Yeah, but so was this.
And it's one of the most well-known, popular, and beloved theme songs in gaming history.
But I will agree with Kaiser on the fact that Sturgeon's Law definitely applies to the Faulconer score.
edited 9th Apr '16 2:26:53 PM by BaconManiac5000
what do you mean I didn't win, I ate more wet t-shirts than anyone elseI haven't seen Super, but I enjoy the fact that having shorter arcs allows for more downtime between fighting, which leads to more character moments. It's nice to see some development given to these characters we've known so long and there a re a bunch of clips online that are just cute character moments. I wish we had more moments like this during the downtime between or during arcs in Z. Particularly Bulma and Vegeta's, "relationship."
edited 9th Apr '16 4:53:19 PM by WillKeaton
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There is no evidence of this at all.
Instead, the European Toei website initially listed Dragon Ball Super as having 100 episodes before changing it to "xx"
and people latched onto it. Nothing about purchasing the timeslot for that many.
Meanwhile the Japanese version of the website always had the episode count listed as "xx".
That is not a confirmation of an episode count.
edited 9th Apr '16 5:09:11 PM by Saiga
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The equipment wasn't crappy at the time, they really couldn't do much better.
The main consistent criticism (though it's more of a style/medium thing anyway) I would give Faulconer is that he composed the score with the knowledge and intention that each track would be chopped up into short blurbs, repeat often and change wildly depending on the action - or in short, he composed specifically to the scenes, rather than making compositions and then adapting them to the scenes. As a result his soundtracks have few complete songs, and instead have a bunch of tracks made up of twenty or thirty second motifs back to back, often without transitioning in an organic way since they're made to be short blurbs - if you're familiar with scores from 80's animated series, a good example of another composer who did that is Shuki Levy.
I haven't watched the breakdown so I don't know what Kaiser's criticism is, but that's the first thing I would think someone who doesn't care for his music would point to.
On the other hand, while there were sometimes weak compositions mashed together with decent ones in ways that dragged both down, when Faulconer was good he was really good, and some of his medleys worked despite or even because of that dissonance - especially when he did stuff that wasn't just ambience (again like Shuki Levi). And his songs that were complete could likewise be amazing.
I just hope they don't forget him when the Buu Saga comes around. The progression of his Majin Buu themes is one of his best accomplishments.
edited 9th Apr '16 11:08:35 PM by KnownUnknown
Yeah, I will agree with that.
A lot of times, the music would play in a scene and totally clash with the tone, or it would awkwardly cut from one track to the next.
But I still would argue that the worst of his work is just mediocre and the best of his work is really good.
what do you mean I didn't win, I ate more wet t-shirts than anyone else

You know, all the points he made about the Faulconer track are hardly evidence it's bad or even not good.
Just saying.
what do you mean I didn't win, I ate more wet t-shirts than anyone else