Strange day for a cat to be reincarnated as a fish. This animation has a captivating pull. I admit I was unimpressed from the start, but there was enough details for provoking curiosity, which I ascribed to the character and setting design, and my audience was pulled.
As I watched, I could not overlook the slow framers-per-minute rate. Although the design is appropriate, it is not something at which an individual would look typically for aesthetic appeal. Because of that, It is similar to a work-in-progress than a finished, consciously made decision when one has to look at each individual frame.
Aside from that, everything else is pretty much solid. The ambiance is well established. The sound effects are realistic enough, though at times the bubble SFX is a bit too prominent and the accident could have been made more dramatic. The plot is satisfying, having an understandable exposition, rising action, climax, falling action, and resolution. And the concept makes for a great series.
I would personally like to see more of this.
So open to interpretation. I love it!
I am sure glad the creators of the game tried to maintain realism in the game by including the tree, because, you know, a territorial oak hellbent on killing every lifeform by draining its energy and performing kamikaze is completely normal, a menace only guts can withstand.
But enough of that --- You demonstrated your perspective very well within this short animation, and I like that you chose to conceptualize a seemingly insignificant particular in the Mother series. I can sympathize completely, especially due to the animation's drawing style , which not only provided emphasis on the subject matter but also your purpose. (Although the Ness drawn in the loading screen looks slightly awkward with its rather large chin)
Yeah, the Ness in the loading screen was actually my first attempt at drawing him. It's not so much a huge chin as it is me trying to accentuate his cheeks, which didn't quite work out. I decided to just make his head round in the final animation :p.
Thanks for the review!
The Samsara Room - The room of cyclic death and rebirth? There has to a be some metaphor in this game (or the author is pulling a red herring), but I cannot grasp it.
Otherwise, this game was short and sweet. The puzzles were straight-forward with moderate difficulty, the settings were thematically consistent, and the music was effective in setting the mood. Somethings that I did not quite understand was the underlying significance of the phone, the dead, fat man stuffed in the clock, and his internal environment (dark woods with an egg). I suppose that is what adds to this games bizarreness, which was a conscious choice.
An overall wonderful point-and-click game!
I cannot get past the introduction. Every time I try to jump on top of another droid, the droid that I am controlling either reverts back into its original position or vanishes, as if it had no_clip activated and traveled through the boundaries. I tried resetting, but that did not solve the problem. I do not know if this is a bug, or it is a problem with my settings. I assume the latter.
Even though I could not play it, I can say at the least that this game has a interesting concept and game mechanics. The physics is fluid. The graphics are clean and appropriate, and the music is punchy and fitting for 'droids'. There is an overall attractive setting, which coalesce into a well-constructed game with the aforementioned qualities.
A great first impression, I can say, and I hope I can fix whatever is obstructing my ability to play this.
I am a sucker for allegoric games, and I can honestly say that this game effectively embodied the necessary qualities of such.
What I note most about this piece is that it's experimental nature was born out of musical curiosity at its purest form: sound, letting alone the accident-induced creativity. As for the results, a eclectic euphony. The sheer amount of interplay between the SFX/noises/textures has an attractive effect. In part, I ascribe this effect to the steady bass rhythm. It's a powerful reminder of this piece's musicality and ties them together well; however,that being said, the rhythm occasionally becomes a bit too overwhelmed by the melodies and accompaniment. This peccadillo is more pronounced before it switches to post 3:30, after which it becomes relatively stable.
But I must confess that I find experimental pieces like these difficult to analyze because of their complexity. Needless to say, "melodies and automation clips, as well as effects within the mixer and within NI Massive," with which I am unfamiliar (in addition to industrial music and ragga). My thoughts may not hold much weight, but I am compelled to give them because of how pleasant Perfection is Imperfection is to me.
Side Note: I would comment on the "cogs" you mention, but I have no idea of what this term reference. If I had to guess, it would be the high pitched trills played in descending eight-notes. That, or the mid-range, metal "stabs" played in halves. In either case, they both hold natural positions. That is to say, had either of them been removed, this piece would have a noticeable atmosphere shift. Though, I suppose the same could be said about the other noises.
Yes! Yes! Those high pitched trills and mids! All cog-like. Thanks for attempting to tackle a really complex experimental track. I really appreciate your definition. It was fun to watch you discover as the sound develops!
I can't even rationally fathom what "hell" I just listened to, but it just oozes so much conscious effort that I am forced to conclude in wisdom of the given description: Noise. I like it, too.
I'll frankly state that this is a fine execution of the desert/oriental style. The instrumentation is greatly reminiscent of the desert setting, as well as your composition, being temporally relaxed, atmospheric, and most importantly, dynamic and changing like most professional video game music I've heard. It's because of the array of techniques and achievements that I'll say this isn't necessarily a "simple" piece. I'd say its quite complex to the extent of its variety and interactions between melody and rhythm. In that regard, I particularly enjoy your use of (forgive any false identification) sitar and the tom-tom(?). Respectively, they're complimentary and accentuating; they give this piece it's thematic life.
In essence, this piece is fitting for an RPG.
"Where the Bones of Ancient Kings Reside" ~ I do agree that this title, by far, sounds more better than "[Adj.][Noun]." I suppose it is because the title deviates from this paradigm that it is weird, but weirdness is good. Although, I can't say it is as thematically sound, since, judging from your examples, you aimed for a desert/oriental style. 'Ancient Kings' is ambiguous, but this is, after all, meant for a video game, which is meant to provide context. Nevertheless, the title is favorable.
This piece's structure is ripe for being made into a loop.
It's impressive that this is "one of [your]first tries at an oriental style." I wouldn't have thought that had you not stated this in your description. Indeed, you got the style down well.
Is this oriental? I say this inquisitively. When I think oriental, I think of China/Japan Asian Music. I hear this and I intuitively think Arabian/Egyptian aka North African. I am surprised to know that this is oriental (shows how little I know. Heck, I can't even trust my own intuition in this case now.)
Now that is quite the extensive review. I thank you for that. :)
To be honest, I do believe this song to be one of my better works. But since I've been composing music for merely two years, with my first compositions sounding horrible, it is refreshing to hear that my recent work is being appreciated and liked.
The reason why I think it is still simple is because I took that oriental musical scale I found online (shame on me for using tutorials XD) and built my melody with that. And the rest was added accordingly. It's either that or I'm just too humble to admit that my song is in actuality better that I think. And since I always compose songs with the thought of them being used in a video game, I try to make them loop flawlessly. You will find that for most, if not, all of my songs.
Also, this is the first time ever that someone has reviewed the title of one of my songs. Since I want them to be more sophisticated than just a plain, as you said, "[Adj.] [Noun]" I'm happy you did that. Maybe some context on how I aim to name my songs: if you look up any game in the "Tales of" series and look at their soundtracks you will find titles like "The Seductive Water Sound's Whisper" which are, to an extent, kind of poetic. And this kind of poetic style I want to achieve.
As for your confusion with the term "oriental": it's is used differently in different languages. In German, my native language, "oriental" refers to the cultural realm surrounding the mediterranean sea, minus Europe, so everything from Morocco over Egypt all the way over to Turkey and the Middle East.
Again, thank you very much for the extensive review. It is helpful and motivating. More so than most of the reviews I have received thus far. :)
Given that this is meant to be a logo, you did quite well. It's simple, conceptually impressive, and technically consistent. Most notable is the implied symmetry. The slight variations in the cap's radial design, in addition to the ideal composition of the logo's face and the texture, give the logo an organic, personal nature. This aptly reflects its inspiration; I can fathom this work being used as a logo for music sketches, or for any other like purpose, really.
This could conclusively stand alone, but that makes it all the more curious for me to see where you may develop this sketch. If anything, the background would probably receive attention, although I do not see any need. (Some have questioned my aesthetic sensibilities. Then I question theirs... blah blah, subjectivity, blah blah...)
Incidentally, I did not consider any sex at first glance; I do not view design in that manner.
I've considered "stamping" the design on some sort of background texture. Other than that, I have no further plans for the design.
What I like most about this work is that you blended pixel design with a watercolor (?) technique. The contrast between expectation reality, in addition to your competency in maintaining the essentials to the visual direction of Link's Awakening, highlights the amount of conscious effort you made, which is furthered illustrated, both figuratively and literally, by the consistency of your technique throughout the work.
This is another successful piece, I say, in your repertoire.
The black outlines are actually traced directly from a Link's Awakening screenshot, and the colors and other scene elements are indirectly taken from it as well, so don't give me too much praise. :) I mostly focused on achieving a pleasant balance between pixel art and the color canvas (using overlaid filters). Thanks for your review!
The references are effectively placed as they are stylistically integrated within the work's color and geometric scheming. And the design of the character is refreshing; I usually observe the moe'd-as-flip and cannot-have-too-much-skin variations of the manga style within an identical if not similar context.
Nice to see more original work from you.
I feel like the floating green logo that is encircling the character is out of place stylistically (because of how rigid and clean it is), but I wasn't concerned enough about it to make any changes.
Yeah, I get tired of all the moe obsession and oversexualization.
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