nonused

@gunflame88: Yeah, dude, you should be totally fine.

Oh, I definitely agree with you. I think allowing for more quiet moments could've added to the intensity/drama of a scene in the original run, but I enjoyed the eerie tone that the tracks could sometimes set for those moments. And, yeah, it's absolutely all taste.

I should clarify, though, I love Sumitomo's score. His work in Super is awesome; it feels like it combines the intensity of the Faulconer score with some actual, solid production and focus on melody/composition (similar to Yamamoto). In the scene you listed above, I actually really liked the music in both (although, I thought they were at their strongest in opposite directions; Sumimoto in the beginning and Faulconer at the end).

I'm firmly in camp Faulconer. I do agree that it's a product of its time, and I also think people should just watch DB with whatever music they like. But, for me, growing up with this music almost makes it inseparable from the series as I know it. Same with the whole dub vs. sub thing; I gotta get me my Schemmel.

But, from a more...objective standpoint, I do feel the Faulconer score fits the overall tone of DBZ much better than the original, Kikuchi score. I'm careful to say DBZ and not DB, 'cause Kikuchi is perfect for DB. But, when they started straying from traditional martial arts and mysticism, and into a more weird, sci-fi numbers game, it felt a bit out of place. But the Faulconer music gets it. It's erratic, at times comic, chilling, and in-your-face; it's over-compressed butt rock with some really unorthodox composition; it parallels the vibe of the show perfectly, in my opinion.

Yamamoto's Kai score is also very good, but just a bit bland for me. I think it fits DBZ's tone much better than Kikuchi's, but it just feels like it's...there. It very rarely added to the scene whenever I watched with it.

I'll just put down a couple of comparisons for the people to peruse. Definitely one of my favorite parts, the order is OG Kikuchi, Kai Faulconer, and Kai Yamamoto:

Initially, I was off the idea ('cause it was a thing that already happened; no need to revive it just 'cause it's another Persona game). But, after watching that Quick Look...man. That shit was good. I'm now in the lot of people that would absolutely support a Persona 5 Endurance Run (even if it wasn't some daily thing; I get that Jeff and Vinny are much busier now than they were then, and that's not even considering the technical malarkey they'd have to go through to get the series produced on an organized basis).

@ezekiel: Because she doesn't want to kill him. The only time she would have to kill him is when he becomes aware of the actual fate of humanity and the intended use of the YoRHa unit. As Zeik said, it's heavily implied that she has developed feelings for him, but acts aloof throughout the game so she doesn't grow too attached. But, I agree: They didn't spend enough time actually developing that relationship from the player's perspective. Although, if they did, that would've undermined the whole point of the 2E twist.

It's a relationship built on a lot of implication, but becomes especially heart wrenching on a (truly) second play through of the game. It also has the added bonus of clarifying 2B's actions and behavior. It doesn't make her a watershed character, but it definitely makes her miles more interesting.

@efesell @zeik You're right, it does. From what I remember, A2 and 9S say it and Ending D mentions the change of heart. But it also mentions it within the context of 9S in some sort of...machine heaven? Where an incorporeal Adam and Eve try to convince 9S to join them? To me, that read as the network trying to assimilate 9S for further strength (with the added element of, "Hey, maybe the twins aren't so bad."). 9S also says the tower doesn't fire artillery, but he does say that after mentioning the twins changing their minds.

But, if it was always meant to be artillery, what purpose would that serve? Why would the network care about destroying the human data? What threat does it pose to them? And why would the network (which seems to be heavily related to the Watchers) suddenly change its mind on destroying a human data server on the moon based on what some androids and machines did? Especially if that decision was swayed by emotional expression on part of those two factions, as it's heavily implied the Watchers introduced human emotion to the machines (and, by extension, the androids).

Regardless, whether or not the Tower was originally designed as an ark or a cannon, neither attribution really explains the boxes. The cannon makes less sense ('cause why wouldn't it just fire immediately?), but the, "Get the three keys to unlock the castle!" might just be a video game thing. But, because of what happened in them (and because of their Angelic scripture), I'm lead to believe that they're way more important. I just can't figure out why. Or why they need to be deactivated (run through?) to unlock the tower.

I'm not sure the Tower was always meant to destroy the human server. I think it was meant to be the ark it became the whole time. What purpose did the network have in destroying the human server when they garnered so much evolutionary knowledge from similar data? It makes more sense that the network (which I'm pretty sure is infested by the Watchers/Red Eye Disease at this point) would want to launch off and conquer more worlds/universes when they've gained everything they possibly could from the androids.

I'm more confused by the boxes (Meat Box, Soul Box, God Box). Part of me thinks they're manufacturing tools for the machines/androids (as the cores and black boxes share the same components), but then why would you need to destroy them to gain access to the Tower? Was that just N2 being a dick? I dunno.

I could be wrong on all that stuff, to be fair. But it makes more sense that the Watchers (machine network) set up YorHa as an adversarial force to strengthen the machines' evolutionary data, so that they could then conquer more worlds.

I don't really want to tread into spoiler territory, but just know that all of your grievances listed are...ill-founded (in some ways ironic)? Sorry if that comes across as harsh; I just can't think of a better word right now. I get that you're basing your statements off the early hours of the game, but remember: This is a Yoko Taro directed game. Plots and characters develop, just like in previous games under the same banner. It's not the exact same, obviously, but it still tries to be its own game and story. And I think that's pretty admirable.

Basically, if you're a fan of Nier, I think you'll like this game.

Premiere is awesome, but good God it can get expensive. And you gotta subscribe to get it nowadays, which I think sucks (but, hey, maybe that's your thing). I don't really like using anything but it, though, and it syncs up with After Effects and Audition.

However, a pretty good alternative is Da Vinci. It has a freeware version, and is pretty good for it. I'd say give that a shot, and if you get frustrated with it, then look into Premiere. Though, if you're willing to just spend the money, Premiere is probably the go-to editing software.

Not my language, but my family's. Serbian has a lot of fun curses (which some of you may have seen from that one YouTube video). My favorite one is "Jebacu ti sunce iz neba," which, according to Google Translate, means: "I'll fuck your sun from the sky."