon that was originally DLC in the Japanese version of the game. It's a dungeon designed to test players who not only have hit Level 99 with all characters, but also maxed out at least one if not multiple Jobs.

I spent all weekend level-grinding up 2-3 more jobs with each character, and tonight I took on the dungeon. How'd it go? Well...



Mostly smoothly, actually. Most of the enemies went down fairly easily to repeated lighting attacks. I only had a few fatalities on my way up the tower. Joon-gi Han was by far the MVP, his Agility stat being so high that he pretty much had 2 attacks per turn the entire tower. So he was just nuking enemies to death with wanton abandon.

I did have two incredibly scary moments, though, and they were both in the final boss fight: Amon pulling out his Orbital Space Cannon, which I was prepared for with the Masochist Poundmate. However, even WITH the half damage reduction, he still nuked both my mages and nearly killed Joon and Ichiban. It took me quite a while to recover from that attack, but I killed Amon before he got to do it again. Then I whittled away his minions until Kiriyu was the only one standing. He then pulled out HIS ultimate Poundmates move and almost party wiped me. He died the next turn.

That was a victory long in the planning and preparation. Now that just leaves one...insurmountable thing: the Dragon Cup in Dragon Kart. Ordinarily, that would sound like fun, but the Go Kart Minigame in Yakuza: Like a Dragon is complete ****. The Karts control terribly, the track layouts are ridiculous, and the AI rubber-bands worse than Mario Kart 64 (despite having no Blue Shell equivalent). It's just an absolutely wretched side mode, and the Dragon Cup starts with a track based on hairpin turns. -_-

123
I have accomplished my goal. Kingdom Hearts: Dream Drop Distance HD is now fully complete as well, with my 3rd KH Platinum (KH3, Melody of Memories, & now 3D).



When I first beat this game, I found it to be incredibly frustrating, but with redeeming value. Now that I've seen the godawful, tedious-as-hell side content, I hate this game. Seriously, it's sheer, unadulterated grind getting the Dream Eaters leveled-up via dozens upon dozens of play of the same Water Barrel & Balloon mini-games. I don't understand why they have the battle portals randomly generated on a once-per-drop rotation per world per character. Seriously, what is even the POINT of that?

And don't get me started on the monotonous trudge that is Flick Rush, which apparently constitutes 50% of the in-game journal.

At least the game's secret boss is cool (it's Julius from Mickey's Runaway Brain, a 90s Mickey Mouse short Disney refuses to admit exists nowadays for some bizarre reason), even if he is ridiculously cheap (to the point that the only real way to beat him is to be equally cheap and spam the balloon spell continuously to infinitely stunlock him.

I think I'll take it nice and easy now until Soul Hackers 2 comes out on Friday. I've more than accomplished my mission this month.

124
Finished off the Platinum in Melody of Memories, so that game is well and truly out of my backlog now.



It's funny...now that I no longer needed the Proud Mode Full Chains, I just started pulling off a bunch of them today while grinding away the 100,000 enemy note kills.

I'm quite happy with the game overall, though I wish it had more tracks and whoever picked the concert piano tracks has absolutely no musical taste. Those "songs" not only sound abysmal on their own, but the pianist makes absolutely no attempt to follow the beat. So you end up with notes in the game that have only the vaguest relation to the song as heard, played by someone with only the vaguest sense of what the actual song sounds like

125
Closing in on the Melody of Memory Platinum. My last big challenge after clearing Vs. mode was to full-combo (aka "clear a song without any misses") 50 different songs on the hardest difficulty level (Proud). After much practice and even more swearing, I finally managed that tonight. At this point, I just need to complete the probably 30-ish  remaining songs I haven't beaten already on Proud difficulty, and that's it for the completion trophies.

Then there's the final grind for the final trophy: "killing 100,000 enemies across all songs". I've nearly beaten every song in the game on every difficulty, and my current count is...just shy of 60,000.

Yeah, that's going to take some time and a lot of repeated songs to clear out. Man, though, games like this are really starting to make me feel my age. I don't know how many more insane tests of reflexes like this I have in me, hence why I'm trying to get stuff like this out of my backlog now.

After that, I'll double-back to Dream Drop Distance to finish all the side stuff off there. That should fill out the rest of my schedule until Soul Hackers 2 releases on 8/26.

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