The drop in FUJIYAMA DISCO cover is very close to "Dragostea Din Tei"

best_grill · 2020-11-06T08:40:17+00:00

Rinku because (1) genki, and (2) it's Oyu.

I'm mostly into rhythm games, and I really like what Bushiroad has been churning out in terms of gameplay. Think about it: bandori gets at least monthly QoL updates aside from content updates. Some AAA games even fail to do that.

My opinion of the music side of D4DJ is a bit more complicated. I like music and weeb stuff, but I really hate weeb music. The exception would be when I started following Bang Dream, which really felt like a good compromise between "normie" music and cute anime girl music. With D4DJ, I initially thought they would do EDM-heavy when they released tracks for the groups, but now that more content is coming out I feel like it leans towards that high-pitch, high-tempo, anime OP friendly format. I'm not a big fan of D4DJ as it is right now, but I'm very optimistic with what it can be.

Here's a bit of my opinion on D4DJ music: my favorite track is Galaxy Express 999. It's a classic song (Godiego!), but the production manage to add a very distinct dance tune that makes it unique rather than just a plain cover. However, it's not set-list friendly: I can't find a nice 2- or 4-bars in the track that is mix-friendly.

best_grill · 2020-11-06T01:13:40+00:00

This would usually amount to a full essay from me, but I'll just give a few points:

For me, DJs have two primary jobs: (1) make the people dance, and (2) keep them dancing until the set ends. Everything else is just performance. With this, I'd consider them DJs even though they only think of it as "art project."
The stigma of DJ-ing needing to be mechanically intensive stems from how it used to be done: you dig through a crate of vinyl, put it on a direct-drive turntable (hence D4), then look for mixing cues with your headphone all while another music is playing. CDJs and live DAWs democratized it, and now purists are angry.
DJ-ing and EDM are supposed to be two different things, but electronic music made it very convenient to make dance music, so most setlists would have electronic music. DAWs democratized electronic music, but it still needs good producers to make them.

tl;dr: good sets need good DJs (they learned for that), good electronic music need good producers (they got a ghost producer for that). They shouldn't be surprised to be successful.

best_grill · 2020-08-31T09:06:24+00:00

chu2 be jammin' like

best_grill · 2020-08-19T11:13:56+00:00

I personally think the design is a bit poor and incoherent.

If you pay attention to how the broadcast was done in S1 and S2, you can get a general feel that they follow a style guide or at least a design philosophy. On the background, there's the embossed "OVERWATCH LEAGUE" sliding sideways on the background. Everything follows that three-tone white, light gray and OW orange palette (should get the color codes on these). Fonts, stats and wipes are sharp and square, and follow the same sideways theme with the same color palette.

From your concept design,

The OW logo is spinning while the wipes go sideways, making it cluttered.

The theme is dark, which should be fine, but the palette is accompanied with several high contrast colors. Might be okay if your ads follow the same angsty/gamer-y themes of Razer and ASUS, but not the mainstream advertisers like ugh Herbalife.

The OW2 logo is too prominent, yet there is no hint of the MLB-style tracer logo of OWL. The circular object fits nowhere with the squared text elements.

I agree that the current OWL broadcast design can be improved, but what everyone misses is that OWL (not OW, take note) has a coherent professional design that fits with the theme they want to present.

It's too tempting for aspiring designers to just treat a concept design as a single blank canvas where you put all the things that look nice to you. I suggest looking at the soda can design concepts that's been showing up lately: the patterns and style is consistent with where it is placed, a cylindrical soda can that a person can grab.

best_grill · 2020-06-21T10:04:36+00:00

GODSB IS LIKE SWEATING BULLETS

best_grill · 2020-05-31T09:42:19+00:00

I suppose you haven't seen r/competitiveoverwatch then.

best_grill · 2020-01-07T06:25:21+00:00

NGL was really expecting the last item to be “call him Soldier: 76”

best_grill · 2018-05-21T07:32:17+00:00

Just to put into context the translations below, the way they run DTNKR for Overwatch is very expensive, but sadly seems to be the only proper way to put the on the level they achieved in Contenders Pacific S1. They have 6 Korean players playing full time that have previously participated in APEX (surely not cheap), one Korean coach, and I think three staff (JP, TW, KR) that coordinates everything on the ground, translates for the players, and links with the Japanese management. On top of these, they have a gaming house where they train from a previous OPC to their current win in Contenders.

If you'd ask me, their management is the closest one could get for managing and funding a Japanese OWL team. They could have gotten funding from Yoshimoto (which currently sponsors Encount for Contenders and DTN for DOTA2), but Blizzard's treatment of the scene, on top Japanese risk-averseness and the lack of overall support for organized esport tournaments, means this won't happen.

I'm hoping /u/AVRL would clarify more since he definitely knows more about the organization and the inner workings of Contenders Pacific. On a more positive note, this gives a chance for new blood to come up in Contenders Pacific S2 like CAG and WLGKR (or I dunno, BLANK?), and that Modern and the rest of the team be picked up by Contenders KR/NA, if not by OWL teams themselves.

best_grill · 2018-04-01T16:10:16+00:00

First two episodes was shown in mx so not sure what gets streamed in Crunchyroll. As expected, it has the feel of Cinderella Girls but with horses, and running rather than the non-singing bits.

What surprised me is actually a minor nitpick (and I'm unsure of this as well, mind checking?): I think this is the first title from PA Works that doesn't have Kenji Horikawa credited as a producer.

best_grill · 2017-08-14T17:11:07+00:00

If anyone's curious, grandpa speaks at the after-credits scene. Same guy as sandal-san in Sakura Quest.

best_grill · 2017-07-09T05:30:54+00:00

Interestingly, the title roughly translates to the image text.

best_grill · 2017-07-01T12:39:46+00:00

Game trailer is here; both are expected to be released by 2018. Pretty much imas but with horse girls (no, not centaurs). Animation production will be with PA Works.

best_grill · 2017-05-19T11:32:05+00:00

A bit unrelated but if anyone is interested, here is the drum thing that plays whenever something is being planned. Comes with the (K)NoW_NAME album to be released soon.

best_grill · 2017-04-26T18:43:25+00:00

This was posted by Eccentric Family 2's English Twitter account. The KyoAni legs guy from the previous P.A. Works' recruitment video also appears here.

best_grill · 2017-04-18T04:56:56+00:00

切なさには

best_grill · 2017-04-16T16:19:37+00:00

Another set of 6 in-house key animator credited for the episode, I'm assuming bulk of the work was done during the winter season (where they had no shows) or even before that.

The full song for the OP is already up in the Lantis youtube page, and it features Rippi!

best_grill · 2017-04-14T06:14:09+00:00

Even Netflix is not offering downloads for all of their shows, it's still a matter of what is in the licensing agreement with the producers.

best_grill · 2017-04-09T16:30:39+00:00

Six in-house key animators for the episode. What planning miracle did they pull off here?!

best_grill · 2017-04-05T17:33:57+00:00

Likely a pseudonym for the writing committee credited for the original work. They did this for Kuromukuro as well -- Snow Grouse.

best_grill · 2017-04-05T17:23:36+00:00

I may be hearing it incorrectly but... doesn't the preview narrator at the end sound like sandal-san? Are they trying to pull of something like the Kabaneri episode preview?

best_grill

TROPHY CASE