In Todos, they want Daisy Jones, Taylor Jenkins Reid builds the definitive history of setend music. The problem is that it is all fiction. The novel, which is composed of a series of false interviews with members, friends and collaborators of the fictitious band The Six, explores all those problems and situations that the most famous musicians of the time had to face once in their life according to the Imaginary popular. With the look on documenting the successful tour that The Six performed in the company of the Musa and artist Daisy Jones, the book refers us to the first years of Creedence Clearwater Revival and the Riñas among the Fogerty brothers, to the violent hobbies of The Who and the scandals soaked in pink champagne starring Edie Sedgwick. _ All want Daisy Jones_ absorb Eric Clapton's stylistic swings, the rehabilitation of Elton Jones and the withdrawal of Paul McCartney to an isolated farm in Scotland along with his cute woman. It is not a good novel, but it is a very interesting reading. Far from seeking humanize the great icons of music through its characters, Reid tries to create the definitive idols; The brightest, desired and tragic. To the most charismatic. Musicians who can only exist in the journals and in the nostalgic look of millions of followers. The gods of the most plastic, collective and popular pop culture.
_ All want Daisy Jones_ It works because it tells us a story that we all know, that we all believe, on arrival at the stardom of talented and humble guys who then did not know how to handle fame. A story about such a magnetic rich girl who was able to define the fashion of a whole time with the outfits of her residues. Because he talks about the self-destruction that accompanies success, and the misfortune to achieve everything in exchange for renouncing our humanity; Reid's novel is rock history and brings together all the issues that have accompanied gender over the past 50 years. It is a history of music because it absorbs all the concerns of the public and is a satisfactory entertainment because it reflects them as we want to see them. A Musical Story does something similar. Start with the story of a band that could be any band of the world. With boys raised in workers' neighborhoods for which music is an escape to certain types of abuse. And it puts them in motion. He immerses them on a journey towards the promise of fame.
Leaving aside the middle change, the main difference between Musical Story and stories like todos want Daisy Jones and even _Dewey Cox: a long and hard life, is that the team of Glee-Cheese Studio wants to send us constantly to the known but without forgetting the most human part of the characters, or glamorizing their tragedies. In its most narrative aspect, Musical Story is a proposal composed of vignettes of relative complexity in which the consumption of drugs or the past of the characters are more than an aesthetic component. Romance, jealousy and rivalries Among the members of the band are presented as real situations and not as obligated procedures within the narrative. However, Musical Story is also a game of rhythm. And it is in the playable part in which in which Glee-cheese Studio does not finish hitting.
To advance between the chapters and bullets of A Musical Story, the game will require us to successfully overcome a series of guitar riffs, battery or keyboard through its different original songs. Like all its soundtrack works as a conceptual disk, it is relatively simple, if we have a good ear, memorize the different reasons and understand their evolution throughout the songs. When playing, the title presents a series of circular compasses in which the notes that we will have to mark with the triggers will appear. Although we only used two buttons during the game, the game mix different types of notes (short, long, fast, doubles...) to add diversity in what they also want to be playable vignettes. However, what seems to be a good idea, interesting both from the musical point of view and from the perspective of the design, ends up being very annoying for the players. By its conception, Musical Story can be frustrating both for its simplicity and an obtuse difficulty.
Unlike what he presented on his first demo, in the face of his final release to Musical Story he has added several progressive options to guide the player at that time when he was stuck. Besides being quite generous with the time it gives us to mark the notes, the title has included visual indicators that are unlocked with our faults and ranging from a subtle lighting on the sides of the screen to indicate the rhythm of each trigger, until A white pointer that indicates the tempo in the compass itself. And although all these are excellent solutions, on the one hand they shoot too soon, moving away from the rhythm, while on the other they do not work when the difficulty found it in the first note; When we fail because we entered too soon or too late and the situation of the note pisses just at the beginning of the improvised compass.
On other occasions, it is the excessive generosity in time to mark the notes what makes the game unexpectedly difficult. At various moments of fast rhythm, in which several simple notes are followed by double notes, a small delay can activate both markers, producing a failure in the double note. Although it is not something to happen in a regular basis, this situation is not only frustrating but rupturist, since it breaks with the explicit flow of the proposal, which happens not to stop too long in any of the brief vignettes.
It is a pity that the interesting artistic, narrative and sound bet of A Musical Story is as ballast so it should be the center of the experience. When the Glee-cheese Studio proposal works well it is easy to flow between your images and your musical motifs, embracing our mistakes as part of the performance itself. However, right at its center, between its expressive start and its brilliant final, the title enters a land obtuse in the playable and monotonous in the narrative, which lasts the experience making it less memorable, much less enjoyable, of what it should. There is no doubt that developers have created around a topic they know and that interest them but perhaps, instead of innovating, they should have set more into more classic proposals within rhythm games. Look at the history of music not only from the perspective of images and anecdotes, but from within the games that have already made us enjoy.
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