this is LOVE - gao

roflmaoqwerty wrote:The only complaint I have about this track is that Bach's original "Well-Tempered Clavier" was a compendium of 24 preludes and fugues, all in a different key. If you would've made an omni with 24 different styles in it, then maybe I would've been impressed.

Spoiler:

Kramwood wrote:
oh shit the south is getting to me. RUUUUUN

Dapianokid wrote:I haven't even watched it all yet but I can tell it'll be great because of the reference to my hometown in the intro. I'll edit this post with my reaction.

EDIT:


RE-EDIT:
Okay I have words now. Dat fake stall. Dem chains. Dat smooth. This track is inspiration overload!

[senpai] kevans wrote:

Spoiler:

Chuggers wrote:its scary how good this is



gonna have to sleep with the lights on tonight

efrazable wrote:HOT DAYUM that was awesome!! The intro, the track, the syncing was all just so clever! BWAAAH!

Kramwood wrote:hello inspiration how are you this fine mornin'?

oh shit the south is getting to me. RUUUUUN

Sssschiller wrote:That was so good and creative...makes me to think about playing again!

RyderLR wrote:I love watching your tracks, I think they're so smooth and fun to watch! Like Schiller said, I wanna go play Linerider right now and think I am because of you, thank you.

SPL4SHZ0N3 wrote:This Is LOVE

u made me open LR

Shotoku wrote:This was everything that keeps me loving LR forever, since from when I rediscovered it in 2009, to when I joined WRTL in 2012, and up until now. So much reminds me of Vision and Contrails, which were my favorite tracks for a long time, and now has everything else I've come to appreciate over my time here.

Now while I was watching the credits, I thought I would take partial credit for all the all-Y if you didn't mention me anywhere else (which I guess I do because there are only about 3 all-Y tracks I know of, one by me, and I used all-Y in a couple omnis), but then you credited me for the squiggly pinch in Angel, which I guess fits because I'm all about squiggly pinches (had a better one in Toxic & my old track Revel, but Angel was a better track) and speaking of old tracks I was really surprised to see one of my really old tracks in the credits, that I actually had to think for a minute of what part you were crediting

So in short, this track made me happy in all kinds of ways

Opal Rider wrote:

Kramwood wrote:
oh shit the south is getting to me. RUUUUUN

Ah yes, join us Kram.

I realllly like the idea for this track, you took a really cool musical idea and ran with it, although I really wouldn't have guessed if you hadn't mentioned it in the credits. Before then, I was sorta wondering what all of the random y sections were doing at the beginning, but it all makes sense now, so it all works out and stuff.

roflmaoqwerty wrote:My god this is amazing. Props to you for being so versatile and for taking my joke challenge and thoroughly ripping it to shreds.

rabid squirrel wrote:First things out of the way, I absolutely love the editing on this thing. That is one of my favorite openings to a line rider track ever. so good. and then the credits were beautifully touching as well. In the past I would be super annoyed with long intros but that was because there were new tracks all the time everywhere up the wazoo and now that they're a lot less often released I really enjoy the time and thought you put into your intros.

rabid squirrel wrote:Second things second, I had to go through the credits inch by inch pausing all the time because I wanted to read what you wrote about the inspirations. I was familiar with almost all of them and really loved reading all of it. So yeah thanks for that.

rabid squirrel wrote:Third thing's third I was talking with Opal on the stream earlier and basically the end result is that I am going to be reviewing more so I hope you like rabid reviews because you are getting one

rabid squirrel wrote:First thoughts - you are a master of all styles and this track really proves it. In this track, you have the smoothest manuals I can imagine, some awesome speed constancy as well as some jaw-dropping stop'n'go, XY, 45 degree, compact/alt quirk, midspeed quirk, and highspeed quirk all executed beautifully, both as manuquirk and as straight quirk, integration, both super stacks and smooth flings, and you even made some extremely impressive recycling and made all Y that was actually interesting and fun. All of this was done with a pretty good knowledge of the history and context involved, and styles were quoted remarkably well - I probably could have guessed many of the inspirations without the credits. (sidenote - I think your signature is the biggest and most unexpected speed boosts since ever - extreme stop'n'go you utilized in WTM to the nth degree and then used in this track to change styles on a dime)

AND this is one of the best music syncing tracks I've EVER seen because the big moments were right on with the music and made me smile but in the stuff in between when the music was doing somewhat repetitive stuff, you weren't a slave to the music syncing. I feel like this is what boo was trying to aim for in Gone - a track that was driven by the music syncing but not a slave to it. And while Gone was an awesome track, I think you succeeded where he fell short in that regard.

I love how you took the "don't make your omnitrack sections too short" rule and actively flaunted it. I dunno if you knew that was an unofficial rule (I'm guessing you did on some level) but it's been around for years - people would make a nice 30 second manual section and then a 6 second XY and other people would be like, the XY section was too short and that made it feel like an afterthought. The real problem wasn't that it was too short though, it was that the style variance was inconsistent - they were better at manuals so they made the manual section longer and everyone could tell the XY was actually an afterthought. You took that and turned it on it's head - you said with this track, the real thing we should be striving for is consistency and follow-through, not necessarily sections of significant length, especially since it follows on the heels of Well-Tempered Manual. This track is a delicious ADHD cornucopia of line rider styles, and because none of them last for than a couple seconds, it's consistently ADHD, and, far from seeming like everything was an afterthought, the result is not only enjoyable and impressive but also unique, because you took an established boundary and showed everyone that we needn't be confined to it.

I also want to say that I love that the message of this track isn't "look what I can do" but rather a message of love and community to all of us. It's just really sweet. Okay now I'm going to post my favorite moments.
- love how the first second of track is a crazy all Y bit followed by a super smooth nose manual. sets the tone for the entire thing beautifully.
- 0:49 proves that you actually planned this to sync with the song from the very start and I love you for that after seeing so many tracks where the music syncing is something that is developed halfway through the creation process.
- 0:54 is a damn impressive recycle
- 1:03 and 1:16 are what I'm talking about with the crazy speedboosts. damn impressive, and used well. You're like the opposite of ktk - always in total control and you can start and end the highspeed at the drop of a hat. hah.
- I really enjoyed the all Y at 1:09, perfect use of this track's ADHD style to keep us entertained during the slowdown.
- 1:26 I didn't even fully compute this section was flatsled and that that used to be a bad thing until like my third watchthrough. very QL and by that I mean flatsled at its finest.
- WTF was 1:31 that felt like a bird hitting an oncoming train and surviving
- airtime at 1:41 and 1:45 was awesome and synced and stuff, and then I love how when he sings "fall" Bosh falls with slow rotation at 1:49, and then I LOVE how he says "bottom babe" as he slows to a stop at the bottom, and then I did a backflip out of love when we had a party's-over-style music sync at 1:52
- love the manual at 1:55 and the airtime at 1:58, this is probably my favorite area of the track
- I love how the 45 degree section is before the xy section. haha.
- 2:21 beautiful contrast with the slow smooth circular flatsled
- between 2:24 and the end, I didn't even notice when it was flatsled and when it was manuals because they were executed with equal skill and polish and smoothness and they flowed so well and the pace was so fast.

I realized in this piece by piece review that I'm more speaking to the overall style and flow and occasionally manuals and I can't speak to the quirks/tricks/whatever but as a viewer who is not literate in quirks I can say that it all felt good, and I feel like once you get to that point maybe the tricks aren't so important.

You know, I used to tell people way back in 2007, make your track faster paced because faster pace = more entertaining = better track and I think this track is like, the pinnacle of that. hah.

rabid squirrel wrote:Don't have a good conclusion paragraph to wrap this up, so I'll just say I showed this to my lady friend, and she liked it.