Anyone who’s invested in a hobby will tell you that there’s a boatload of traits to have that help in improving in that hobby; traits such as experience, knowledge, practice, passion, commitment, dedication, etc. Of course, they’re not entirely necessary, but they do help a great deal in developing one’s skills. After all, if there’s any one thing that led to g4’s astronomical improvement, I’d wager it would be the pure dedication g4 has for charting.

From a rocky start with polarizing charts to a regular contender for the RemiXD top, g4 charts just about anything and everything. From classic, synth-infused bangers such as Break My Stride and You Spin Me Round (Like a Record), to the vast electronica under Monstercat such as Fugitive and Snowblind – and surprisingly, even some K-Pop representation with Dynamite. With a plethora of genres under his belt, g4 lays claim to one of the most varied selections of songs of any charter on SpinShare.

g4 is someone who I’d choose to describe as the John Wick of charting; after all, when it comes to charting, he’s a man of focus, commitment, and sheer will. Let’s talk with g4 to understand just why his charts are dynamite.

What got you into Spin Rhythm XD? How did you find out about it?

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I never check the featured section looking for games, but this time, this “Spin Rhythm XD” was there, on [the] first page (around April 2020). I[‘m not sure] why Steam [thought] to recommend it to me, given that I haven’t played any other rhythm games on the platform prior to SRXD. My only rhythm game experience was Guitar Hero around 12-13 years ago, playing with a DualShock 2 controller on the PS2. Later on, I found out about Phase Shift and actually participated in a tourney there, by the name of “2rob” (I still like that name). I actually made it to 2nd round (because my opponent didn’t submit their score, lmao). The poor joystick support made me quit a few months after, though.

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Well, back on topic. Unironically, the game looked like the only other rhythm game I had played, Guitar Hero. I know this shit is a meme now, but that’s what got me into the game in the first place. I think the game was on sale when I purchased it, but honestly, I didn’t care since I was already determined to try it out. If I recall correctly, I skipped the Easy difficulty, played a single song on Normal and actually started playing through the game on Hard. It had good variety of music styles, a couple of songs I had already listened to from Monstercat releases so that felt great. The community was nice so I said to myself: “Yeah, let’s keep at it”.

What made you decide to chart for Spin Rhythm?

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I had never charted before, for any game. I had literally 0 experience, but this was the first game and community that I decided I would seriously invest my time on – I liked it too much not to. So I would start my charting career with the obvious choice for an electronic music focused rhythm game: Michael Jackson.

Actually, looking back into it, it was the dumbest decision a first charter can make. I wanted to chart “Wanna be startin’ something”, because, you know, I’m starting this charting thing here. Yeah, clever as fuck. The thing is, the studio version was “too slow” (60 BPM) and the live version from the 1988 Live at Wembley was faster, at 70 BPM. So I did what everyone would do in this situation. I used Audacity to speed up the studio version 16.67% so that it would be 70 BPM. It worked in every way possible except the intended one. All I can say is that, adding that horrible tempo map to no charting experience, it was definitely a chart.

What’s your general process behind a chart? What makes you decide you want to chart a song, and what about that song influences the chart’s overall design?

If I like the song, I might chart it. If I headbang to the song, I will definitely chart it, sooner or later.

To me, [a] chart’s overall design was all about “me hears sound, me places note”. But actually, until very recently (while charting Never Count On Me for the RemiXD event), I noticed I was charting many difficulty spikes in my charts. While charting this one pattern, I tried to remember my past charts and see if I could remember their spikes. They weren’t that common, but they were definitely there. They weren’t bad, they weren’t unfun, they weren’t undercharted or overcharted.

But, I could finally tell why and how they might feel out of place. It might be a fun pattern, they might be accurate to the sounds, but spiking the difficulty too much, on purpose or not, hinders the natural pace and flow of the chart. Taking that into consideration, I still don’t chart with a difficulty set in mind. In my opinion, telling to yourself beforehand “I want this chart to be a mid 30s” will only limit you. So, after a few measures charted, while checking for new or different non-repetitive sounds on the song I try to come up with patterns that don’t spike the difficulty that much compared to what’s already charted.

Is there any way that you would describe your charting style? What makes it unique, and what makes it similar when compared to other charters? 

Variety. Although you can’t tell from my first charts because I was still a noob charter and would copy/paste a lot, from my latest ones it’s definitely there. I’ve trying to purposefully not chart the same pattern too many times. A couple of times, yeah, it’s fine. Some patterns are even more fun when playing them several times. But there’s a point when they definitely start to feel repetitive.

That’s when I open my ears W I D E to try to catch any sound that’s different from a repeated section. If there aren’t and the section is the exact same, sometimes ctrl + c, ctrl + v, m, c doesn’t suffice. So, I just chart that section all over again, without looking at the first one and every time I would chart it differently – the only exception being the kick/snare sounds. Specially snares. In my opinion, they just have to be charted to a spin beathold release. It has to be the most satisfying pattern ever and they fit the sound extremely well. Or at least, if charting a spin there would create a fast spin, make it a beathold release. Beathold releases need to have a reason to exist. If you find them wandering around, give them a purpose or tell them good bye.

Are there any other charts or charters that you look to for inspiration in your charts?

I actually don’t play charts as they release. If someone asks me to try their chart out, sure, I play it. I only play more actively when an SSSO is close and I need the practice. Even then, I don’t play them all, just the ones that the song seems that I might I like it. For Custom 8’s too, 90% of my matches have been sightreads. So my exposure to pattern inspirations is close to the minimum.

Programmatic

Having said that, the first chart that made me go “holy shit this is fun” was Inferno Galore, by Programmatic. Even though [by] today’s standards the chart has some wacky patterns (specially different lane color swaps), it still holds up incredibly well. Movement focused, satisfying tap match beat patterns. To no surprise though, Prog is the charter I look up to the most. His Forsaken City chart, in my opinion, is what peak charting prowess looks like. It’s the perfect chart. When I had first started charting, everyone helped me a lot, but Prog was the one that did the most for me. He would go out of his way to go into voice chat to stream him playing my charts, going pattern by pattern and giving me advice. So, any tip he had for me, I still apply them even to this day.

Matt

Another charter I also completely admire is Matt. Even though he himself says his charts aren’t that good, I don’t know why the fuck [he thinks] that. His tap, match and beat combo patterns have to be the most fun ones I’ve played. Chiptune Raster, Area 1 – Perimeter, Reach for the Stars, you name it. Matt can’t get it wrong. If you haven’t played them, do yourself a favor, stop reading this boring interview and go play them already.

I wouldn’t say these two charters’ charts inspire me, but they definitely influence me the most out of them all. There’s also Stride (Stride) [who] usually charts movement when sliders are under beats, no matter if the actual sound charted to the slider has changes in the tone. That’s incredibly fun. When I first noticed, I was baffled on how I was too fixated with “sound accuracy translated into the notes”. After realizing that, I started to chart sliders that way too, when possible.

A staple of your charts tends to be quick flick motions, in particular with back & forth spins. What is it about this sort of “double-flick” motion that  you enjoy?

Back in the day, I didn’t see that pattern getting charted too often and seeing that there were cool iconic patterns named to the charters, I wanted to have one. So I went with the quick back and forth spins. I would chart at least one or two in every chart. They felt good for freewheel and CTM, until the first RemiXD came in and Kali was judging. I charted these spins for my New Game submission. I don’t recall her exact words, but they were along the lines of “The chart is fun, but these spins are gross and terrible for turntable. Literally the worst pattern there is for turntable players. I would rather eat dirt than play this pattern again”. Or something like that. So yeah, that was it for the back and forth spins. Although recently, given how fast the meta changes, they might come back.

One thing that I’ve noticed about your charts is that you sometimes forgo what most might consider the main melody of the song in favour of something going on in the background. How and when do you decide which part of the song to focus on, and why would you opt to chart a background melody instead of what might be a more prominent sound?

I actually talked a bit about this on another answer, I think. But simply put, it all comes down to variety. Some sounds are prominent during the entire song, always charting the prominent sounds will almost always rend repetitive patterns. But even then, for the same sounds, there is actually a limited amount of different patterns that you are able to chart. You suddenly had an idea for a new pattern, but it generates a super short spin. Had another idea, but this time it has a match on a beat. This actually isn’t that bad and I’ve charted some matches on beats but if it’s not super necessary to the chart, then being able to read the chart better should always have priority.

So when it comes to this, I look for another sounds. You can make do by charting sliders or spins to kick and snare sounds. I think one of the first charters I saw charting sliders to kicks was dinx. My Fear Factory chart is an example of this. A pattern that repeats throughout all the chart is a “double tap slider” that starts as a double kick and ends with a snare charted to a beathold spin. This already started as a way to make the overall chart not repetitive by not charting the prominent sound, but even then this might turn repetitive, so at some moments, I changed it to 151 matches instead to bring forth the bass sounds and keep it varied.

One thing that’s certainly notable about you is your persistence and dedication – during SSSO playtesting, despite many of your charts being given Maybe and even No statuses, you persisted and continued to update them until almost all of them received a Yes. What drove this resolve to “fix” your charts and get them approved for SSSO playtesting? How did it feel to be a sort of underdog in the face of playtesters claiming ‘these charts are not salvageable for tournaments’, and how did you feel when you ultimately proved us wrong in the end?

Nah, I didn’t do it to prove playtesters wrong. I did it because at that time, no one really cared about my charts. They would release and no one would play them. But tournament charts get played a lot, as people practice and grind them in preparation for the tourney. In addition, it was super good practice as a charter. Receiving indications from playtesters on what was it that was wrong on your charts, what were the things that made them give them Maybes or even Nos. So I would fix every single thing playtesters would complain about, even when thought that suggested change might make the chart worse or would remove your initial intention.

It was for the better. I would release update after update, making them play the charts 3, 4 or even 5 times. I think one chart had up to 10 updates in a few days. Prog and fallin would even make notes of them all and send them to me, so I would look at them on the go while fixing the charts. So I was able to get the 10 submissions allowed per charter in and I was super happy.

There’s no doubt that while your charts were considered on the rougher side for a while, the response to your charts has generally become far more positive recently. Do you attribute this change in reception to any reason in particular, or did you just suddenly get good at charting?

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No but seriously, I kept going. And kept going. The more hours you put into something, you’re bound to get better at it. I’ts only natural. Every charter that helped me start out, they still help me to this day. A lot less, of course, but I still take into consideration what my fellow charter colleagues have to say. You reach a point though, where your style is defined in such a way that other charters just can’t complain to the patterns in a way that they might find bad.

They understand it’s part of your style and it just works for the chart. Like wide sliders, using lanes 0 and 6 for matches (or even -1 and 7, for that matter), etc. Those patterns aren’t common and they’re usually seen as non-standard. But on the right circumstances they work incredibly well. I’m very proud of an example of this on my collab with Stride (Stride) on Filament. I charted a 0 3 6 match pattern because once I listened to those sounds, they just were screaming to be charted to that pattern, and it worked super well. If I recall correctly, in that chart, it’s the only usage of lanes 0 and 6. It doesn’t feel out of place, it doesn’t feel weird. It just works.

A lot of charters tend to have some artists or genres that they gravitate towards frequently. You’re interesting in that I can’t really pin down any specific thing that you chart, since you tend to dabble in everything, from all sorts of electronic music, to older synthpop, to even K-Pop. Is there any particular reason for this variety beyond ‘I like all these songs’?

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I actually don’t have much else to say besides I just like those songs, lol. As I said earlier, if I headbang to a song, I will probably chart it. No matter if it’s electronic synth house dance dubstep neo-hardcore trance like F.O.O.L.’s Mercenary, love songs like Ne-Yo’s Because of You or Alexander O’Neal’s Criticize, electro dance like Slushii’s All I Need, videogame music from Donkey Kong Country, Celeste or Silver Surfer. Even god damn K-Pop. Dude, I really don’t know. If the damn thing is headbangable, it’s getting a chart.

That said, let’s discuss some of your more notable charts. Undoubtedly, one of your most notorious charts is also one of your first: Fugitive. At least, in its first few iterations. A very unique chart for its distinctive very quick 151s and spinners, particularly in its second drop, what about the song drew you to chart it? How did you feel about the reception it received, as well as the changes made in subsequent updates? In retrospect, what are your thoughts on this chart now?

Original Release

In its first version, that pattern was a curve out slider. It was super quick but given the game’s leniency, I thought it was fine (song is 125 BPM). I saw NickAzn posting some spin plays at around the time I released the chart, so I figured I could ask him to play the chart, and he did. Nick is pretty polite so he wouldn’t go and say that my chart sucked ass. So he just said that he didn’t like that pattern in particular. Then I made it (IIRC) 151 taps.

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It was of course, even worse. For that specific sound though, there was no place for 3 notes, you could make do with just a simple slider or 2 notes, at most. But I really wanted to have the sound charted to the flick motion instead, not to the notes. So I came up with the hellishly fast match 151s.

Then, after some other fixes and polishing, it got accepted for the Autumn SSSO, with its 151s still intact. Yeah, people did not like that. It actually got banned the first instance players would see it on their map pool for their match. I would even go and type in the stream’s chat “FUGITIVE OR NO BALLS”, because yeah, chart was pretty bad, but that also translates to being afraid of playing it. That gave birth to the NO BALLS meme, so I had that going for me, which is nice.

Tournament Edit

Now for Winter SSSO, when the map pool was revealed, Fugitive was nowhere to be found, despite the rule that non-played charts get carried over to the next SSSO. I went and asked Way the reason for this. He said something like “yeah… we revisited it and it’s no longer suitable for tournament play”. I honestly was pretty mad because yeah, I get it, the chart was bad but at least tell me you guys are gonna remove it, right? Well, whatever.

I decided I would redo the entire chart, but still wanted to keep the original, because you know, at that point it was pretty infamous, so I made a Tournament Edit. I removed the quick spins, the quick 151s, polished an entire section and overall charted it better. It got an immediate Yes and it got actually played this time.

In Retrospect

My thoughts on the chart? I like it. Both versions. It shows how much you can grow as a charter, when you compare the two. I decided to make separate versions so in the future I can go back, play it and say to myself “yeah, this is shit”. But that’s actually good. It’s history in the making. I didn’t want to be a fugitive of my own mistakes.

The heavy metal chart Painkiller was also, at least to tournament playtesters, a rather polarizing chart. What inspired you to chart this type of song, given that it was a very different genre from anything you charted before? How did you feel about the playtester feedback, and about its uncertain status in the tournament during playtesting?

Painkiller was actually a spin request by metalman20. I used to listen to metal a lot in my teenager days. So when I saw his request, I thought “Dude, yeah! This might actually turn into a super banger of a chart”. Damn thing is a 6 minutes long song, so it wasn’t to be an easy task. But I was motivated. Remember the headbanging rule? Yeah, you just cannot not headbang to this song. It’s fucking Judas Priest.

For its first version, it didn’t do that bad. I will never forget when Prog said to Way in voice chat “It’s better than Master of Puppets” (Master of Puppets is charted by TheWay123, which I didn’t like in the slightest and was actually wondering how in the actual fuck it got accepted for the tourney). Way only responded with “Oh, wow”. That right there was the first time someone I respected a lot said a chart of mine was good, from its very first version.

I was super glad. Objectively, yeah, the chart needed a lot of polish and even Way himself would later help me with it, streaming his gameplay and giving me tips on certain sections to make them better. Once again, just like with Fugitive, I did a Tournament Edit for Painkiller. Looking back to it, now I think that wasn’t necessary. It wasn’t as iconic as Fugitive, it didn’t have any reasons to keep the original version. The TE is just better, no matter how you look at it.

I don’t think we can get away with this interview without at least bringing up Dynamite. No K-Pop jokes aside, it sticks out in your library just because it doesn’t seem like the typical genres you do sort of stick to. So, why was this one in particular one that struck enough of a chord with you to chart?

Where I live, I don’t have a room of my own and I have a laptop, so I would just sit in the living room to do my stuff. At that time, there was a cellphone commercial on the TV that would run every single day, all day, that had this song in the background. Instead of hating the song by listening to it that much, like a normal person would, I just did what every charter would: go and chart it. I also had a second reason to it, an IRL friend of mine is into K-Pop. So I charted the song as a mean for him to get into the game. Didn’t work.

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Some of the games that you’ve charted the soundtracks of are Celeste, Silver Surfer, and Donkey Kong Country. What drew you to these games, and then what about their soundtracks stood out to make you want to chart them?

Celeste

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But actually I woulnd’t say that’s what drew me to it, because it’s not like I didn’t like it or didn’t know anything about it before. Metroidvania is one of my favorite game genres and Celeste looked really good in that regard, even though it isn’t exactly one, combining its Metroidvania bits with progressive precision platforming, I was hooked. I had it on my wishlist for years. When it got on sale I really wanted to purchase it but at that time, I had serious money struggles and any spending that wasn’t a priority would really hurt me. For some reason I commented about this on the server until fallin wrapped it, stuck a ribbon on it and gave it to me. He really liked the gifting thing it seems because he is still trying to gift me Nekopara to this day.

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I did Old Site because almost every Celester from the SpinShare community had a chart for the game. Prog has Forsaken City, Pick has Mirror Temple, Loos has Celestial Resort. So as the newest Celester in the community, I had to have my own chart.

Silver Surfer

For the Silver Surfer charts, I wanted to bring more attention to how much of a composing geniuses the Follin brothers are. [The] soundtrack for that game is so incredibly good, but the game is so incredibly bad and hard that almost everyone who played it only got to listen to the first few seconds of the first song. The Follin Brothers are actually notorious for making music for the most awful games out there. I intend to chart more of these brothers, so expect good things in the future.

Donkey Kong Country

Donkey Kong Country is my childhood. I grew up with these games for the SNES and I even have the original cartridges still. I always wanted to chart a DKC song, I just didn’t bring myself to it. Gang-Plank Galleon was actually a spin request by metalman20 (again, lmao) several months ago. But at that time, I couldn’t get the tempo map right. It was all over the place and I was shit at tempo mapping.

So I just left it there for months until just a few weeks ago I said to myself “hey, what if I revisit this chart, maybe after all these months I’ll be able to tempo map it”. This time I got it right and the chart came to be. Fear Factory was my favorite level from the first DKC, and the song is a banger too, so I just had to chart it. I was fully motivated because the songs weren’t that long. I also have plans to release more DKC charts in the future, maybe from DKC 2 or 3 this time.

Misc. Games

Also, I try to look for covers of old videogame songs that might fit the game better, like Forest Maze, which is a song from Super Mario RPG. The original was kinda repetitive and didn’t quite fit the game, so I went and looked for a more electro-y version of it and was able to find Doni’s.

You also have a notable amount of placeholder charts which you intend to use for a showcase. Any plans to let us know what that showcase is?

I wanted it to cause suspense and to get people hooked, like “omfg what is g4 gonna release for this showcase”. But literally no one cares, lol. I did the placeholder thing because since it was a full album showcase, I wanted every chart to be together, in numbering succession. With this, I took the spot 2000, which made Way kinda mad. He said they were thinking of making something special for the 2k chart and now they won’t be able to do it. It was funny, not gonna lie. I ended up releasing You Spin Me Round to that spot because you know, spin. Ended up splitting the showcase spots in half. But hey, had to do it for the ha ha funny joke.

Actually, it doesn’t matter anymore if I just say what game the showcase is for. I still won’t say though, because it’s been several months in the making now. But I can say it’s a game I like a lot. It’s a metroidvania. I have talked about it in the server so it should be pretty easy to [deduce].

Are there any other artists or songs that you love outside of Spin Rhythm? Any that you want to chart, but just haven’t gotten around to yet – or any that you just don’t think would be a good fit for Spin Rhythm?

I’ll give these examples and that should answer the question of what I like, since from my charts it’s kinda difficult to say, as you said.

GTA Stations

The GTA Radio Stations have some serious slapping beats – the Bounce FM radio station from GTA San Andreas has some super good funk songs from the 70s, 80s and 90s. The first time I listened to these stations I was actually surprised I liked this style of music, I think I had never listened to it for more than a couple seconds in the past. You Dropped a Bomb on Me, Let it Whip, Candy, Odyssey, Love Rollercoaster, Between the Sheets, I Can Make You Dance. Also some songs from K-DST. Dude. Hold the Line, Runnin’ Down a Dream, A Horse with No Name, Two Tickets to Paradise, White Wedding. All of them, fucking masterpieces.

The VIBE 98.8 radio station from GTA IV. Romantic songs, love songs. Because of You and Criticize charts came to be thanks to this station. It has got you covered. I think I liked Because of You this much because it reminds me a fucking lot of Michael Jackson. As I said in the description for that chart, this is when Ne-Yo could have been the next MJ. But then he decided he didn’t want to be that good. I [also] like the Radio Los Santos, Non-Stop Pop and East Los FM radio stations from GTA V.

Saints Row Stations

Also, I fucking love the The Mix 107.77 radio station from Saints Row 2, The Third and IV (also some songs from K12 FM 97.6 and KRhyme FM). Everybody Wants to Rule the World, Karma Chameleon, Take on Me, The Final Countdown. Holding out for a Hero, Return of The Mack, You’re the Best. What is Love, This is How We Do It, The Boys are Back in Town. Damn. Just listing these names makes me headbang.

Other

I don’t like a particular style. If I headbang to it, I already liked it, no matter the genre.

Also, a genre that has yet to be charted [for] Spin Rhythm is Reggaetón and its Trap derivatives. It’s super popular here in Latin America and I have been wanting to give it a go for some time now. We’ll see how it goes.

Alright, now let’s finish up. Of your charts, are there any that you’re particularly proud of? Which one was the most fun for you to chart?

My version of Spin Cycle, which is a base game song, was super fun to chart. It’s my favorite song from the base game so I charted it all out of pure love for it.

Break My Stride was super fun too. I only charted it because my homie Stride (Stride) was back in town. He finally signed up for an SSSO again after being trashed by a, in his words, “some washed up kid”, a year before. He got trashed again though, by Krauvando this time and made me lose all my Speen Coins by betting in his favour. Yeah, thanks a lot for that Stride (Stride). Very cool.

I’m not particularly proud of any chart. I always feel like I can get it better after a few weeks of more charting experience. But I’m kinda proud of the latest released chart, although in that case it’s usually more of a relieved feeling more than pride. Festival of Tsugaru, being my latest chart as of this Spinterview, was a lot of fun.

This song is the theme for a super weird, ridiculous and super hilarious character in the Saints Row franchise named Professor Genki, which is a blood thirsty human sized pink cat. There[‘s a] mission in Saints Row IV where you have to battle him, and he goes around with the song like if he had speakers in him, so the closer he gets the louder you hear the song. I don’t know, I found that super epic and funny as fuck, so I decided to chart it and I think I was able to come up with some fun patterns.

Any charts that you consider your favourite, or any that you feel got overlooked?

I still think that my charts get overlooked. It’s still pretty common for players to ban my charts in Custom 8’s or any tournament setting. I don’t blame them though. I feel like I’ve improved fast enough that even I would ban them myself. So in reality the charts that are still left in the map pools are charts from the past g4, a g4 that would pull out standard charts, but was still not quite there in the fun department. This is no longer true for the current g4.

I also don’t have properly favorite charts. I do have some that I like a lot more than the rest, like Inferno Galore and Forsaken City, from Prog. Or anything from Matt. It’s not by accident that I already mentioned them before. I also really like Dance with Silence and Milk Tea, from smb. But honestly, I like these because the songs are super good. It’s not that the charts are bad, of course not, smb is one of the best charters out there. But for the other ones I like the chart as much as the song, or even more.

Anything that you have to say about the SpinShare community?

Best fucking community I’ve been part of. To be fair though, that might be because it is still a rather small community. We’ll see. Nonetheless, these motherfuckers have become like a second family. Hell, even taking the spot of first family since I hang out with them even more than with my actual family.

Any advice that you’d like to give for charters?

Don’t take it personal. I can’t stress this enough.

One of the first thoughts new charters have is something like “they don’t even play my charts, this other charter released a chart and already got 200 plays in its very first second of release”. You can’t compare yourself to already veteran charters. Be honest with yourself. If you’re starting out, your chart is of course going to be bad. Hell, you might have been born with a little more talent and your first charts aren’t bad, but they won’t be good either. People don’t want to waste time downloading and playing awful charts that would make them miss because of unfairness. Hard patterns aren’t the same as unfair patterns. Or even your chart is just not fun. Charting fun charts is actually the hardest part of the process. You need to take into consideration the current meta and how it will behave in the future.

Don’t take it personal. You will receive a lot of criticism and that, almost always, hurts. It’s hard to receive, often seen as, mean words against something you spent so many hours on and put so much effort in. This criticism you receive from other charters is not because they don’t like you. It’s not because they don’t care. They say their constructive criticism and then it’s up to you if you want to absorb it or not. Don’t keep throwing excuses after your unfair or unfun patterns. They know better. Don’t take it personal.

Is there anything else you’d like to add?

Do yourself a favor and go play the fucking Saints Row franchise. Saints Row 2 is a fucking masterpiece, and The Third I actually liked it a lot despite its general consensus. SR IV is good too, although not as good as its prequels. People will usually compare it to the GTA franchise but the only similarity is that they’re both sandbox games. That’s all. They’re both good. GTA is more serious, SR goes way over the top for their jokes and that’s fucking hilarious.

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One last thing: one pattern must be made illegal. Which pattern is now illegal?

Zick triangles. I don’t care if they’re extended or not. And god fuck, fucking swiss triplets. I hate those. They’re literally unreadable. It’s like wanting to read a book from fucking Lord of The Rings in a single blink of an eye. It’s literally impossible. Thanks for coming up with swiss triplets, Kali. Very cool. Very fucking cool.

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Bonus: Guitar Hero Tournament

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