Music is segmented into programming blocks, focusing on genre or era, running 24/7.
#GUITAR HERO LIVE FORUMS TV#
Everyone who purchases the game has access to at least two TV channels which stream music videos - overlaid with playable tablature. What sounds overwhelmingly complex is communicated by a few short blurbs of guidance and minimal options. The mode functions as the online multiplayer component, a music video streaming service, a traditional catalog of playable songs, and the pipeline funneling money from players back to Activision. There’s a story mode, and you can read about it at Polygon - it’s lovely - but for me, Guitar Hero TV is Live 's raison-d'être. In Guitar Hero Live, you don't own your music. Your old Guitar Hero songs, they're stuck in your closet, attic, or whatever Goodwill you gave the old discs to. Guitar Hero Live shrewdly forgoes all of this legwork. One imagines this took incredible technical expertise and serious negotiation with the rights holders of that huge library of music. Rock Band 4, also released this fall, leans into the idea of ownership as access, planting its marketing flag in the players' ability to migrate most songs purchased for previous Rock Bands on older consoles to modern hardware. The original glut of Guitar Hero and Rock Band games rapidly constructed a model of ownership, in which players bought new songs to play via regularly released discs - sometimes multiple a year - along with access to buyable à la carte music from an online storefront. You don't own your musicįirst, understand what Guitar Hero Live isn’t. Guitar Hero Live still has that whiff of corporate involvement, but, and it’s strange to say this, the business model on which its built isn’t just sound, it’s innovative.
#GUITAR HERO LIVE FORUMS SERIES#
We’ve seen these results in the free-to-play model buoying Blizzard’s Hearthstone card game, the team behind Destiny learning from the growing pains of Diablo’s developers, and now we have Guitar Hero Live, a reboot of Activision’s most flagrant money grab, a series once used to sell the same plastic instruments year after year. In many ways, the result is the best of both worlds, game design that merges the best cynical moneymaking minds with A-list design talent, producing the rare video game that’s as wonderful for the customer as it is the company. Instead, the Activision and Blizzard merger has proved to be just that, a merging of two forces. Nor did the theoretical best-case scenario, in which Activision, under the influence of Blizzard, becomes some altruistic trust fund for gaming’s most creative and financially flightless minds. The popular assumption was Activision would insert its greedy tendrils through the senior echelons of Blizzard, turning the good company evil, like a parasite draining its host of life.
#GUITAR HERO LIVE FORUMS PRO#
A few years ago, the video game world lost its damned mind when Activision, the company responsible for shrewd money-printing annual franchises like Call of Duty, Tony Hawk's Pro Skater, and Skylanders, merged with Blizzard, the beloved publisher of three of the most financially successful and critically adored game franchises of all time, Starcraft, Warcraft, and Diablo.
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