Docteur Qui

http://sndup.net/sk85 I did my own version of a credits suite as well (please delete if not allowed). I used the following: - Raiders March - New York, 1969 from DoD (I quite like the robust performance of this, but I pitched it up a semitone which sped it up, and it's much better faster IMO) - Raiders March from KotCS for a short transition - End Credits from TLC for a short transition - Prologue to Indiana Jones and the Dial of Destiny - pretty much the entire track minus the short intro - The last big statement of Helena's Theme, using the Marion's Theme quote to transition back into the Raiders March - Raiders March from KotCS again, to finish it off. I tried to bring back the recording from DoD but the arrangement, key and tempo made it too difficult. It's a very satisfying listen, though truth be told I actually quite like the theme suite being at the beginning of the album - it makes sense as an overture and really sets you up for all the themes throughout.

That statement doesn't necessarily mean he's not doing any more series after the second, but just that he's going to start working on other things as well after that time. It could've been in his contract that he couldn't take any other roles until that time, or (more likely) is the fact that the new production will be a well-oiled machine by the end of 2024, and scheduling will be much easier. The whole interview is well worth a read, even just for the gorgeous photo shoot they did with Ncuti and the outfits he's wearing. He touches on Doctor Who, Barbie, and Sex Education - the latter of which he's surprisingly frank about through some criticism. He has such an exciting and alluring energy about him and I can't wait to see him in action as the Doctor. Not to mention just how beautiful he is.

He wrote Hogwarts Forever to be the school anthem, it has lyrics and was recorded for the film. You can hear it on the LLL set! A better example is Hedwig's Theme, I can only think of two scenes across the entire franchise where it's used when the owl's actually featured... and neither of them were Williams' scores (GoF and DH1).

Eh, it's not like Marion or Leia's themes are anything like their respective characters either - both have similarly abrasive and interesting personalities that are nothing like the emotionally charged and passionate themes Williams gave them. It's just a thing he does to inject some romanticism into his scores, it works fine.

To me it sounds more like the Russian brass motif from KOTCS was the inspiration, or some of the brass chorales in the Prequels (especially ROTS). I don't know this for certain but I was under the impression that this film and the sequel trilogy were only temped with Williams' own music, nothing from any other composer. Personally I think that's a mixed bag... I wish they'd gone to Williams' own inspirations for these films and tapped into Stravinski, Korngold etc, or branched out with some other "great" composers (i.e. not contemporary).

I'm falling quite in love with the Archimedes theme. At first I brushed it off as just Williams doing his usual modal mystery style and lamented the lack of bells and whistles in its orchestration, just the usual kind of thing that you'd hear in the dénouement of a Williams score. But the more I listen to it the more it reveals itself, and it's quite sublime. The noble but ghostly orchestration; the ethereal nature of it, the unexpected melodic shifts and how it opens up into something more romantic and beautiful... The modal shift in the horn phrase that begins at 4:28 of Prologue just gives me chills. It reminds me a little of Luke's exile material in TLJ, which did a similar thing for me - what I thought initially was meandering underscore was in fact a very subtle and intentionally structured theme. I also love how he ends the Prologue track with the theme, melancholic and sinister... I can't help but think of the carnivore motif rounding out the end credits of Jurassic Park.

Agreed, it’s closer to fantasy than sci-fi most of the time IMO

Perhaps I should give The Doctor, The Widow etc another go. I just remember disliking it quite a bit at the time, although I also didn't care much for The Husbands of River Song the first time I saw it and now I'm quite in love with it. The mistaken-identity scenes are rather delicious, and Capaldi feasts on the dramatic irony - I love when he pretends to have his mind blown by the TARDIS. And maybe I'm softening a bit, but those last few emotional scenes get me every time. Interestingly, at the time of writing it was actually going to be Moffat's final episode - Chibnall wasn't ready to take over yet and Moffat stayed on for another series. A fact that we're all eternally grateful for as otherwise we wouldn't have had the superlative highs of series 10 with Bill, Nardole, Missy and Twelve. What a treat they all were to watch.

I love this routine, it's where I got my username from! Bill Bailey should've been in more Who. He was wasted in that Christmas special (the only Moffat ep I haven't rewatched, it was so bad) - I'd have loved him in a Nardole-like companion role.

Hopefully that means purchases will transfer over. The fact you need to keep buying the same game if you want to play it on subsequent systems is ridiculous. Fair enough if there's been a major upgrade and labour has gone into it, but not if it's a straight port. Though saying that I imagine the days of purchased games are coming to a close with the rise of the subscription model.

You're right, that Gamecube one was also just a tech demo. I love the story behind Toon Link - it was his expressive eyes and facial features that convinced Miyamoto to greenlight Wind Waker's direction (if I'm remembering correctly), and it shows in the gameplay. Any time you stand near an object of interest Link will look over at it, it's a little thing but it's carried through every game since.

I get the impression that Nintendo works very fluidly with its development, and if there even is a plan for a game at any one stage it may be all but scrapped as new ideas are discovered and implemented. I'm reminded of the trailer for a Gamecube Zelda game featuring Link and Ganondorf in a sword fight which ultimately became the drastically different Wind Waker, or the rumoured sequels to Mario 64 that were either scrapped or developed into Mario Sunshine. They certainly don't seem against the idea of jettisoning prototypes and months or years of work if a more promising idea arises - that's a luxury afforded only to the top game development companies and their flagship IPs (Naughty Dog also come to mind).

I'm dying to know what the next gameplay "hook" will be for the 3D Mario. We've had Fludd (Sunshine), Luma/spinning (Galaxy) and Cappy (Odyssey). I can imagine they could spend years just playing around with the concept before an actual game even materialises. No doubt it's tied directly into whatever the next console is, which we also have no clue about. It could be a 4k, more powerful Switch, or something else entirely. I hope they keep the hybrid model though, I really love it.

Ohhh don't jinx us... This whole game exists because it was an idea for DLC that got out of hand. I admire Nintendo's work ethic and polish, but please, keep a lid on it this time!

Not that I know of - I assumed they re-stock every blood moon, but perhaps not. That said, there's quite a few Zonai vendors in the depths so you'll likely come across another one soon. Spoiler text if you don't want to know where they all are: EDIT: I just looked it up and apparently one in-game day and a loading screen is all you need for the Forge Constructs to restock. So I imagine you can sit by a campfire overnight and then warp to the vendor, or save and reload while you're already there.

I imagine the next 3D Mario game has been in development for a while, it'll probably be the launch title for whatever their next console is. And it won't be Odyssey 2, they rarely do direct sequels with the notable exceptions of Galaxy 2 and Tears of the Kingdom.

Why haven’t you had them converted as you go? Seems a little odd to me - you could’ve had an extended battery this whole time! I guess if you’re not using devices very often then it doesn’t matter as much, but I still don’t really get it

I guess that's cause you haven't spent much time in the depths - that's where all the zonaite is that you can exchange for crystallised charges (rather than exchanging the Zonai charges, which I save for buying Zonai devices or boosting the battery in emergencies). You will pick up a lot of zonaite in the depths, so you'll fill it up before you know it. I think I'd nearly filled all of the battery by the time I did the last of the regional phenomena - it really is very useful, especially for powering your vehicles for exploration. The depths are so covered in gloom that vehicles become almost a necessity to get around.

Wait, are you just hoarding them or have you converted them to energy cells? I'm assuming so, because that's all they're good for

You know it's just occurred to me that this game takes the series' title - The Legend of Zelda - and really goes with it. Of course most of the games feature a princess Zelda, and some kind of expansive story where you must find and/or rescue her. But one of the main quests in this game (not a spoiler if you've played more than a few hours) is going around and investigating rumours about Zelda all over Hyrule; you're quite literally in the midst of her legacy, her legend, as its being constructed by the people around the land. (minor spoilers regarding that same quest line, but chances are you've unlocked the memories or done enough of the mission to figure out what's happening): It's a nice detail.

This score in particular is such a theatrical experience. It's wall-to-wall music which is unheard of these days; operatic in scope and storytelling. You can listen to the complete score from start to finish without any pictures and know what's happening beat by beat and not miss a thing - something I do at least once a year. Thanks for sharing! I think "Arrival at Hogwarts" is my favourite scored moment from any film. It's legitimately awe-inspiring, and gives me chills whenever I hear it.

Has anyone else finished the main quest? I did about a week ago, I'd be interested to hear other people's thoughts (I'll keep it all in spoiler tags, including my overall impressions, as even quality judgements can spoil things) MAJOR spoilers here: I'm still going with the game, gotta finish those shrines and find all the light roots and armour sets, but I'll share my overall thoughts on the entire game as they come to me. I have a fair few gripes, but it's still a spectacular experience.

Yes, the magic wand/rod/sceptre throws out three elemental balls while all other fused weapons only spit out one at a time. It's useful in the heat of battle when you don't have the luxury of precise aiming - three fireballs are more likely to hit a moving target - but otherwise I don't really think they're worth it. You're better off fusing a gem to a weapon with an already-high attack power. I'll sometimes fuse the Master Sword with a ruby; it makes short work of the plentiful ice enemies in the cold regions, and the heat coming off of it works in place of cold-resistant armour or meals/elixirs.

Many of the named composers in this thread have had careers in Hollywood spanning over a decade, and continue to work in their field (even if it's not on blockbusters). In my opinion that's far from bombing out! Not everyone can be a Zimmer, Williams, Elfman, Goldsmith, and that's entirely the point - the long, high-profile careers of those composers are the exception rather than the rule in an industry that regularly chews up and spits out talent at all levels. Speaking of Elfman, while he may still be working in Hollywood after four decades it certainly hasn't been easy on him - he's been one of the loudest critics of the shifting culture around modern film production and temp tracking, and has admitted that he's struggled to find work. It's harder than ever these days to stay relevant in an industry more obsessed with bottom lines and profits than ever. Zimmer is one of the only "traditional", pre-2000s composers to have not only survived the transition, but thrived - indeed, he capitalised on it by scaling up the composer sweatshop model to a profitable production line of ghostwriters and content merchants, which many production houses have imitated. I have mixed feelings on the matter - on one hand he's helped media composition become more accessible than ever to burgeoning composers, but on the other hand that model has exploited those same composers to a terrible degree; years of shit-kicking and slave labour, burnout is high, and the few composers who manage to rise above it often spend the rest of their careers waiting for it all to fall apart. End rant. As a working composer I have a lot of opinions around the concept of success in this field. It's a lot more complex than people realise.

At least half of these are pretty blatant photoshop jobs from the early internet days, you guys need to up your internet literacy or you won't survive the forthcoming AI wars!