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I find musical ideas are open to your interpretation of it. Whenever I was in these compos, I would plan the genre and tempo of all my potential remixes before hand. So for example. Round 1: I'll do a fast paced rock remix. Round 2: a slow synth pop remix. This was regardless of what opponent (and therefore source) I may face. I've never had to change an idea to fit with the opponents source either. I did this for varieties sake cause I didn't want to do the same track twice. In some cases, I purposely chose what parts of my source to tackle for each remix I may do ahead of time too. To try and explain it more simply... to me, source tunes are just groups of melodies and rhythms and you can build a track to work around them. You shouldn't think "do these two tracks work together" you should think "how can these two tracks work together" and experiment. Maybe you need a little variation to make a track work at a different tempo but you can get the core of the idea down regardless. I haven't found 2 tracks I can't combine together, and I don't think I ever will because imo, you can combine everything to everything via arrangements, its just how you go about doing it.

We need a Crazy Taxi movie. Do it SEGA. I'd totally watch a full length Streets of Rage movie though if it had the 80's throwback levels and cheesiness of Kung Fury.

One thing I notice people getting overthinking in the compos is figuring out the keys of the tracks they have to arrange together. In my opinion (as the guy that conceived the source-versus-source style compo), figuring out the actual key is far less important than figuring out the mode, regardless of what the tonic is. It doesn't matter if one of the sources is in Bb Minor and the other is in F Minor. The Bb and the F don't matter. What matters is that the two tracks are in the Aeolian mode (aka natural minor). When the mode is common, it's incredibly easy to make the sources work together with each other, you just transpose the material from the sources (melody, chord progression, etc.) into a common key, like C minor or something. It gets tougher when you have something like Ionian (aka major scale, e.g. C major) and Aeolian (e.g. D minor) sources being combined. Now you have to think about how you want to push them together. Do you flat the third, sixth, and sevenths of the Ionian source's melody so that it's Aeolian now (i.e. play a C major song in C minor) and then transpose to a common key? Do you keep the Ionian source Ionian (e.g. C major) and shift the tonic of the Aeolian source down to the relative minor (i.e. A minor)? These are options and techniques you can use to push two different sources together and keep them from clashing. Remember, you can write an arrangement in any key you want. A song can be played with any note as the tonic. Think about the classic Star Wars melody: G, D, C B A G, D Except you shouldn't think of it that way. You should think of it as: 1, 5, 4 3 2 8, 5 Where 1 is any of the twelve notes. C, G, F E D C, G Bb, F, Eb D C, Bb, F You see what I'm getting at? Worry less about the tonic and more about the intervals and relationships between the notes and where they fall in the scale. When you start thinking about melodies and chords that way, one of the barriers to doing multi-source arrangements disappears.

www.vgmusic.com if you don't want to fuck around but I suggest you do...

Took them until Shenmue 3 being a possibility for them to consider that? Damn bro. And lets not forget the large handful of franchises they have just chillin that they don't use. But yeah. Seems like the only thing they aren't late to is releasing broken and rushed Sonic games am I right?