Liontamer

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About Liontamer

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    Community Manager, Judge

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  • Gender Male
  • Location Atlanta, GA

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  • Biography Larry "Liontamer" Oji has been a judge at OverClocked ReMix since July 2004, having evaluated more than 4,500 submissions. Reporting to site founder David "djpretzel" Lloyd, Larry is responsible for primary submissions evaluations, informational database maintenance and other otherwise sundry & unsexy tasks at OCR, becoming head submissions evaluator in June 2006.
  • Real Name Larry Oji
  • Occupation Community Manager & Judge, OC ReMix
  • Facebook ID 607933576
  • Twitter Username LarryOji
  • Last.fm Username LiontamerVGF

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  • Collaboration Status 2. Maybe; Depends on Circumstances

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  • Skype LiontamerVGF
  • AIM Liontamer87

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  1. The Archaeologist's Journal (Assorted ReMix Album)

    Needs more Tombs & Treasure (e.g. track 6, "El Caracol")!
  2. Hopefully, Alex won't be mad about a rejection on these grounds, but yeah, I had to turn down an otherwise great bLiNd and Chimpazilla collab from even going to the panel for the same reason. I quoted her because I agree with her sentiment; it's a great track on its own, so if you feel no reason to modify it just to pass OCR, no worries. Still great work here, even if it falls outside the rules here; what's most important is making the track how you envisioned it and in the way you most enjoy.
  3. Bloodborne "Cleric Beast" - :25-1:33, 3:01.5-3:45 = 109.5 seconds King's Field IV "Dark Reality" - 1:33-3:01.5 = 88.5 seconds Well, that is indeed "Moonlight Sonata" opening the piece, and even when it's more marginalized at :46, it's used as backing until 1:06, and comes back later. I'm not sure why Alex said it wasn't a "Moonlight Sonata" mix, when in effect it is for the start. Bummer, man. Gotta go NO on a standards violation, even though the rest of the arrangement is a YES. By design, where that line on non-VGM source usage is subjective and contextual, but having it reference and arranged used for more than a minute of a 4-minute piece is too much, IMO. 3. Acceptable Source Material 3. Any incorporation or arrangement of source material not from games (mainstream, classical, etc.) should be extremely limited. Just commenting on the rest of the piece, it's strong, albeit with cluttered mixing that could have used more clarity; in particular, the brass never sounded great. It's not enough to reject it on those grounds though, but it's a legit disappointment because I love to enjoy RoeTaKa's work to the fullest extent. The two source themes managed to work well enough, though I'd argue that, melodically, it felt like a somewhat awkward combination, even though the backing writing of each pieced together fairly seamlessly. I'm really glad "Dark Reality" is on my radar now, it's an amazing theme! If we could get the "Moonlight Sonata" material greatly reduced, this would be an easy call, but there's too much non-VGM source usage here. I know Jorito used "Never Gonna Give You Up" for the close of his MMX2/3 mix, but that usage was more limited (and the lyrics weren't using that song's melody). NO
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  6. *NO* F-Zero 'Port Town'

    Yeah, similar issues as the GoldenEye mix, but moreso. The hats here sounded abrasive, and the organ & choir writing were often atonal. The synth lead handling "Port Town" at :48 was also too shrill; I thought it was a poor choice of lead sound and it combined poorly with the choir, which itself sounded lo-fi and muddy. Dunno what was up with the synth comping-style from 1:33-2:05, but it wasn't musical. This was a more interpretive arrangement compared to the GoldenEye submission, but everything was messy here in terms of execution. It's poorly written and poorly produced, but we've all got to start somewhere. What's important, Xavier, is that you keep an open ear to critical feedback and stay relentless in self-improvement. Make use of the Workshop forums to solicit track feedback but also ask production questions; you need help in particular with pleasing combinations of sounds. NO
  7. *NO* GoldenEye 007 'Dam'

    I agreed with the sequencing being very mechanical -- especially the piano -- and the drums and organ being very plodding and static. The guitar work is cool, but sounded lossy and distant. Texturally, the instruments aren't properly balanced amongst one another, so you have the guitar sounding pushed back when it should be the lead, while the rest of the sequenced instrumentation sounds thin and exposed. The sequenced instruments also didn't demonstrate creativity in the arrangement, as they followed the part-writing of the source tune so closely. The guitar demonstrates an effort to personalize the presentation of the theme, but not much else. I disagreed on the SFX/voice clips; I thought they ended up sounding tacky, but if everything else had been clicking, it possibly wouldn't have been a big deal. Keep at it with music, Xavier, and use the forums resources here and/or elsewhere to develop yourself. NO EDIT (5/23): Gario's also right that the arrangement uses a lot of the James Bond theme that's part of the source tune (e.g. :38-1:32), which disqualifies the arrangement as incorporating too much of a non-VGM composition.
  8. My wife Paige is doing a Reddit Author Spotlight to talk about her self-published children's book & comic book, Miu and the Tres Leches Bandit. I'm in it too! Please support her and hit Reddit to ask her some questions RIGHT NOW! • http://reddit.com/r/books/comments/4kdxq5/hi_people_in_the_computer_im_pl_rohe_a_firsttime/ Learn more about the book at • http://miuthekitten.com You can buy the digital book on Amazon and ComiXology • http://amazon.com/dp/B016HC5JC8 • http://comixology.com/Miu-and-the-Tres-Leches-Bandit/digital-comic/313102 She used some chill OC ReMixes and VGM as BGM (lovingly selected by me) while working on the book, so it's VGM-powered. http://ocremix.org/remix/OCR02467
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  10. *NO* LED Storm 'Sted Lorm'

    It's awesome to hear another sub from Erik S, who I'm a fan of. The intro is a spirited cover that's structurally close, but the different rhythm to the beats at :12 helps set it apart. By :57 with those beats coming back, I was already tired of them in the sense that they feel very auto-pilot-like; not varying them up enough has flattened out the dynamic curve of this piece a lot. Pretty flat ending at 2:36 as well. This is an awesome source tune theme, and I love Tim Folllin's work, so I love that you arranged it, but beyond the new rhythm to the beats (which later became too repetitive), there's not much interpretation to the source tune beyond a richer sound palette. I absolutely love your previous posted OC ReMix, Awesome "Game Over (Cheeze Mix)" -- it's legitmately in my personal top 5 OC ReMixes ever, so definitely don't take a NO vote as a sign of disrespect, but I think there needs to be more melodic interpretation, more drastic instrumental differences, and/or more dynamic contrast & variation in this arrangement. Right now, it's a fairly short, underdeveloped cover, and just based on your Awesome mix, I know you're capable of more creativity and development. NO
  11. Decent opening with a basic sounding but well-produced dance groove. The SID lead intro'ed at 1:14 doesn't cut through as the lead enough, yet it sounds somewhat shrill; I would have pulled back the beats and groove some to let the lead sound more dominant, but it's not a huge deal. That said, you have some good accompaniment thrown in from 2:07-2:22 that ends up getting lost in the shuffle due to the levels of everything else. At 2:30, I was getting tired of the main groove and clap pattern; it really needs some sort of changeup somewhere. From 2:59-3:30, there some solid original writing for the SID lead on top of the Cammy theme; again, it sounds too shrill, but the writing's solid and the mixing doesn't bother me in a huge enough way. The ending at 3:45 was weak IMO, but there was a resolution via subtraction; it did feel like you just stopped at a loop point to some extent. This gets a lot right in terms of arranging and interpreting the theme. I may be too harsh in this case, because I like the overall approach, and I won't have any big problem if this passed. But a lot like RoeTaKa's Dark Souls II 'Like a Dream,' I may end up in the minority, but I believe auto-pilot grooves like this one and the way they sap energy and dynamic contrast from an arrangement are too detrimental. There's good energy and adaptation to this genre, but 4-minutes of this groove barely changing was just too plodding for me. If this doesn't make it as is, Marc, this would just need some tweaks to the writing of the groove. You may also want to look into the potential balance and shrillness issues mentioned, but those aren't dealbreaker things, IMO. NO (resubmit)
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  15. *NO* Ninja Gaiden 'Blood & Steel'

    The 1:32 section was a weak point for me, because the soundscape got muddy but in reality there wasn't much of anything going on. The texture was different, and then energy gradually escalated, but the rhythm and tempo were the same as the previous sections, and there wasn't anything new going on melodically. At 1:44, the drum work came back in to fill things out a bit better. At 2:05, it sounded like there was light distortion and/or clipping from the brass. Good changeup on the instrumentation at 2:28 with the dropoff going to the piano and Eastern winds. Despite being 3 minutes, it really felt melodically underdeveloped, which is my main dealbreaker. It's close though. I felt the melody being so repetitive and relatively the same energy pushed me down to NO more than any production choices. That said, while I didn't take big issue with much of what Gario did on the production, his comments on the attacks of your instruments and the copy-pasta nature of the drums are detail work items that separate the vets from the up-and-comers; pay particular attention to his feedback. I'm definitely seeing how the crux of the arrangement is about keeping the source melody intact and then changing the instrument textures and intensity to achieve dynamic contrast, and this IS going in the right direction. However, myself and others agree there should be some additional variation in the arrangement to push it over the top; that doesn't mean some sort of drastic changes for the sake of having changes, but any sort of new melodic, drum, rhythm, tempo, and/or textural variations could be enough to get this over the top. I'm not borderline on my vote, but I'd say this piece was about 85% of the way there; it just needs that extra bit of effort. Very good start, Adric, and if this doesn't make it as is, definitely be willing to tweak this some more and resubmit it; would love to have this on the site in some form. NO (resubmit)