Let’s see if the voicecolor tags still work… So we’ve learned today that working over a body part for 4 minutes is absolutely of no importance, no matter how much Bill loves it. Err…but then you’d be mistaking WWE for IWA-MS and no, this is not that. My brother was like “wow, Billy looks really … Continue reading “Tanvir vs Velocity”
Let’s see if the voicecolor tags still work…
So we’ve learned today that working over a body part for 4 minutes is absolutely of no importance, no matter how much Bill loves it.
Err…but then you’d be mistaking WWE for IWA-MS and no, this is not that. My brother was like “wow, Billy looks really big” and yeah, he looks a lot different than he did 5 years ago. Also, Sakoda getting funky with the submissions was neat. Does anyone know if he was trained here or um…Japan or wherever he’s from? And is he specifically a submission dude in the same [haha, I kid somewhat] mold as [hahaha] Sheldon Benjamin. I ask because I care.
I think it bugged me more there a little bit because it’s a trend – they run two “body part” focus matches a B-Show a week and are careless about making it matter in the end, but here it was even worse because the story was cut at the knees by the cross armbreaker being such a non-factor – Kidman wasn’t really selling it as much more than an armbar chinlock thing. (I could give you ways to make it work, but ain’t my job.)
They could probably get away with that with a lot of different arm submissions moves – simple step over armbar would’ve worked in that sequence – but the cross armbreaker is one of those A-level submission moves that you accept as a lethal finisher or as a trademark move of a guy, but seems out of place as a just another move. (It’s the same thing when Rey Bucanero pulls out a Stunner variation and it’s got slightly less impact on the match than a dropkick; I *know* it’s a different style, but I still can’t help to think that it’s being wrong and dumbly. Must be the programming.)
It slips my mind on Sakoda – I know spent sime time in some southwest indies, but I kinda remeber UPW being mentioned with him before he came in. He didn’t show any special submission tendencides before he was turned into Tajiri’s boy.
“Yay, turning point is now so I don’t have to see it later. Bill thinks Kidman getting his foot on the ropes to break the cross armbreaker was a big thing.”
Bill’s analysis is truly the one of the steady highlights on this show. The other one being that eventually we’re gonna see Josh taking some huge bumps from A-Train on one of these Velocity episodes. That’s going to win RSPW’s Feud of the Year for 2004, just watch. I still can’t believe he was on Tough Enough.
Maybe for newer people – not you or me, the Turning Point stuff works, because they’re not used to seeing how things break down? It’s stuff I already know though, and I always want to know more than that. I guess I should just be happy they’re putting some effort into these things.
I kinda thought the same thing about Josh before, but that was when DeMott was in the A-Train’s place and the Cat was the one trying to instigate. Nothing came of it then, so I can’t help but think it’s just a way for A-Train to get a couple more mentions by the crew. Cynical.
“”Nothing Left To Lose” by Puddle of Mudd is the Official theme song of the Rumble”
Is that the song with the video that makes them look like Nirvana? They need some hiphop. I nominate “Slam” by Onyx.
They ONLY use Rock/Metal, for whatever reason.
“but London is aware enough to stomp on Shelton’s foot to get loose, big dropkick”
aw man the dropkick where he flips and falls on his stomach, right? That rocked.
That’s the Dropsault, (Dropkick + Moonsault) and he used that a bit later.
“Shelton applying a straight jacket – whoa, straight jacket tapita! That’s one of those Mexican Surfboard type things, you know? London also thinks it’s Death, so he runs into to break it up with a dropkick again.”
OMG the lucha has taken over your soul. You’ve come a long way from two years ago with all this “tapita” stuff. That move was the best I’ve seen all week. I wish the WWE had more submission finishers. Just stuff that comes out of nowhere instead of when the wrestler signals for the finisher and the crowd pops ‘cuz the guy who’s hurt still has ears and should probably sense the finisher coming. One great example of this would be the Rock/Goldberg match where Rock gets up slowly and the crowd is popping really loud ‘cuz they know the spear is coming. Common sense is that Rock shoulda just left the ring and not even have turned around. Arrgh…wrestling logic, I’ll never understand it.
I’ve been trying to switch over to the Mexican terms in the CMLL stuff – I like using stuff like “Circuit Breaker”, but it seems unauthentic if I’m not at least also using the terms the promotions uses – and it’s bleeding over into other stuff when I get a chance.
I *think* the theory is that during the match, the wrestler is so focused on the match itself, he’s not listening to the crowd and doesn’t notice them yelling “3D!” or whatever. Especially if he’s a heel.
Could really use a color guy saying that every so often, though.
WWE’s gonna choose what gets the fans to respond over what makes sense most every time.
“That was fun.”
Now if only they’d give them fifteen minutes instead of 6 and a half.
That kinda stuff is saved for the likes of Venis/Orton