#do you avoid clashing colours so all the rooms are similar? do you switch up the colour but keep the same theme? does it matter to you?

[vvitchy]

people who live on their own do you keep the same vibe/theme of decor for your whole home or is it different room by room

[thesinglesjukebox]

LADY GAGA WITH ARIANA GRANDE - RAIN ON ME

[7.21]

A collaboration of two raining pop stars...

Wayne Weizhen Zhang: When was the last time you felt queer joy? a friend recently messaged me. It's not the only message that I've gotten like it, coming from someone reflecting on how hard it is to find love in our queer identities when the spaces and support networks we've spent our adult lives creating are no longer easily accessible. Lockdown is hard for everyone, but queer people have it especially rough. I have friends who chose to stay alone rather than return to uncomfortable family situations; friends who chose to find shelter in other countries rather than go home; friends in nominally progressive, loving environments who still feel constantly micro-aggressed against. Due to COVID, I've been forced to live with my parents for four months now, during which time we've managed to avoid a huge confrontation about my sexuality--but I still feel so lonely and unseen. "Rain on Me," however, sees me. This song is big and dumb and flawed, and probably designed as fan-service, but it is so, so gay. The more-is-more sound, the delightful camp aesthetic of the promos, the millions of memes, the outrageous Chromatica merchandise are all as extra as I wish I could be. For God's sake, at one point, Ariana literally sings the words, "Gotta live my truth, not keep it bottled in." Two of the biggest gay icons in the world coming together to sing about their traumas in the pouring rain would have been cathartic pop under any circumstances, but under these, it feels like nothing short of triumphant, torrential queer joy. [9]

Tobi Tella: For the Gay Event of 2020, that beat drop is cribbed right from 2013. The two work well together, and the result is hard not to like, but I'm also finding it hard to love. [6]

Will Adams: "Stupid Love" worked as a return to form for the maximalist Gaga of yester-decade. "Rain On Me" works even better for the sweet surprise at how much energy she injects into filter house, a genre whose recent re-emergence has often felt lifeless. The growl she adds to the "RAIN on me" that punctuates the instrumental break does plenty on its own. The presence of Grande and the alternate chorus at the very end implies that there could have been more but what was left on the cutting room floor doesn't really matter when the final 3-minute product is this electrifying. [8]

Joshua Lu: At times "Rain on Me" feels like two separate dance tracks spliced together: one with Lady Gaga's hefty vocals serving as the backbone for a groovy instrumental, and another with Ariana Grande's lithe voice adroitly dancing on the pounding synths. Either can succeed on its own, but when they mix, they hamper one another. It's most evident on the bridge, where Ariana's breathy delivery clashes with Gaga's campy deep voice, which shouldn't be used there regardless -- hearing it for an entire section makes it less powerful when it pops up as the pre-chorus. [5]

Edward Okulicz: This Lady Gaga single is okay to pretty good, but the chorus is basically just "Rain Over Me" by Pitbull. [6]

Scott Mildenhall: Not everything has to be "Telephone," but Gaga's statements about "Rain on Me"'s personal significance hit home how run-of-the-mill the song feels compared with something so conceptually walloping. The deep personal connection Gaga felt with Grande is sadly inaudible, and the boldest it all gets is with her spoken delivery of the title, an appreciably camp touch in a song that is content and perhaps correct to colour within the lines, however brightly. [7]

Katherine St Asaph: Did not expect my first thought upon hearing a Gaga song to be Shut Up Stella. This shrinks a bit after hearing Chromatica, which has more massive tracks. [6]

Jacob Sujin Kuppermann: Gaga and Ari are pop music's two greatest theater kids. Every note, every line on "Rain on Me" is perfectly calibrated to demonstrate this, to make clear their skill at acting out the role of the pop star. The musical frame of the song is sturdy enough (it's not "Fade" or "Electricity" in terms of '90s house pastiche, but it grooves deeply enough to not seem lightweight), but "Rain on Me" is driven by their performances. It's most obvious on the song's bridge, where the combo of Gaga's imperial declarations and Ari's upper register meld together in kitschy glory. "Rain On Me" isn't a perfect song-- it's a bit underwritten, and the water metaphors don't fully come together-- but it's a near-perfect performance. [8]

Ryo Miyauchi: "I'd rather be dry, but at least I'm alive." It's a hook that's surely, and most likely unintentionally, informed by post-COVID life, but it also reminds me of the apocalyptic pop that flourished about a decade ago when dubstep was in full swing. That subgenre's structure still lives on at a elemental level, with the chorus devoid of lyrics, just now swapped for a chic, Justice-style electro-house. While any hint of doom might be more the beckoning of the current time, Lady Gaga and Ariana Grande's eager sense of abandon taps into now as much as it does to a recent past, and I hope it will speak to us in a similar way in the future when our world seems to be collapsing again in whatever context. [7]

Jessica Doyle: The more I listen to this the less it hangs together. Is the rain heartbreak or guilt? Is Lady Gaga the victim of it or using it for her own destructive ends? (Rain can be healing; tsunamis never are.) Why does she throw that cold, commanding "Rain. On. Me." refrain into a song that's supposed to be about vulnerable acceptance? And why isn't it "I'd rather be drunk, but at least I'm alive"? (Darn it.) I'll cede some power to the image of Gaga and Ariana Grande, both wounded and relatably self-aggrandizing, stomp-dancing around together in the rain, but stripped of pop-gossip context the song won't stick around. [5]

Leah Isobel: Lady Gaga is pop Jenny Holzer. She doesn't write lyrics, she writes slogans. I'D RATHER BE DRY, BUT AT LEAST I'M ALIVE isn't quite on the level of I WANT YOUR WHISKEY MOUTH ALL OVER MY BLONDE SOUTH, but the contrast between her severe consonants and Ariana's airy open vowels provides enough scaffolding that it works anyway -- and it doesn't hurt that the bass hurtles around that line like a Ferrari. If Gaga's oeuvre is a monument to the power of sheer determination, "Rain on Me" is what happens when she wills her sadness into release, her trauma into mere prelude; it's American pop myth-making at its purest. In that sense, it's an old-fashioned kind of triumph. [8]

Oliver Maier: Lady Gaga is too much of an auteur to really relinquish control. This is why her me/us-against-the-world cowboy songs suck, because she is at her best when she rules the reality that the music inhabits. On the strongest of her imperial-era singles, desperation and desire are either crystallised into museum exhibits or performed with such dark melodrama that they feel more like elaborate theatre for which she plays both director and lead role. "Rain On Me" is about giving in and letting herself cry, but the drop hinges critically on the spoken command that opens the floodgates; it's catharsis issued with total precision. Ariana, the reigning pop queen of emotional honesty, is at home on her confessional verse and then, having run out of stuff to do, sticks to ornamentation (it's funny that she gets a "with" credit for what is very much a "feat."). There are smart decisions -- the compact runtime, the way that the aqueous filtering drives the imagery home -- and then there's the simple, house-beats-go-brrrrr monkey brain joy of dance music that sounds this sure of itself; what it's doing, where it's going, how hard it slaps. [8]

Alex Clifton: Was this designed to get me through my next run? Through the next time Louisville is pelted by rain for days at a time? Through the pandemic? I'm not sure, but I've sold my soul to Gaga and Ariana for the above reasons and am more than happy with the results. [8]

Jackie Powell: I didn't really understand how this collaboration was going to work until I remembered the similarities that Grande and Gaga share. Besides the obvious that both are Italian, both have witnessed trauma in real-time and in front of the world. "Rain On Me" is a conversation that manifests in the music itself but also in all of its accompanying media, such as promotion its Robert Rodriguez-directed video. The moment when Lady Gaga pulls the knife out of her leg is purposeful Right as Gaga forcefully hauls the knife out of her thigh, Grande begins her verse. We can't move through pain and trauma alone; that invitation into conversation and togetherness is part of the healing. The melody of "Rain on Me," which I'm assuming was written mostly by Grammy-winning Nija, was orchestrated as an internal battle-cry that is designed to be spouted out. Gaga begins singing as we expect her to, with a deep darker belt in her sweet spot. But once we hit the pre-chorus goin into the chorus, she switches into bright head voice, which is where we expect Grande to be. Ari then sings deep in her chest, around the pre-chorus and into the chorus. There's a pattern. During the bridge, they switch again, and then again in the outro. As to what's going on with Gaga and her vocal fry in that bridge and the last phrase of the chorus, some say it's just classic Gaga, The Fame Monster Gaga. While that's correct, she uses it as a tool with multiple functions. It serves as a "c'mon let's go to #Chromatica" statement, but it's also a transition that facilitates the journey. It sets up the glorious bassline that not only explodes into the ears, but was directly interpolated from Gwen McCrae's "All This Love That I'm Giving." But back to the pre-choruses: They give the listener the track's thesis and its heart. In the first pre-chorus when Gaga belts that she's ready for the rain, she's not fighting it anymore. All of that emotion is happening. The second pre-chorus is the reformation of the feeling. It's not comfortable, but we need to just let it out, let it fall, and let it be felt. "I'm ready. Rain on me." [10]

[Read, comment and vote on The Singles Jukebox]

[eggoreviews]

My Top 15 Bosses in Games

Bosses are fun and great, most of the time. And often, they can make or break a game for me, which means my favourite games often have the most entertaining, impactful boss battles with high emotional stakes or just pure spectacle. Because I couldn’t pick just 10, here’s my top 15 bosses that really left a mark on me. Enjoy!

This list is probably gonna be a little weird, because it’s purely my opinion. Also, spoilers below for all the games I mention.

15. Donkey Kong (Super Mario Odyssey)

Admittedly, this is stretching the definition of the term ‘boss’, but if DK from back in the 80s can be counted as a boss, then so can this. For me, this was the best moment in all of Odyssey, which in itself seemed to be a love letter to the legacy of both 2D and 3D Mario. This retro throwback, complete with the classic 2D run-and-jump platforming from the original Donkey Kong, is amazing with the huge Metro Kingdom festival in the background and the soaring Jump Up, Superstar accompanying it. This seamless marrying of old and new proved to be my favourite part of this game, and made Odyssey one of my favourite platformers in general.

14. Void Termina (Kirby Star Allies)

I know this is a really unpopular opinion, but I personally loved Kirby Star Allies for a lot of reasons. I loved the graphics, the characters, the smooth, simple and fun gameplay, how polished and unique each section of the game was, not least the huge space section at the game’s conclusion and of course the free updates adding a wealth of new content and characters. And at the very end, you take on this thing, Void Termina, in a massive space arena. Above everything else, this is just dizzy, colourful fun and is a great culmination of everything the game’s been building up to since the first level. You spend the fight switching between firing wildly at Void Termina from your rainbow ship thing and fighting parts of the monster from the inside. As I’ve said, this made for a satisfying conclusion to an amazing platformer for me and more than earns its spot on my list.

13. Mirelurk Queen (Fallout 4)

I remember the pure shock I felt for a hot second the moment the Mirelurk Queen decided to rear its head for the first time. For the record, I’m talking specifically about the Queen that shows up when taking the Castle for the Minutemen. Seeing this hulking thing looming even above the castle walls is something that genuinely intimidated me, especially as early into my playthrough as I was, and it took a lot of my supplies (and a lot of attempts) to finally pump enough bullets into it to kill it. The frantic panic of sprinting around the ruins of the Castle trying to avoid the giant Mirelurk’s blasts of acid and keeping enough distance to stay safe balanced a good amount of difficulty with spectacle and stayed with me long after I put the game down.

12. Griffin (The Witcher III: Wild Hunt)

I’ve made it clear on my blog before that I didn’t have a standout experience with The Witcher III as a whole, but to say it didn’t have some spectacular moments is pretty much an insult. In particular, Geralt’s first throwdown with the massive griffin terrorising White Orchard was a brilliantly intense and strategic fight that greatly utilised the game’s smooth combat system and made full use of Geralt’s many abilities. I find that the game really shone most of all while in combat, maintaining a great level of intensity with balanced difficulty and a soaring soundtrack that always makes the battle experience even more memorable. Plus, look how awesome this thing looks.

11. El Luchador (Rayman Legends)

The end boss of a world in my favourite platformer of all time based entirely on the Mexican tradition of the Day of the Dead, this particular boss fight encapsulates everything I adore about this game. Fun, tight platforming, colourful and memorable design, a great soundtrack and controls that function perfectly. You spend this boss fight finding new and creative ways to bounce on this giant wrestler’s head in front of an audience of cheering skeletons as the manic soundtrack intensifies with each round of the fight. This fight, and this entire game, combines fun and creativity masterfully and I’d urge basically anyone to play it.

10. The Archdemon (Dragon Age: Origins)

Part of what makes the climactic battle with the Archdemon so memorable is how perfectly the game pulls off the intense build-up that lasts the entire plot and then still delivers an epic payoff. The Archdemon is almost straight away set up as a genuine threat that looms over everything you do in Origins and the success of your eventual showdown with the Archdemon is based entirely on your strategies and choices throughout the game. Who you manage to recruit, what races you have fighting on your side and, most importantly, which companions you take with you into the finale will all have a huge impact on your fight. And oh boy, the Archdemon is just as hulking and terrifying when you finally get to take him on. This fight is probably the most universally recognised great on my list and still stands out as one of the best RPG finales to date.

9. Marguerite (Resident Evil VII: Biohazard)

Resident Evil 7 is a truly terrifying, if fairly brief, foray into horror that Capcom haven’t quite managed since the series’ fourth entry. And I felt that the main fight with the Baker family’s deranged mother Marguerite deserves a place on this list for the raw terror it creates alone. Just when you think you’re getting used to the horrors of the Baker estate, the game ushers you into a claustrophobic greenhouse and locks the door behind you. After a jumpscare that will make you lose your shit, you’ve got to somehow dispatch this horrifying, unhinged bug woman who’s screaming obscenities and crawling on the walls and ceilings to pounce on you and spawning endless poisonous insects from the weird egg sac between her legs. As if that wasn’t awful enough, most of the time, you don’t even know where the hell she is, as she has a rather unsavory habit of crawling off into little alcoves and into walls, out of your sight, so you’re forced to frantically search around in the darkness in an attempt to spot her before she jumps on you. No other boss fight has elicited this kind of fear from me, so on that merit alone, it’s earned its spot.

8. Daud (Dishonored)

The climactic clash with the man that killed your character’s love interest, the empress, and was directly involved in framing you for her murder is just as brilliantly satisfying as you’d expect. For the first time in the game, the protector turned assassin Corvo is finally forced to take on someone who can wield the same supernatural powers he can, which makes a battle with high emotional stakes that really allows you to see the glaring similarities between Corvo and Daud. On top of this, with Daud being voiced by Michael Madsen, his provocative, yet thoughtful dialogue throughout the battle makes you think while you fight and gives you a much deeper insight into Daud’s character and helps you decide whether you’ll choose to show him mercy or not, especially during his eloquent plea for mercy at the fight’s end. As for the fight itself, it’s fast-paced and intense, while encouraging you to make full use of Corvo’s arsenal of weapons and powers to beat him back. But most impressive is the sheer difference in experience depending on whether you’ve chosen the path of merciful low chaos or murderous high chaos throughout the game, with Daud in low chaos being much more willing to offer a fair fight rather than sending his goons out after you. In a game full of changes to the world and story depending on your choices, some huge and some extremely subtle, this fight with the empress’ assassin is a truly standout moment in a brilliant game. Oh, and if you end up playing the DLCs where you take control of Daud, another emotional layer is added when you realise just how much Daud has done to save the empress’ daughter, even when on the surface he seems to be just another of Dishonored’s many despicable villains.

7. Stained Glass Demon (MediEvil: Resurrection)

Anyone who knows me knows I’m a huge MediEvil fan, specifically the oddly maligned PSP version that I personally think is amazing. For me, this charmingly gothic action platformer has a hell of a lot of high points, but the fight early on the game with the Stained Glass Demon in particular is as cool as it sounds. The game totally embraces its gothic atmosphere in this section, with the protagonist Sir Daniel Fortesque being trapped within a textbook creepy mausoleum full of undead things, and something in the giant stained glass window that seems to be very alive. Eventually fighting this thing really tests you on what you’ve learned up to this point, meaning that full use of the weapons you’ve gathered is basically essential if you want to beat this weird demon that uses glass as its main attack. By merit of how uniquely amazing this boss fight is, as well as the game it hails from, this particular demon is one of my absolute favourite boss fights.

6. David (The Last of Us)

While this isn’t a boss fight in the traditional sense, it is a gritty, tense face off with the game’s only real central villain. You play as the hardened but still terrified Ellie as you carefully navigate a restaurant while David searches for you with very murderous intent, his monologues only serving to make the experience even more chilling. With each strategic hit you manage to land, David becomes more and more enraged, searching the restaurant with more fervor with each hit you deal, eventually setting the building on fire. The tension that’s been building through the whole encounter reaches boiling point as you watch the fire slowly begin to envelop the whole room and Ellie finally catches him offguard long enough to brutally kill the deranged man with his own machete. Everybody knows how amazing this game is, and this unorthodox fight in particular stood out as a great character display and a masterclass in building tension, to only then be immediately followed by Joel and Ellie’s emotional reunion that definitely tugs at your emotions. The Last of Us has always been a must-play and this moment serves as one of many reminders that it definitely still is.

5. Xaldin (Kingdom Hearts II)

Probably the hardest boss fight on this list and also that I’ve ever had to do in general (yes that means I’ve never played Dark Souls), I initially wrote this whole fight off as total bullshit, as I figured there was no way outside of blind luck to finish this with any sort of skill. And admittedly, luck is a factor here, with Xaldin’s constant and dizzying attacks taking a hell of a long time to work out the patterns for than most other fights in the game. He’s pretty much constantly in your face, knocking off huge chunks of your health bar in one go, so it quickly becomes a mad dash for survival as you run around the castle courtyard trying desperately to find an opening. One thing I’ve always loved about Kingdom Hearts, despite how needlessly complicated most of its entire concept is, is the consistently smooth, fun combat system, that allows for many different styles of play and rewards experimentation with different abilities and magic. Nowhere does this come out more in one of the game’s many creative boss fights, most notably for me the clash with this particular member of Organization 13.

4. Morag (Dragon Quest IX: Sentinels of the Starry Skies)

This is probably my weirdest pick on the list, as in reality Morag is a fairly inconsequential boss fight in a game that most people regard as one of the worst in the Dragon Quest series. But DQ9 is one of my absolute favourite games of all time, and this boss fight in particular is tied to one of the most emotionally charged storylines I’ve experienced in an RPG. Towards the start of the game, you’re tasked with killing the Wight Knight, a supposedly evil knight that’s been terrorising a local town, specifically the town’s princess. Upon beating him, you discover that he was cursed by the witch Morag to remain with her in the ruined town of Brigadoom after falling in love with him. The princess that the knight had fallen for died in the intervening 500 years, leading his grief to cloud his judgment and he began to pursue the princess of a different town that looked almost exactly like her. In order to put his spirit to rest, the princess of the town realises who and what the knight is, and comes to Brigadoom to give him the dance he never got to have with the woman he knew 500 years ago. Okay, might be a little cliche, but this really oofed me and I thought this whole plotline was brilliantly executed, much like every other emotional moment that this game is packed with. As a whole, this boss fight, while inconsequential, is intrinsically linked to a heavily emotional subplot and is a hidden gem in an often overlooked, but amazing RPG.

3. Goro Akechi (Persona 5)

I almost gave this spot to the ever satisfying takedown of Kamoshida, but this fight just beats him out for pure emotional stakes alone. Goro Akechi is a tragic character who was horribly mistreated throughout much of his life, but at some point in his life, he made a conscious choice to become what he was. While the phantom thieves sympathise with his plight and the people that aided in him becoming the murderer that he was, they know they can’t get through to him and their only choice is to fight him off. The boss fight itself is suitably epic, with the now clearly unhinged Akechi throwing his full might at your party, but there’s still a part of you that doesn’t want to keep fighting. And that’s what makes this whole section so interesting, as your main character begins to understand that Akechi in reality is a twisted reflection of the thieves and what they could very easily become should they lose their way. And Akechi’s eventual realisation that this is the case then prompts him to make the ultimate sacrifice in the end, as his loyalties waver when he realises his father never planned to keep him around anyway. There’s a lot to unpack in this particular fight and has a lot more emotional layering to it than most other fights in the game, and it’s very rare to say that about any boss fight. Persona 5 is a spectacular experience from start to end and the effect Akechi’s final stand had was one of its most memorable moments.

2. Asriel Dreemurr (Undertale)

A once underrated indie gem that has since basically become a gaming icon in the years since, how much I absolutely love Undertale still hasn’t wavered. And in a game with a wonderfully creative combat system and therefore full of great bosses, the pacifist route’s final fight takes the crown for me. It’s the perfect culmination of everything you’ve experienced throughout Undertale, giving you a brilliant soundtrack and the opportunity to save each and everyone of the friends you’ve made along the way, followed by Asriel himself. The story of Asriel and the first human who fell into the underground is a deeply tragic one, and Asriel himself is a character stricken with grief that has distorted into anger and an obsessive desire to wield godlike power and all of this combines to make you really feel for who you’re fighting, which makes it all the more satisfying to help him come to his senses at the very end. This incredibly intense, but endlessly satisfying battle ends off with an emotional sequence of the real Asriel realising the hate in his actions and redeeming his actions by opening the barrier while he’s still himself to let monsters go free. This ending gets me everytime and there’s some wonderful themes buried in here somewhere, so the significance of this particular character and his final showdown can’t be understated.

Before I cry talking about my top pick, here’s (a lot) more I really love:

Master Hand (Super Smash Bros. series)

Lord Fredrik (Donkey Kong Country: Tropical Freeze)

Yuga (The Legend of Zelda: A Link Between Worlds)

Yellow Devil (Mega Man)

Gohma (The Legend of Zelda: Ocarina of Time)

Delilah Copperspoon (Dishonored 2)

Xion (Kingdom Hearts 358/2 Days)

Bebuzzu (Final Fantasy Fables: Chocobo Tales)

Zinyak (Saints Row IV)

Alduin (The Elder Scrolls V: Skyrim)

Bowser (Super Mario Bros. 3)

1. Calamity Ganon/Dark Beast Ganon (The Legend of Zelda: Breath of the Wild)

It probably stands to reason that my favourite boss fight came out of my favourite game. Much like the rest of Breath of the Wild, this finale left a huge impact on me and I absolutely adored all of it. After fighting your way through the ruined Hyrule Castle (which, as a sidenote, is also awesome), you finally see the horrible monstrosity you’ve been building up to fighting for the entire game and it looks as freaky as it should. Before the fight kicks off, each champion you’ve rescued makes a cameo to help you out and then, you’ve got to fend for yourself. This spectacular boss fight does everything a boss should do; it tests you on everything you’ve learned and gathered throughout the entire game, maintains a great level of emotional stakes and, most importantly, gives you a fitting finale to arguably the best adventure game ever made. Everything is topped off with a horseback battle with a giant creature form of Ganon that covers the whole of Hyrule Field (which at that point, honestly does intimidate you) in one final push to seal Ganon away. You truly feel that this is what your grand adventure has been leading up to and the sense of genuine accomplishment you feel when Ganon falls and Link finally reunites with Zelda in real life after spending all this time regaining his treasured memories of her combines that sense of accomplishment with vast emotional depth. Everything about Breath of the Wild absolutely blew me away and this wonderful ending really could not have been better. The long awaited final battle against Ganon, after experiencing everything that happened to Link and the champions after losing so tragically to Ganon a century ago, as well as the brilliantly handled subtle romance between Link and Zelda, makes this my absolute favourite boss fight, and game ending in general, of all time.

So that’s my list! Hope you agreed with at least some of my picks, or at the very least could sort of see where I was coming from. Got any great boss fights of your own that top your list? Let me know! And big thank you for reading. Have a gr8 day.