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  #2  
Old May 27, 2012, 09:36 PM
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OH MASUDA YES

This will be great. So much material to translate, so much potential~! I'm hoping for a greater percentage of the music being done by Go Ichinose this time around. Do that, and this will make my year complete.
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Old May 27, 2012, 09:42 PM
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2625 yen for 4 cds? Wow.
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Old May 27, 2012, 10:16 PM
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What a bargain, that. The Pokemon Company is very good about pricing effectively.
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Old May 30, 2012, 09:39 AM
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So: what are everyone's expectations for this album going to be? As in hopes for artist representation, quality of the extras, and general quality of the music?

I want to see an equal balance of material from every sound team member, all across the board. Shota Kageyama occupied too much space on the B/W album, making a bunch of disappointing and/or lackluster tracks amidst some great ones—really, though, it prevented Go Ichinose and Hitomi Sato from expanding their musical experimentation with the series that had started to gain traction in Diamond and Pearl. Ichinose did the battle music arrangements on the last album for the most part, and those were the best battle tracks I've yet heard in a Pokemon game soundtrack—evidence enough for him to pump out more of his interesting, well-developed material.
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Old May 30, 2012, 09:58 AM
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I want Kageyama sound director again. 'nuff said.
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Old May 30, 2012, 12:00 PM
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The credits listed are from my own copies of Emerald and Platinum.

Emerald: Masuda, Ichinose, Aoki, Sato
Platinum: Masuda, Ichinose, Aoki, Sato, Nohara
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Old May 30, 2012, 12:46 PM
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Seems about right on the editing.

I don't want Kageyama as music director, but he's definitely Game Freak's best sound technician (and I suspect his ability with samples and audio tech is one-half why he was hired), and he'll continue to be an important part of the sound team throughout. Ichinose should return to being the music director and stay there, mainly because he's the general sound team leader and because of his ability to balance each soundtrack based on the number of contributions from each member.
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Old May 31, 2012, 12:17 PM
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Quote:
Originally Posted by DragoonEnRegalia View Post
Seems about right on the editing.

I don't want Kageyama as music director, but he's definitely Game Freak's best sound technician (and I suspect his ability with samples and audio tech is one-half why he was hired), and he'll continue to be an important part of the sound team throughout. Ichinose should return to being the music director and stay there, mainly because he's the general sound team leader and because of his ability to balance each soundtrack based on the number of contributions from each member.
Remember: this is Black 2 and White 2, not a different game. I think changing sound director may cause inconsistency with what Unova was in BW, hence my choice of Kageyama as sound director. Just to keep the same mood.
Also, I think Kageyama made a wonderful job in leading BW. The region was too different from the others to have the same style of music; something like Route 10 would likely have been rejected if it wasn't for him.
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Old May 31, 2012, 02:29 PM
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Quote:
Originally Posted by Novecento View Post
Remember: this is Black 2 and White 2, not a different game. I think changing sound director may cause inconsistency with what Unova was in BW, hence my choice of Kageyama as sound director. Just to keep the same mood.
Also, I think Kageyama made a wonderful job in leading BW. The region was too different from the others to have the same style of music; something like Route 10 would likely have been rejected if it wasn't for him.
I don't think B2/W2 is going to have the same mood overall, though, if the trailers are any indication. Character designs are crazier, visual style is more over-the-top (and the last game didn't have PokeCinema either!), and there are some comparisons to be made between this installment and Gold and Silver. Ichinose would fit a crazier, more off-the-walls sequel better than Kageyama could—even though Kageyama was a suitable fit for B/W's drama and high-concept premise, this looks more emotional and eclectic, two traits I don't normally attribute to the majority of the Pokemon music he's composed and arranged. This may be a sequel, but it's not as much like the original as one might initially think!

Also: Kageyama's sound direction never provided much direction to begin with, outside of adding in variable instrumentation and just allowing each musician leeway to do what they want, so long as he was able to handle the majority of the major story-context material. Nor did it connect to Unova itself, a region that could always just be described with musical direction typical for the series. It connected to the underlying Plasma conflict, which bounded the whole story together in a different way entirely, at least not in the same way that previous Pokemon games had been tied together (i.e. focused around beating the Champion, not around beating the evil do-ers). The real question is: who's going to provide the right approach to letting the musicians produce the kind of tracks they want to make for a certain context, style, and overall mood? If this game focuses on the champion progression again, and if it really is as G/S-esque as I think it is, then Ichinose would be the best choice.

That, and Ichinose's got both experience and enough ambition to constantly challenge what Pokemon music can sound like. I'd rather have a real risk-taker than a safer director like Kageyama, anyway. Ichinose's greatest achievement in Pokemon music history was subtle enough to hide itself, but is rather influential in its own way. For G/S and the other games onward, Ichinose focused on making the soundtrack progression and relationships (as in quantity of story-focused tracks in relation to more general-context BGM) more flexible and adaptable to the shape of the story progression itself, often working together with a general focus on a champion-based plot progression to allow for more room for Ichinose, Masuda, and Sato to experiment with new ideas and switch roles for any given set series of material. Both Masuda and Kageyama have a stricter, more story-based approach that works well when the story emphasis is less on the broad goal of becoming the new Pokemon League Champion in a given region, but on other areas of interest like the dynamic between Red and Blue as bitter rivals (a subversive, utterly-intriguing example of progression-based storytelling), or perhaps the rise and fall of Team Plasma (which itself is new for the series, and also a mirror image of the conflict between Red and Team Rocket in the original games that B/W tried to copy). Interesting stuff I just realized!

Last edited by DragoonEnRegalia; May 31, 2012 at 02:42 PM. Reason: Addendum, third paragraph.
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  #11  
Old Jun 3, 2012, 11:53 AM
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Quote:
Originally Posted by DragoonEnRegalia View Post
I don't think B2/W2 is going to have the same mood overall, though, if the trailers are any indication. Character designs are crazier, visual style is more over-the-top (and the last game didn't have PokeCinema either!), and there are some comparisons to be made between this installment and Gold and Silver. Ichinose would fit a crazier, more off-the-walls sequel better than Kageyama could—even though Kageyama was a suitable fit for B/W's drama and high-concept premise, this looks more emotional and eclectic, two traits I don't normally attribute to the majority of the Pokemon music he's composed and arranged. This may be a sequel, but it's not as much like the original as one might initially think!

Also: Kageyama's sound direction never provided much direction to begin with, outside of adding in variable instrumentation and just allowing each musician leeway to do what they want, so long as he was able to handle the majority of the major story-context material. Nor did it connect to Unova itself, a region that could always just be described with musical direction typical for the series. It connected to the underlying Plasma conflict, which bounded the whole story together in a different way entirely, at least not in the same way that previous Pokemon games had been tied together (i.e. focused around beating the Champion, not around beating the evil do-ers). The real question is: who's going to provide the right approach to letting the musicians produce the kind of tracks they want to make for a certain context, style, and overall mood? If this game focuses on the champion progression again, and if it really is as G/S-esque as I think it is, then Ichinose would be the best choice.

That, and Ichinose's got both experience and enough ambition to constantly challenge what Pokemon music can sound like. I'd rather have a real risk-taker than a safer director like Kageyama, anyway. Ichinose's greatest achievement in Pokemon music history was subtle enough to hide itself, but is rather influential in its own way. For G/S and the other games onward, Ichinose focused on making the soundtrack progression and relationships (as in quantity of story-focused tracks in relation to more general-context BGM) more flexible and adaptable to the shape of the story progression itself, often working together with a general focus on a champion-based plot progression to allow for more room for Ichinose, Masuda, and Sato to experiment with new ideas and switch roles for any given set series of material. Both Masuda and Kageyama have a stricter, more story-based approach that works well when the story emphasis is less on the broad goal of becoming the new Pokemon League Champion in a given region, but on other areas of interest like the dynamic between Red and Blue as bitter rivals (a subversive, utterly-intriguing example of progression-based storytelling), or perhaps the rise and fall of Team Plasma (which itself is new for the series, and also a mirror image of the conflict between Red and Team Rocket in the original games that B/W tried to copy). Interesting stuff I just realized!
The point is: you're basing all your ideas on a premise that isn't certain. Nobody can tell by now if BW2 are going to be games on the line of their predecessors or of G/S, it simply can't be told. If anything, I would say the trailers are upholding my point of view - the focus will once again be on the plot rather than on the League race.
Pay attention: there are at least four trailers I can distinctly remember as of now, and in particular the anime-esque one, and not once we've seen focus on new Gym Leaders - and there are -; trailers often showed new towns, PokeCinema and the whole Team-Plasma-returns thingy. I don't really see any clues that let us think these games will be G/S-like; on the contrary,
chances are they are not.
As for the very argument, Kageyama was actually the risk-taker director of Pokémon. Vocals in an in-game track? He did it. Actual instruments in the OST CD? He did it. Main Theme that wasn't the old-style Main Theme? He did it. Hell, Sayonara was his idea. Moreover, the style for BW was quite consistent whereas HG/SS, that one really had some problems with it (Route 29 vs. Route 42, etc. etc.). I can't really see how Ichinose was/would be a better sound director than Kageyama - but hey, if that's so, please explain it to me as I'm not able to figure it out by myself.
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  #12  
Old Jun 3, 2012, 01:00 PM
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Kageyama is not the risk-taker of Pokemon music. I think you're giving the sound directors way too much credit for the majority of the cool things happening in Pokemon game soundtracks. Here's an excerpt from a roundtable between Shinji Miyazaki and the Game Freak sound team—

Quote:
Regarding the fact that neither Ichinose-san nor Sato-san were originally part of the sound team; does Game Freak often make personnel changes among members?

Masuda: No, it’s not personnel changes; it’s more like we approach people who are familiar with music and ask them, “Hey, do you want to try and make a music piece like this?” When we find someone talented, we slowly tell them to “come over here” (laughs). So it’s not like they change sections and become part of the sound team.

Ichinose: We say, “We’re a bit busy, wanna help us out?” That’s what it feels like.

Masuda: After we let them produce something, we tell them that they’re talented.
Not only does this excerpt hint at the possibility of Kageyama originally being hired due to his proficiency with sound tracking equipment and general sound programming, but it also insinuates a lack of strict direction and control of the musician's output at Game Freak itself. Knowing how Western and non-conformist developing games and working at Game Freak is can do a lot to help your argument! Here's another one—

Quote:
(Miyazaki) Of the Game Freak people, is it you who determines the worldview and decides things like, “It’s a good tune, but it doesn’t fit the image”, Masuda-san?

Masuda: Since I’m working as a director for the games now, it appears to be that way. And when it comes to troubling aspects, it’s one of the things I worry about very much. For example, if we made one CD and it consisted entirely of heavy rock, you’d become exhausted, wouldn’t you? That’s when you say things like, “Let’s take it a little easier in this scene” or something. We also try to create a flow that adapts to the chronological order of the adventure. Those are things I’m always concerned about.

Ichinose: The things Masuda is particular about – for example, whether something is important scenario-wise or concerning places that are important for the worldview – those are things for which he conveys a very clear image. However, other than that, everyone implements their own respective images and if Masuda says nothing, everything is OK.

Masuda: There aren’t that many “no-go’s” getting submitted anyway. But, for example, while the Jouto region had cities around Kyoto serving as models, I said something like, “Don’t make it too Japanese.” By adding non-Japanese music to a Japanese place, I want to create a new, slightly different worldview.
So, to conclude: the sound director doesn't need to do too much to begin with. I suspect that the majority of what they do is try to piece together each submission and WIP into a general album-like sequence of tracks that'll be played in-game, all sorted by the standards set for a certain project. Being mostly managerial work, though, every musician producing for B/W was able to submit their own unique musical contributions, so long as they fit the general overarching theme (which they can do whilst getting into experimental realms of music-crafting). And since Ichinose is the one credited for "Village Bridge" on the actual soundtrack, he will have had far, far more impact on the development of that piece than Kageyama (whereas Masuda would have had more to say on it). The same goes for every Pokemon game soundtrack done by Game Freak; saying that HG/SS is that much more inconsistent than B/W is a flawed proposition, because the only reason that B/W's music sounds the same so much of the time is simply because Kageyama composed and arranged all of the story progression-integral tracks himself, leaving the side material to the others. Back when HG/SS was in the works, Ichinose divvied the album material amongst each musician with less regard for defining clear roles than Kageyama did, which led to more stylistic diversity and interesting inconsistency in style (note: not quality, except where noted).

Who's saying there was a different "main theme", either (and there wasn't)? Or that Sayonara was so special? We can't say for certain that he was the person responsible for the ideas and execution revolving around bringing back the album arrangements either, given that Ichinose did those for R/S and FR/LG! The sound director isn't that important of a role to begin with, as it mainly affects how the album's going to be organized, and how the general responsibilities of each musician working on the soundtrack will be managed. My most recent guess for sound director, actually, would have to be Sato herself, simply because Ichinose is trying to vary up who gets to lead projects for the sound team, and because Kageyama's direction isn't going to be as fitting for him and the game as well—not to mention that Sato's constantly been sidelined, and she hasn't yet had any leadership experience on the sound team. So: since the musicians generally get to apply their own style and experience(s) to each soundtrack, following a series of vague parameters, I can safely say that Ichinose's tracks have been his work. For that matter, they've been, on average, more well-developed, more stylistically-creative, and more fitting for the Pokemon world itself than anything from Kageyama.

There is a point to be made about the new trailers, though, and I'm glad you brought that counter-point up. They're definitely focusing on the legendaries—which, to be fair, is different from both the champion focus and the gang focus, both usually being the primary dual conflicting areas of interest in past Pokemon games. Here, it seems, they're really pushing for the Pokemon aspect to sell B2/W2, with both Team Plasma and battling to become a Pokemon battling champion now flanking it in terms of importance. Still, though, that means that anyone is up for grabs when it comes down to who'll lead the sound team for this installment, even if it's already different from G/S in a peculiar story-related way. If not Ichinose or Kageyama, than Sato or Adachi will probably take the lead for this one—the former for her experience and excellence in many fields at the company, or the latter for her long-standing experience with game music ever since 1995's Robo Pit, plus the fact that she was an integral part of Sting's sound team for a while. Either way: I don't think Kageyama would work as the sound director for B2/W2, and we're not certain if Ichinose would be a fitting choice either. It all comes to down to what Masuda wants, and that's what's most important in the equation (and, outside of the story differences that abound, B2/W2 is an analogue to G/S in many other different areas—Ichinose's not out of the question).

Last edited by DragoonEnRegalia; Jun 3, 2012 at 09:25 PM. Reason: Added on to first body paragraph
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  #13  
Old Jun 17, 2012, 07:55 PM
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found some scans: http://ecx.images-amazon.com/images/I/511716qb6UL.jpg http://images-jp.amazon.com/images/P...9.LZZZZZZZ.jpg but dunno which one should be put as main one.
I would like it if a mod could choose
EDIT: nvm found out which was which
EDIT2: Source: http://www.amazon.co.jp/%E3%83%8B%E3...9991843&sr=8-1
EDIT3: A somewhat translation of the new info provided there: Disc 1-3 will be Black2&White2, Black&White with the fourth disc being a "Special Disc" containing music from Emerald & Platinum

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Old Jun 21, 2012, 08:27 AM
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Now that advance copies have been picked up in Japan, there's some streams up ATM, through which I've been listening to whatever new music there is.

Not too much new music except for anything new to the game. We've got new gym designs for each of the Leaders, and with them comes whole new arrangements of the Gym theme for each Gym. They're all really-good, too!

New Plasma battle themes for the grunts and bosses (like Achroma). Believe me: a very surprising and well-done remix of the original, more complex and interesting than before. Achroma's battle theme was resemblant of Ichinose's Frontier Brain battle arrangement he did years back, but I can't tell for certain who did what right now.

Great stuff!

Strams are down.

Last edited by DragoonEnRegalia; Jun 21, 2012 at 09:25 AM.
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  #15  
Old Jul 16, 2012, 07:08 PM
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Some information was posted here http://www.pokemon.co.jp/ex/soundtrack/ (a partial tracklist, some information on the Pokemon Emerald, Platinum, etc... tracks).
Disc 1: 48 tracks
Disc 2: 39 tracks
Disc 3: 37 tracks
Disc 4: 49 tracks
About the Platinum tracks the site says that we're getting the BGM that plays in the world where Giratina lives ( Distortion World ) and the BGM Vs. Giratina too.
As for the Emerald tracks the site mentions the BGM vs. the frontier brains and all the music that plays in the individual frontier parts (i.e. Battle Dome, Battle factory , etc...) as well as the Battle Tower BGM
It also confirms about the original Black & White tracks but doesn't give us any information on none of the tracks whatsoever.

Last edited by alexbip15; Jul 16, 2012 at 07:18 PM.
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Old Jul 17, 2012, 12:30 PM
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Eagerly anticipating this release. That partial tracklist is rather enlightening. I didn't think Ichinose would be so involved this time around—blew my expectations away, though I'm sure Kageyama and Sato still contributed a good deal of material.
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Old Jul 25, 2012, 10:16 AM
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oops got messed up fixing it right now source: http://itunes.apple.com/jp/album/pok...to/id538705584
EDIt1: fixed disc 1&2 working on 3&4.
EDIt2: Had to create a new tracklist but everything is fixed. If a mod could delete the previous one. sry

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Old Jul 30, 2012, 10:25 PM
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Alright, that should be all the scans up now.
Interestingly, this album was published by a company called "OVERLAP Inc." (株式会社オーバーラップ), rather than Pikachu Records (this is shown on the Obi).
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Old Jul 30, 2012, 10:49 PM
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OVERLAP's page for the album says they just distributed it. The Pokemon Company's post linked in the first post in this thread says the same thing.
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Old Aug 3, 2012, 06:03 AM
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Aww yeah! the fourth disc isn't chip-tuned, plus it has vocals installed in some tracks, this is already one of my favorite albums.
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  #21  
Old Aug 19, 2012, 05:56 PM
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Uploaded a bigger version of the front scan.
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Old Aug 25, 2012, 11:59 AM
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Changed PokeStar to Pokéstar (the way it's spelled on the official site).

Changed the musical names to their localized names in the localized page.

Changed Fashionable Pokémon Center to Pokemon Centre de Fashion ♪ (more acurate version for a non localized name).

Changed Sangi to Floccesy (confirmed by official site).
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Old Aug 25, 2012, 01:12 PM
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Changed on the English (non localized page):

'PokeWood Studios' to 'Pokéwood'
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Old Sep 5, 2012, 09:40 PM
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According to Nintendo Power... changed Fes Mission to Funfest Mission
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Old Sep 10, 2012, 05:04 AM
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Reverse Mountain - Reversal Mountain

Yamaji Town - Lentimas Town

Live Caster Games -> Xtranceiver Games (not official but Live Caster was localized to Xtranceiver)
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Old Sep 10, 2012, 01:07 PM
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Added some better translations from this page:

http://bulbapedia.bulbagarden.net/wi...Music_Complete

And the English (non-localized) musicals page with the official icons and names from this page:

http://bulbapedia.bulbagarden.net/wi...#Musical_shows

(You can see the Pokemon Center musical with a big DE in the Jap name).

Last edited by Master Emerald; Sep 10, 2012 at 01:16 PM.
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Old Sep 10, 2012, 06:47 PM
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I'm setting it to Default for English Translation.

The Original Japanese Tracklisting for this does not have "localization" anywhere for the release / scans. It would also be nice if it was left like this for more honest based tracklistings. Thanks.

Last edited by Nigoli; Sep 10, 2012 at 08:16 PM.
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Old Sep 11, 2012, 12:13 PM
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True, true.

Does 'Team Plasma, Again' sound as natural as 'Team Plasma's Return'?

Just out of curiosity.
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  #29  
Old Sep 18, 2012, 06:36 PM
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Seigaiha -> Humilau
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Old Nov 4, 2012, 10:40 AM
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Ok. Ghetsis says "Kyurem, use Absofusion!"

So I changed Absorption to Absofusion.
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