It's been quite awhile since the last Mr. Newstyle! hasn't it? In all that time we've gotten our webcomic up and running, went to Otakon, suffused you with reviews, celebrated Labor Day, gotten drunk, and even started our very own podcast! Yes, I'd say without question it's been a banner month for fan-service.org. And now that things have gotten a bit more regular I'm happy to come back to Mr. Newstlye! with open arms.

Oh how I've missed babbling on about these little bits of electronic candy, making grandiose statements about things of which I know very little. Things like pitch and treble, break beats and bass drops. All of them cohere to make Mr Newstlye! what it is, a very nonprofessional look at the videogame remixing scene. Since nonprofessional is the general M.O. of fan-service.org, it should be no surprise that Mr. Newstlye! finds a happy home here. I hope you'll enjoy the auspicious 20th installment of one of my favorite columns on the internet.

I might be a little biased, there.

When I listen to instrumentals, which is frequently thanks to sites like OC Remix and others, the really good ones will inspire me to new heights of creativity. After a few hours with your mp3 player, listening to the same songs over and over, the mind starts to wander. It's even more prevalent now that I've got an outlet for my ramblings in Front Beat. It's just an unfortunate result of the webcomic industry that it's going to be a long, long time before any of the scenes inspired by this music would grace the face of this fair earth. I would estimate that somewhere in the range of 12-15 months, deep in the mire of our second book, you will see something not-too-different from the scene I describe hit the page. Many years in the future, when Skabs and I are super popular with diamond scepters and pimped out "bitches" you might just see the animated version! But that's just speculation!

Where did I set my sights this time? On a real treat!Fury of Medusa is a little mopey for such a poppy song. The emotions it inspires are not the kind that make me want to take five tabs of ecstasy and dance in some smelly warehouse until my body collapses from a combination of exhaustion and dehydration. Not really my style anyway, so I'm glad that remixer Sadorf didn't take it upon himself to go that route. The quick and the mellow is what I'm down with.

Instead what we have sounds like the consummate ending theme. I imagine a camera on some crane somewhere rising above a building, the roof smoldering from the firefight that has just concluded. The main character raises his fist and shakes it towards the sky, questioning why it had to end like this. Oh how beautiful it would be. A helicopter flies by at around 0'20 and the camera is 'caught' by it, following its flight upwards until the screen dissolves in black. The song continues into the somber melody of 0'56, credits running over over slow-moed instances from the altercation. By 1'11 the action has ramped up into something so intense that the viewer's emotions can barely be contained. When the break occurs at 1'30 the viewer is solemnly reminded that death is no pretty affair, and it's not something that should be lauded at every turn. No, violence is something to be used only when necessary. Its moral leaves a bitter taste in one's mouth as they reflect on past actions, and the resurgence of the synth at 1'59 only heightens the feeling. But the veiwer knows that they're never alone. Not as long as Sadorf is hangin' in their crib.

All this has very little to do with dolphins, I guess, but what can I say? That'd just seem to be how my mind works.

But Could I Drive To This?: Sure, probably. If you had a helicopter you could also help me by filming ultracool action scene fade aways. I'm too intelligent to let my mind linger like this! I promise I'll let you fly the helicopter.