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“Korean hype-train” shtick. In all, their conversation would become more genuine, less measured, downright enjoyable, and would display the best of the eSports community in the process: the indelible quirkiness and relatability that makes it so darn accessible. So, after currying the favor of devotees, music lovers, and human beings with pulses who enjoy likeable personalities, the stage was set for Riot to really knock it out of the park. Hiccups and production errors could be forgiven due to the quality of content surrounding these small mistakes. The musical act would serve as a real home run, setting up a truly entertaining series of final picks, and the introduction of the teams would administer appropriate parts drama and light-show to whet the appetites of close to two million online spectators and

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The musical act would proffer the first highlight; an exemplary demonstration of musical acts intertwined with sports entertainment. Some overlay nameplates for the performers would’ve been helpful for younger audiences who were taken aback by Wes Borland’s theatrical costuming (even I’ll admit that I didn’t recognize the Crystal Method on sight). But the camera work, audio, and hybrid of dramatic orchestral music, electronica, and drum/guitar would hit a real sweet spot for an audience of young to aged males and females whose devotion to gaming had likely enchanted them to such a soundtrack, without appearing forced or kitsch in the process. The analysis desk would loosen up, harkening back to the best of College Gameday with the discussion of final picks and the


GLHF Magazine Issue #7