Cowboy Bebop TV Soundtracks (1998-1999) [MEGA REVIEW]

Artist: The Seatbelts
Genre: TV soundtrack, jazz (hard bop, big band, swing), blues, folk, lounge, drum & bass, choral, jazz pop, pop rock
Label: Victor Entertainment
Producer: Yoko Kanno

COWBOY BEBOP

Released:
21 May 1998
Length: 53:27
Best Track: Space Lion

TRACKS:1) Tank!; 2) Rush; 3) Spokey Dokey; 4) Bad Dog No Biscuits; 5) Cat Blues; 6) Cosmos; 7) Space Lion; 8) Waltz for Zizi; 9) Piano Black; 10) Pot City; 11) Too Good Too Bad; 12) Car 24; 13) The Egg and I; 14) Felt Tip Pen; 15) Rain; 16) Digging My Potato; 17) Memory

COWBOY BEBOP: NO DISC

Released:
21 October 1998
Length: 53:43
Best Track: Green Bird

TRACKS: 1) American Money; 2) Fantasie Sign; 3) Don’t Bother None; 4) Vitamin A; 5) Live in Baghdad; 6) Cats on Mars; 7) Want It All Back; 8) Bindy; 9) You Make Me Cool; 10) Vitamin B; 11) Green Bird; 12) Elm; 13) Vitamin C; 14) Gateway; 15) The Singing Sea; 16) The Egg and You; 17) Forever Broke; 18) Power of Kung Food Remix

COWBOY BEBOP: BLUE

Released:
1 May 1999
Length: 1:10:54
Best Track: Blue

TRACKS: 1) Blue; 2) Words That We Couldn’t Say; 3) Autumn in Ganymede; 4) Mushroom Hunting; 5) Go Go Cactus Man; 6) Chicken Bone; 7) The Real Man; 8) NY Rush; 9) Adieu; 10) Call Me Call Me; 11) Ave Maria; 12) Stella by Moor; 13) Flying Teapot; 14) Wo Qui Non Coin; 15) Road to the West; 16) Farewell Blues; 17) See You Space Cowboy

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Top 5 Games That Need Hard Difficulty Modes

There is no beating around the bush: us pro gamers never have it our way. Since the dawn of the medium, we’ve had to suffer the caprices of amateurs, casuls, and other leeches that plead incessantly to manufacturers and developers to adjust their products and make them easier to digest. First, they make the controllers more intuitive to use; then, they add more bits to the microprocessors and improve the graphics so that you don’t have to rub your precious handful of neurons together to fill in the blanks; finally, they start offering you challenges that you can feasibly overcome without the need for luck or brute force trial and error. What next, are they going to put a book in your hand and keep you entertained with good prose instead? In short, I find it highly offensive that developers have been catering to people who aren’t as willing as I am to spend inordinate amounts of time banging my head against a wall. As a gamer, I am obligated to play as many games as possible (hence the title of “gamer”): if I were to skip a few of them because they didn’t interest me enough to complete them, I would suffer such disgrace that I would have to hang myself with a controller wire to restore my gamer honor. For this purpose, I will go over five video games which, among many others, are in dire need of a hard mode so as to better accommodate dedicated players such as I.

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Sonic X (2003-2005)

SONIC X

Director: Hajime Kamegaki
Producer: Takeshi Sasamura, Tadahito Matsumoto
Script: Hiro Masaki, Kiyoko Yoshimura
Music: Yoshihiro Ike
Initial Airing Date: 6 April 2003 – 18 April 2005
# of Episodes: 78
Genre: slice-of-life, erotic thriller, science fiction

The Sonic franchise began with Sonic the Hedgehog (1991), a documentary video game based on the true story of a legendarily fast dine-and-dasher from Brooklyn, and rapidly evolved over the course of the 1990s and 2000s. The series spans over 90 games and includes hundreds of original characters.

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Resident Evil 5 vs. Resident Evil 6 Voice Commands

Resident Evil 5 and 6 have been the subject of substantial controversy, and perhaps understandably so: after multiple installments of (mostly) restrained and atmospheric survival horror titles, the series began to take heavy inspiration from contemporary action movies, following in the footsteps of auteurs like David Cage so as to pursue a true cinematic experience. Really, if the gaming community still has yet to accept Cage’s genius, then what hope did an established franchise such as Resident Evil have of breaking away from its distinctively game-like roots? As an unfortunate consequence, people do not give these games the credit they quite deserve, whether as profound thematic works (5 being a cross-adaptation of Heart of Darkness and Dark Alliance, and 6 being a masterpiece of surreal action cinema made entirely out of setpieces) or, more importantly, as deeply engaging cooperative experiences. I could discuss the many nuances of their emergent, asymmetrical gameplay for hours, but I will instead focus on one specific element that each has explored in a very different way: the use of voice commands.

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Pepsiman (1999) (Part II)

PEPSIMAN

Developer: KID
Publisher: KID
Director: Pepsi
Producer: Hisayoshi Ichikawa
Composer: The Pepsiman Band
Release Date: 4 March 1999
Systems: PlayStation 1
Genre: third-person action, philosophical epic

Soon after releasing Pepsiman, the staff of KID (full name: Kindle Imagine Develop) entered a deep depression and began pumping out visual novels until their bankruptcy in 2006, crushed by the fact that they could never make anything remotely as good ever again.

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Food Brand Tie-In Games: An Overview (Part I)

It is as the old saying goes: you are what you eat, and you eat what you play. Being a copy of Bad Boys: Miami Takedown myself, I would certainly know that much. Since the rise of video games as a medium of artistic expression, developers and designers have theorized how to best bring together the merits of nutrition (the food of the body) and videoludic entertainment (also the food of the body, but it causes different chemical reactions). Mind you, I don’t mean to refer to titles such as Cooking Mama; since the average gamer is fat enough to look at a computer and see food, games of the sort will only serve to repel them through their promotion of potentially LaVeyan Satanic practices, namely preparing your meals yourself with condiments that weren’t sold in cans. Instead, I speak of the crossover between gaming and the food brands that have been the companion to many a player who moved out of their parents’ home to become a full-time streamer, only to face the harrowing reality that such a vocation is less a career prospect and more an existential punishment.

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