-
-
Guido Anchovi. Partly because I played him once in a SPC radioplay very early on into my voiceover career, and partly because he's the cool-cat-contrast to the high energy a lot of the other characters tend to embody at times. He gets business done with style and pizzaz...and pizzas!
-
Wait, No. 2 pencils are still popular? Almost every person I know in college uses a mechanical pencil or a BIC Blue/Black pen (the GOOD kind, you know exactly which ones I mean). I suppose it's only popular because it's the most popular ALTERNATIVE.
You know, like Pop-Tarts. They'll never be as amazing as the ever glorious Toaster Strudel, but they're still a very popular alternative for those people not fortunate enough to have purchased the latter instead.
Seriously though, go buy some freaking Toaster Strudels. Sell your old No. 2 pencils if they're really that popular, and you'll have more than enough for a package or two. -
That would make sense if it weren't for the fact that planets are actually in SPACE. Said planets may CONTAIN skies, but the sky we label is in fact everything encompassed within the expanse of atmosphere contained in our specific planet - on Earth, outer space is seen as a part of the "sky" because it is part of what we see when looking upwards.
That said, there is every real possibility that somewhere in space there is another planet in which its inhabitants can see OUR planet from their "sky", so hypothetically, yes, we are in the sky. Just not our own. -
It would surprise you, but yes, I actually do currently have a girlfriend. Granted, we rarely ever get to see each other due to her still being a senior in high school at the moment, but unlike the majority of internet-based hookups, we HAVE seen each other in real life. She's more of an artist and a point-click gamer than I am, however, which is a crying shame, because it immediately eliminates any chance she'll ever have of besting me at battle-based gameplay.
Then again, she was toast against me in anything involving Battle Network regardless. -
Finally reaching that long sought-after point in an Role Playing Game where you've had an extensive and time-consuming map-out of what you were going to raise (either monsters or stats) and how to raise it, knowing fully well the commitment it would require and the exactness that would be expected of you, and finally coming face to face with your creation - a team or strategy so absolutely well defended and set up that you can proceed to happily annihilate any challenge that is unfortunate to come your way.
Assuming, you know, you don't lose your memory card or damage the game in the process. -
I quite enjoyed Soul Calibur in the time that I spent experiencing it on Gamecube, and in general I find that fighting games can be a great dose of both challenges and thrills in experimenting with new combos and doing your best to kick some serious tail. I've actually been trying to find a way to secure Tatsunoko vs. Capcom so I could try to get back into the fighter scene a little bit (and partially because Volnutt makes an appearance...), but it's not a particular OBSESSION I have. Blazblue is also a particular "want".
My final vote is that fighters are fun, and being GOOD at fighters is also fun, but when you start to get really serious about it is when the fun ends and the rolling of eyes begins. I enjoy beating up characters as much as the next guy seeking harmless means of exerting violence, but that doesn't mean that you need to go insane if you manage to "pwn" my "skills". -
So, the appearance of this question sent me in a tizzy of trying to find out WHO EXACTLY really rates up there in terms of true musical finesse - although there are a PLETHORA of songs I enjoy immensely, which artists have really made an impact on me through what they've accomplished using the technology at hand?
After several weeks and many hours with my iPod, I believe I've come to a cohesive answer, so please bear with me as I list:
THE 5 VIDEO GAME MUSIC COMPOSERS WHO PARTICULARLY ROCK (in no particular order):
1) Yoshino Aoki (Megaman Battle Network 3)
This one should have been obvious right from the get-go. Megaman Battle Network 3 was not only a continuation of the startlingly catchy music that had long permeated the series, but Aoki's work with stereo sounds and interesting SFX created a musical experience like no other - as I have told a number of people, MMBN music is impossible to "not" listen to; even if you space out and hear it through your subconscious, the background tune takes the spotlight and persists in assailing your mind with rapidly shifting notes and a rhythm that you can't help but get pumped up over. Megaman Battle Network 3's music has never gotten tiring to me even after dozens of plays, and it's by far the most common song list I choose to blare from my headphones when walking across campus without a care for who notices.
Need two examples? "VS. Alpha" and "Great Battlers". Nothing more needs to be said.
2) Ichiro Shimakura (Pokemon TCG)
It's impossible to doubt that with the expanse of technology at our fingertips today, it's easier to create orchestral or impacting pieces more efficiently than ever before. Yet in the days of NES and Gameboy, many had to work with a "chiptune" program; you were given only FOUR types of tracks - Main Track 1, Main Track 2, a Background Track, and a "Scratch" Track (for SFX or other effects), and that was all you had to make your accompanying pieces from.
Enter Ichiro Shimakura, who not only helped to bring the Pokemon Trading Card Game come to America in an electronic format, but also gave it some of the most fitting, atmospheric music I have ever heard applied using only a 4-track program, and only successfully imitated as well through the likes of the Megaman games themselves. Give a listen to "Grandmaster Duel", "Ronald's Theme", or "Ending Credits" sometime if you don't believe me. For a technology long since outdated, I still find it to be one of the more lasting soundtracks I've had the pleasure of coming across in my lifetime.
3) Yoko Shimomura (Legend of Mana)
Ah yes, Legend of Mana. A combination of path-and-story driven plotline, monster raising, and the ability to forge practically (if not every) piece of equipment you use, all set within a mystical and magical realm of spirits, saints, and swordplay. And behind it all, the magic of Shimomura's music to bring to life the scenery of each new land, to give both the feeling of adventure and the desire to step outside your element and go exploring for a while. "To the Sea", "Blue Gloom", and "Leading into Prosperity" are particularly useful examples that come to mind.
Unfortunately there's not much else I can think of at the moment to say, but then again that's not necessarily a bad thing - sometimes being able to put the music into describable words says more for the tune itself than I could possible muster on my own.
4) ZUN (Touhou Project 8 - Imperishable Night)
Touhou - perhaps the single most defining example of what a true "Bullet Hell" game embodies, and yet the graphics, storyline, art, and EVERYTHING else are done by the hand of a single man, known simply as ZUN. This includes the music, which in my example of Imperishable Night, uses a combination of East Asian influence, jazzy trombones, CG effects, and the ever-present and drifting melody of a piano to create a wide variety of music that can either pump you up, make you fearful, or flat out cause you to think, "If I haven't already died, I'm going to very, very soon." The titular track, as well as "Dream Battle" and "1969" are key pieces to lend an ear to, but the whole soundtrack in itself would be worth purchasing if it weren't so readily available for free.
My kudos to you, ZUN, for all your hard work; fans would be absolutely insane to let it go unappreciated.
5) Mahito Yokota & Koji Kondo (Super Mario Galaxy)
You already know business just got serious when you bring in the man behind the Legend of Zelda series, but Super Mario Galaxy's orchestral music undoubtedly rang true in the ears and hearts of millions - a fresh approach to a classic series taken to instrumental extremes brought with it a grand and almost 'innocent' tone to Mario's escapades within the vastness of space, and I myself would rather leave it to the audience to pick their favorite tracks than try to label 2-3 for myself - the choices are all just that great (although Rosalina's Observatory IS a personal fave). With SMG2 on the way, one can only hope that the tradition continues with full force.
Though I'm sure others, in time, will come to take spots on here that are probably less deserved, I feel these 5 are the strongest examples of what can really be done with the right mentality and a strong grasp on what REALLY makes music catchy. If you haven't already come across these soundtracks, then I implore you to do a little web searching - the effort made to find them is surely worth the final product. -
I think on a social level some people do see me as self-absorbed, although I can promise you I don't intentionally try to come off that way; the fact that I've spent so much time focusing on my own personal self has lent credence to the result that I tend to stick to the things I know for sure and generally don't change radically to suit others' needs (then again, it's a rare occasion where someone has wanted or NEEDED me to make such a change). In fact, part of the reason some people see me as self-absorbed is simply because of the way in which I type or text online, a rather flowery and eccentric style that often clashes with the buzz of "shorthand" on the Internet - please let it be understood that this is merely a personal choice in the interest of retaining and improving my writing ability, and NOT an attempt to show off or seem more important than anybody else.
As for my own personal opinion, I think it's a little mix of both. I will openly admit that there are moments of jealousy, or instances where I feel as though I "deserve" something, but more often than not this is actually representative of a personal fear I have of "falling behind the curve" - to me, the concept of not staying on equal levels or just slightly ahead of others means risking losing everything I've worked for, even though that assumption could be radically untrue. But on the other hand, I also think that my level of self-confidence might put off some who have yet to become fully comfortable with who they are, either out of spite or out of some innate fear of those who are more empowered than themselves.
To those who think of me in this way, I do hope you have enough respect for me to let me know about your concerns. I am not above recognizing my faults and taking steps to change them, but I cannot begin such a process if I have no idea a problem exists to begin with. -
-
In real life, I feel fairly comfortable saying that I take a backseat when it comes to dealing with authority. Rather than being abnormally submissive, however, I mean that I tend not to challenge what is put before me or requested by my superiors, and will rarely speak out against what is being said unless something feels fundamentally wrong or wrongly issued because of a personal grudge.
Online, or regarding my career, however, the formula is a little bit different.
Naturally, voice acting requires a heavy amount of taking direction, feedback, or even just suggestions from someone else who I see as the "head" of the project, and generally I fully acknowledge this fact as take it into account when voicing for a director or flash animator - I am here to do the job I was asked to perform, and in general, the more I can do to please who I'm working for, the more likely they'll be happy with the final result, and additionally, the more likely they'll consider me for future projects OR suggest me to others they may know (and as any voice actor knows, a connection network can be a beautiful thing).
However, there is also a heavier focus on how well I get along with the producer in question, or more accurately, how courteous they act towards me. Some of the BEST directors I have ever worked for, and many of whom I CONTINUE to provide services for, are also good friends who I talk to on a regular basis on Skype or MSN, people who have not been unknown to throw something my way later on down the road simply because of how well we mesh as people. These are also the projects that I tend to really shine on, because the openness and "fun" atmosphere allowed me to naturally let energy flow into the character I was portraying. Conversely, there have been directors who were quick to turn any attempt to work on a friendly plane into an absolute hell through their critique, not because of the usable criticism (assuming any existed), but because of the sheer vulgarity or attitude by which they presented their dissatisfaction.
My point is this: yes, projects and animations all involve some form of work, but people devote entire days to the craft because they also want it to be FUN; by that same token, I know that voice acting isn't always a laid-back endeavor, but even the most professional people in the industry will tell you that you NEED to have fun with it for it to be worth your time.
Thus, if you make a conscious effort to relax the nature of the project, EVEN if it's just as simple as being "suggestive" in your feedback rather than demanding, I can guarantee you that I'll not only be more driven to work with you, but that the final product will sound better as well (I never aim for less than 100% regardless of how I feel about the producer personally, but I'm fairly sure you could feel the difference between projects directed by a 'good' and a 'bad' producer). If you set out to give everyone who works under you a hard time, however, expect that the reputation and feedback YOU get will not be as ideal or satisfactory - assuming your employees don't just leave the project altogether. -
-
Wait a second, are you suggesting I'm even remotely manly PRESENTLY? This is news to me. I'll have to get back to you on this; I need to go research the source behind my sudden masculinity.
-
1) I am currently no longer playing the game. This may or may not coincide with the fact that I recently lost.
2) Mudkips are great and all; I mean, they slap mud and doesn't afraid of anything. However, my feelings rely more prominently on Espeon. -
If I ever used the money I earned to purchase one of those two consoles, it would, without a doubt, be the Xbox360. While there are undoubtedly a few games exclusive to the PS3 that I'm sure I'd be sad to miss out on, the fact remains that I can't recall an experience I've had within going on XboxLive on my best friend's console, ESPECIALLY on a particular download by the name of "Aegis Wing", that didn't end up being completely worth the time spent on it and the hours that slipped all too quickly by.
I really wish there were more to say for a less biased debate, but the 360 was the very first console to even make me temporarily regret only owning primarily Nintendo consoles (with the graphics and gameplay differences shown for Sonic Unleashed), and the PS3 doesn't even come close to changing that mentality. -
If this supposed threequel to the Legends series DID IN FACT contain all the charm of the classics without throwing in a gimmick in a shallow attempt to cater to the "modern" market, I can assume the sales would be rather depressing, but the game itself would be well appreciated by those who picked it up. I actually have a heavy respect for Megaman Legends 2 despite not talking nearly as often about it as I do the original, because it expounded upon the adventure aspect and gave us differing environments and much more immersive music to explore with.
Other than that, my only other serious hope would be that the "hunting for parts" element of the first two be just as prominent in the third; nothing catered more to my "check every corner" attitude than the Legends formula of having holes in walls or the oddly placed treasure chest that, being found through effort, patience, or even just some curious exploration, would offer up a long-sought item or artifact necessary for completing that new Special Weapon or miniquest. Without a doubt, removing that aspect of a metagame would invariably hurt the replay value of the game, even with the addition of difficulty modes like with prior installments.
And between Roll or Tron? Neither; my response is Amelia. A soft voice, awesome hairstyle, and perhaps the most admirable can-do attitude coupled with that subtle hint of badassery? Neither of those tinkering tech teenies could even hope to measure up to the mayor of Kattelox Island. -
I remember my first experience with Death Note actually being a casual glance at the manga during an after-school chill period at the local Barnes & Noble; I had known that Adult Swim was planning to air the anime relatively soon, but until after this experience I hadn't held any real interest in seeing it.
But as I turned the pages of the first volume, I slowly found myself become more and more engrossed in the sadistically devious nature of the story - here before me was an extensive, detailed game of cat and mouse, where you couldn't ever be sure whether it was the hunter or the hunted that held the greater level of intelligence. I was enthralled to be so consistently led out of my element, and I felt challenged to try and keep up with the protagonist and his foil, to look for key details or factors before they were revealed to the average viewer.
In mere moments, what began as a quick read turned into a 4-hour escapade which covered around 4 volumes of the manga, and would continue over the next 2 days as I set about finishing the series as soon as possible. It was an addiction, albeit a short one, but an addiction all the same, and I was determined to see it through to the end and allow myself to be led into the thick of the mystery at the hands of Light and his would-be pursuers.
The stark difference in Light's personality from my own was in fact one of the reasons why I chose that monologue, in fact; it was extremely challenging yet fun to break out of my normal persona and, however temporarily, become this embodiment of the borderline between genius and rambling insanity. To try and figure out just which part could be labeled as which taunted me to think differently than I was used to, and to question my own thought process in favor of the mental intricacies of Light's fanatical theories.
In short? Insane sanity can be good. Being able to be crazily sane without repercussion, however, is oh-so-much better. -
Normally a question like this would be nearly impossible to answer at this stage in life, considering the fact of who I am as a 'typical' person; a college sophomore in the throes of lining up his career options and deciding just what exactly he wants to do with his life in the working world is the LAST person you would want to ask in regards to what they think of themselves, not so much for the chance of a prideful answer, but rather because they simply wouldn't know.
I've found that through much of my life, however, and even as early as the end of middle school, I've always had a pretty strong idea of who I was and who I was intending to be; then again, I've always had substantially more "personal time" than most kids my age did, and so rarely were my life's decisions made based on popular vote or group-think that very little of me was thus defined by society rather than by my own being.
However, I can't go on and make assumptions about who I will be later in life, because as sure as I may be about what path I've set before me, life always remains unpredictable, and so I can only make statements about what I am sure about in the present.
With that in mind, my answer is this:
I am a student. I am a voice actor, a creative artist, who seeks to bring his own sound into the world and use it to illicit sounds from those around him. I am a musician, who steps in time to the song on his player, who immerses himself in not only the beat but the rhythm and tune and tone. I am a dreamer who writes his own story to the environmental music that surrounds him, who seeks to spin tales from stories that have no words, only sound.
I'm a nostalgic, who takes great pleasure in the days of his youth even while living the days of his later adolescence. I am a relaxer, who spends way more time than he should on things that don't necessarily demand his attention, not (usually) because he's trying to avoid something, but merely because he is so easily amused by it.
I am a hyperactive individual, who is irked by when he has to wait, who knows when he can achieve something he truly wants and will vehemently reach for it even while it sits a fair distance away from his grasp. To some, this merely annoys; to others, it inspires or invokes inquisition.
But at the end of the day, despite what words may be said, I can rest in the comfort of knowing that who I am as a person is by and large the product of everything I have pursued or decided on my own. I fully trust that who I am is an entity of my own creation, and it's because of this that I'm so content and satisfied with myself even while others exist who are prettier, smarter, or just more desired than me.
Because NO one can BE me...and only I know how to be 'me' best.
...With all the cheesy prose aside, it goes without saying that I recognize I'm not a legendary individual - I have my flaws and my falters just like any other person, and I have strengths that I play upon to bring happiness to both myself and others. But the one thing that remains true above all else is that I live my life as I choose, and how I wish to, and my parents were fantastic enough to know when I had set my course and reacted by providing me unbridled support and encouragement while reminding me of the important necessities I still need to keep in mind.
I realize that there are many others who struggle with who they are, or who may even hate what they've become or look like, and to those people I can only hope that you find what truly makes you happy in life and pursue it with all due effort. But if nothing else, stay true to the quote that says to 'be yourself' - not hiding who I am is perhaps the strongest factor of why I am so happy with what I've become, and can only help me predict where I intend to go as time goes on. -
I would have to say, assuming I would be equipped with whatever was necessary to survive without needing extensive assistance, I would probably have to be a weeaboo and say 'Japan'. Even despite the fact that taking part in something like my school's Study Abroad program might actually make an endeavor like this possible, the fact remains that there is so much different about the Japanese culture and their usual customs that continues to boggle my mind in a curiously good way. From used panties in street-side vending machines, to timeslot cubicles in subway stations that one can use for napping in, to even the work habits of drinking sake with one's boss after a long work day. The sheer levels of respect, and the general social expectation for it, are also phenomenally different than anything you would find here in the United States.
Though I invariably would come across as yet another pale-skinned tourist (with extra emphasis on the 'pale', considering my skin tone), the fact remains that the bustling cities and rampant shopping areas of Japan provide a vivified view of life that few other locations can really claim to have, a community that I feel I would have more than enough fun living within.
You know, if the MSG from the ramen didn't get to my heart first. -
I most recently did get a chance to speak with Liam for a short interview through a friend of mine who started up his own interview business in California, but it was a rather short conversation over a Skype call that didn't really replicate the authenticity of a face-to-face interaction. I hope to be able to have a more "real" encounter with Liam in the future, but at least for now I can say I've had the pleasure of getting to know him.
Kari Wahlgren was in fact one of the few reasons I so desperately wanted to attend Anime Expo 2009 (the other being to compete in AX Idol, of course), as I had finally seen my opportunity to express my deep respect for her and, *calmly*, thank her for both her persistence and her inspiration to what I want to do in life.
What I was greeted with, however, was perhaps both the most amazing and the most horrifyingly nerve-wracking situation of my life - my first time seeing Kari Wahlgren in person, and her first impression of me, woudl be on the set of AX Idol, where she was an official judge for the audition round. Immediately, I would have to either prove that my words of "determination" and "ability" were true, or otherwise face the personal shame of building myself up in front of her only to have nothing to show for it. So, as I parted ways with her shortly before the beginning of the auditions, I stated simply as a promise, "I'll show you what this craft means to me."
In retrospect, I think that this little bit of spine-tingling suspense probably helped me a great deal towards pushing myself to 'deliver'. I didn't want to be the best, nor did I want to show up everyone else there; I simply wanted to show the judges that "I can and WILL", and leave absolutely no doubt in their minds that this is the kind of work I was suited to do professionally. Having that extra source of proving my self-worth made me focus even more on what I was doing and how I was doing it. And, at least after the course of events that happened, I'd like to think I've at least gained a little credence in Wahlgren's world of acting. -
Vocally, I've recently been starting to implement all the tips and tricks Tony Oliver had pressed into my tiny but malleable skull over the course of all the BangZoom workshops and documentaries, mainly with the goal of increasing both the capacity of my lungs and my handle on breath control - as the resident voice of the YOUNG MALE HERO PROTAGONIST WITH A CHIP ON HIS SHOULDER AND SOMETHING TO PROVE, I expect that there will be occasions requiring either extensive angst-ridden yelling or lines that drag on WAY longer than they should simply because of my emotional state, and it is my intent to prepare for those instances so that I can get through them without much resistance when they finally present themselves to me.
Emotionally, I've actually been rather happy with the fact that I catch on to emotions rather quickly, but what I AM working on in regards to emotion is delivering more stoic or "casual" emotion believably. My mentor is frustrated to no end with me at how "dull" I can manage to make a particular character sound when simply trying to speak in a normal tone, because my way of approaching his voices causes a "stiffness" that sounds unnatural or otherwise odd. So, before I go to extend my emotional range, it's probably a better idea to work on and perfect the range I already currently have.
As for character, I must quote a person who I find myself unable to name at the moment, who stated that "good actors borrow, great actors steal." Though I haven't done it very often as of late, a lot of character ideas I get tend to come either from copying a voice I've heard someone else do, or by hearing what comes out when I ATTEMPT to copy a voice. Though this can cause conflict with my progress towards mastering being able to "switch" between voices or get into a character voice without a need for preparatory time, it HAS undoubtedly opened my ears to a slew of new angles I can take when approaching a character type.
In the end, it all boils down to practice, practice, practice; practice as body and muscle control, practice at delivering sentences in a believable fashion, and practice at making a voice until I can not only do it clearly, but do it quickly. This is all without considering my "yearly focus resolution" that I use to guide myself into specific improvement over the day-by-day regime, but once again the old statement proves itself tried and true.
-
Sean’s Bio
Student, Megaman enthusiast, and determined Voice Actor. I may not be the smartest person around, but I'll be darned if I can't hold my own in a Battle Network throw-down.
