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The choice is yours as how you want to approach this. SF64 and SF Adventures have very similar map select themes, but SF SNES and SF2 have their own music which could be easily incorporated. Let me know what you decide and I'll fix it all up.

Yes, I saw it there, thank you. No problems on length - it IS a WIP after all. I'll update our sheets ASAP and I'll give you some feedback when I can. Thanks for the claim!

Shit, I never even saw that anyone was trying to reach out to me. I haven't logged into the forums very well. Gario what do you need? A finished track "this year" is what I see above, as in the end of 2017? That'll be more than doable and I would like to keep this track.

Just a heads up, might want to change that line. Anyway, the song seems interesting. I'll see if I can pull a nice atmospheric piece together.

Well then, being pretty unfamiliar with that source from P5 (I've only seen so much of the game so far) my intuition was incorrect - I simply assumed since so much of that source uses harmonies like that. Holdin' that arrangement in even higher regards then, kudos!

My bonus entry is up! As I posted on ThaSauce, I spent way too much time on this and am not totally happy with the result, but I learned a lot by doing it and that's kind of the point, right? It's a drums/guitars/bass/piano rock arrangement that starts in Mute City and ends up in Cutting Edge. Time for me to check out APZX's entry . Anyone else getting in on this?

Regarding how much stuff there is to do on the map: https://zeldamaps.com/ Yeah, there's a LOT OF FUCKING SHIT TO BE DONE. This game has zero wasted space. Every tree, every rock, every bush has a purpose. Complaints about audio aside, the game is a masterpiece, the benchmark against which future open world games will be compared (most of them unfavorably, I suspect)

The thing about it is that there is no answer to your question. On this website's database, the remixes of the theme are very conservative, not changing much from the original. Although I have heard other arrangements in other genres, there aren't many. Most of them are very conservative. There are several reasons why it could work and not work in other genres. For one, the rhythmic motives of the melody are pretty idiomatic to the commercial genres of music, rock, jazz and latin, so it works very well in those areas. Metal is a wildcard genre, as literally anything that doesn't swing works well in a metal setting. On the flip side of that, those rhythmic motives don't work well in many genres without sounding like a parody of that genre. This deals with idiomatic writing to various genres, and is the reason that things seem to work or not work in many genres. For example, take something from the swing era, particularly around 1940, and then arrange it in the style of Bach. Suddenly you can't have the swing, so the music loses quite a bit of the drive. You can't use a lot of the harmonic devices because they don't function in the same tonal aspect as they did during the common practice period. I was working on a smooth/acid jazz arrangement of the theme, but couldn't make it work. Part of that reason was the form of the original tune doesn't lend itself well to other genres outside of its original habitat; that is to say that it doesn't follow an AABA, AB, ABA, or any other form that is widely common in the genres you would want to go to. In order to make it work and sound idiomatic to the point that it could have been written in this new style just as well, there would be quite a bit of mangling of the form, and when you start doing things like that, the things that make Guile's theme what it is start to disappear. I have an argument that the joke that is Guile's Theme goes with everything is largely what it is because of the intro. Most of the time when I see one of those videos, I don't listen very far into the melody, I heard the intro, saw the joke, it was funny, I move on with my life. That intro is very distinct, and also falls into the pitfalls I mentioned above in regards to idiom. The rhythmic motif is basically exclusively idiomatic to the commercial genres, and it is very widely used in jazz and Latin music. When it comes to genre, there are expectations that are established when the genre becomes a definite entity. When you listen to rock, you expect a 4/4 time signature with a strong beat on the 2nd and 4th beats, and syncopation is not a key feature. Harmonic progressions are generally somewhat slow and not overly complicated, generally dealing with triads rather than extensions. Jazz is similar, where it has the strong off beats, however there is more syncopation and the beats are generally pushed by a half count in a lot of places, to give that forward feeling motion. Classical has none of these things, having emphasis on the down beats, generally little syncopation, and rhythmic figures that more evenly divide into subdivisions. To flatten out the rhythm of the intro causes weird things to happen, and it loses that distinct character. If you flatten out the rhythm of the whole tune, it loses the impact it has, and suddenly everything you do with it sounds like it isn't Guile's theme anymore. Essentially, you either have to be really conservative with the arrangement, or you suddenly end up being really liberal with it. When going from genre to genre, it is important to note that while a lot of things claim to be in a genre, the actually aren't. It isn't really apparent in genres that people generally deal with, such as rock, metal or EDM, for several reasons. For one, they have a strong familiarity with that genre because it's all they have ever dealt with for the most part, so it's kind of like speaking a native language. And since a lot of video game music that does genre hopping starts in a genre that is similar and shares a lot of genetic similarity, the work transitions well. For other things, like jazz or classical, there are many more stylistic nuances that aren't picked up by the arranger or performer, and although it "sounds" like that genre, an analysis of it ends up showing that it's basically gibberish, or more specifically like trying to write Japanese like this: あいらいくとぷらえだじゃずあんづろくむじく Ai raiku to purae da jazu andu roku mujiku. It "sounds" and "looks" like Japanese, but for somebody familiar to that language it doesn't mean anything. An example of this is the Godot theme from the Phoenix Wright series, everybody's like "AHH so jazzy so cool" but if you analyze it, it actually falls into a genre that is better described as anti-jazz. But it sounds jazzy, so people think it's jazz. Same thing when I see people do a "classical" remix of something where it ends up being an epic orchestral version. Yes, it uses an orchestra and no electronics, but it is in no way classical because it doesn't follow the conventions of the mid to late 18th century. In conclusion, while Guile's theme does go with everything for the reasons that have been mentioned above in regards to tempo, it does not go into every genre. That is to say that the theme as we know it does not retain its character when put into different genres, sometimes to the point that it is no longer recognizable. Unless there is a lot of work done to make the tune work in a new genre, it may end up sounding to somebody familiar with that genre like the Japanese comparison I made above. In a new genre with just an attempt to make it "sound" like it works: あいらいくとぷらえだじゃずあんづろくむじく In a new genre with an attempt to follow the stylistic nuances, but still trying to make it "sound" like it works 愛雷くとぷらえだ邪案緑麦く In a new genre following the conventions and nuances of the new style: 私はジャズやロックミュージックを好きです。 It may not sound like the original at the point, but at least it will be stylistically true.

Pretty much everything after the first half of the first level in Comix Zone. I acknowledge that it was among the better games to come out at the end of the Genesis's run but it is a classic rage game . You only get one life, you die if you fall, and hitting obstacles to get through the level hurts you. wtf.

Oh, you asked for it. This is definitely one of my favorite aspects of the game--let's make a master list. Track by track, here we go! MASSIVE SPOILERS AHEAD OK I WARNED YOU 1. Once Upon a Time: Main theme of Undertale, can be split into three sections: 00:00 (theme A), :30 (theme , and 1:00 (theme C). Nice one, Toby. 2. Start menu: Theme A from Once Upon a time. Instrumentation fleshes out more depending on how many character's you've met/saved. 3. Your Best Friend: Flowey's theme. Title contains massive spoilers. 4. Fallen Down: Not much to say yet, other than it comes back later (like most of these). 5. Ruins: The melody of this is based on a recurring theme I have yet to figure out the identity of. Let's call it "Adventure Theme". 6. Uwa!! So Temperate♫: Joystick Config music. Changes depending on season. Not related to any other tracks other than the other seasons of the same theme. 7. Anticipation: Foundation of battle theme. When slowed down a lot, this is what is played at SPOILERS OMG SPOILERS: areas during the genocide run after killing everything 8. Unnecessary Tension: Perhaps one of the few tracks that doesn't come back later? But maybe it does... 9. Enemy Approaching: Primary battle theme. Believe it or not, this is the same melody as "Dogsong", "Temmie Village" and "Tem Shop". 10. Ghost Fight: First time hearing this music, which is always associated with the spookier characters--ghosts and spiders. Let's call this "ghost theme." 11. Determination: Determination theme. Heard in Asgore's battle theme as well. 12. Home: Themes A and B of "Once Upon a Time". Aww. 13. Home (Music Box): Who turned off the lights? 14. Heartache: Opening motif is Toriel's theme. It's heard in Asgore's theme--if you had any speculation about their relationship, this should clear it up. 15. sans. Sans's theme, which is also heard in the track "Song That Might Play When You Fight Sans", which I actually have yet to hear in the game itself. 16. Nyeh Heh Heh!: Papyrus' theme. Obviously also heard in Bonetrousle, as well as a bit in Song That Might Play When You Fight Sans. 17. Snowy: And thus begins the Snow area themes. This opening melody is new, but is brought back in bits and pieces in "Snowdin Town" and "Shop" 18. Uwa!! So Holiday♫: See the other one. Winter time! 19. Dogbass: Don't think you ever hear this again, though it's reminiscent of the ghost music. Hmm... 20. Another track that I don't think comes back. Hmm! 21. Dogsong: Yes, believe it or not, this is the melody from the Battle Theme. 22. Snowdin Town: First section of the track is more or less original, but similar in texture/contour to Snowy. Second section is a little more obviously from Snowy. I think the section around one minute in is the first you ever hear this material, but this comes back in Shop, and.... Hopes and Dreams. I think it's intended to be a variation on Theme B from Once Upon a Time. 23. Very similar to the music of Snowdin town. Opening melody similar in structure as opening of Snowdin, but not quite the same. Second section same sort of variation of Theme B from Once Upon a Time. 24. Bonetrousle: More Papyrus! 25. Dating Start!: Shop music, in an anime dating sim style. 26. Dating Tense: I don't think this has much connection with anything else... EXCEPT there is an accompaniment that comes in near the end which contains almost the correct pitch content to be Undyne's theme. Forshadowing? 27. Dating Fight!: Dating Start, but with some kick. 28. Premonition: Mostly ambiance I think. Can't place this progression anywhere else. 29. Danger Mystery. More ambiance. 30. Undyne: This six-note pattern is her theme. It comes back! Not sure about the melody that comes in though--I don't think I've heard that anywhere else. 31. Waterfall: Here's that "adventure" motif again! So the opening glock pattern will come back later too. But yeah, the melody that plays through this is basically the same as what plays in Ruins. 32. Run!: Piano motif made of Undyne's theme, which I guess makes sense because she plays piano. 33. Quiet Water: More "adventure" motif. 34. Memory. The first time we hear "His" theme. and SPOILERS SPOILERS SPOILERS BY HIS THEME WE MEAN ASRIEL'S THEME 35. Bird That Carries You Over A Disproportionately Small Gap: We haven't even met her yet, but this is Alphys' theme! What could it mean?! 36. Dummy! More ghost music, but a little more fleshed out than when we heard it in Napstablook's battle. 37. Pathetic House: Same melody as Dummy! and Ghost Fight, just really boring. 38/39. Spooktune and Spookwave: I guess kind of like the ghost fight music? Eh, I dunno. 40. Ghouliday. This is just jingle bells I can't make this stuff up 41. Chill: Not sure what this progression is from. 42. Thundersnail: Also don't think this really comes back ever. Toby said he apparently made the whole track out of one xylophone sample or something. 43. Temmie Village: Once again, melody is based on the battle theme. what the heck. 44. hOI! same as above 45. NGAHHH!!: Begins with Undyne's theme, which we know (just syncopated this time), and halfway through we get that adventure theme again! I think it's interesting that Undyne is the only character that gets this theme, which otherwise is associated to environments of the game. 46. Spear of Justice: Pretty much the same structure as above, just in a different key/orchestration. 47. Ooo. Oooooooooooooooo 48. Alphys: Another three-part theme! First part at :09, second at :32, and third at 1:01. I'll describe them in the same "a" "b" and "c" terms I was using before. 49. It's showtime! Good ol' Mettaton. He actually has a bunch of themes. This opening one is like, his show's theme more than his own personal theme. 50. Metal Crusher: I love this track. Mettaton's main battle theme. This one is also in two parts. 51. Another Medium: Opens up with the same motif as Waterfall, but then has (as far as I can tell) new melodic content. I think there are basically two themes in this track: the one played on the flutey-sounding patch, and the one at :52 52. Uwa!! So HEATS!!♫: Another one of these. Summer time! 53. Stronger Monsters: I never encountered this track in the game. I don't know! I don't hear anything that I can associate to anyone else. 54. Hotel: Theme A and B of "Once Upon a Time". 55. Can You Really Call This A Hotel, I Didn't Receive A Mint On My Pillow Or Anything: Hotel with a little more spice! 56. Confession: Those monsters really are in love. Theme B of Once Upon a Time. 57. Live Report: Mettaton's "show" theme, again. 58. Death Report: Live Report, but awesome. Same "show" theme, but then there's another theme at :25. What is it? Reminds me of Undyne.. 59. Spider Dance: More ghost music! 60. Wrong Enemy?!: Music of the Fan Troll. I'm pretty sure there are zero relatable themes in this one. 61. Oh! One True Love: Toby's making fun of FF6. The windowed screen says "Undertale: the Musical" during this. This is a new melody, but comes back. 62. Oh! Dungeon: Same melody as One True Love 63. It's Raining Somewhere Else: I guess this is Sans' theme, even though I think it sounds like Toriel. I guess they're similar? So sneaky. 64. Core Approach: just the hotel music 65. CORE: This opening motif comes back in the battle you're about to have with Mettaton. Then we get a nice dose of Another Medium, and both of it's themes. 66. Last Episode! Recognize this from Mettaton's battle music? 67. Oh My... Comes from Core and Death from Glamour. 68. Death by Glamour: we've heard this opening motif a few times now, thanks for getting us ready Toby. Halfway through we get one of our motif's from Metal Crusher, and then we get the "show" theme! God, this is a good track. 69. For the Fans: "Oh! One True Love" 70. Long Elevator: come on toby 71. Undertale. It's the title track of the album! You get to hear the story of Asriel, which is why his theme is playing the whole time. You also get Themes A and B from Once Upon a Time, as usual. 72. Song That Might Play When You Fight Sans: I have yet to actually hear this in the game. So the melody is based on "sans.", and then we get some Papyrus in there as well, near the end of the track. 73. The Choice: Very ambient, but the harmony is largely based on the harmony from Undertale 74. Small shock: More harmony from Undertale. 75. Barrier: once again, come on toby 76. Bergentrückung: A German literary archetype describing the trope of a human mysteriously vanishing from the human world. Also basically Asgore's theme. 77. ASGORE. So we get Bergentrückung, and then we get Toriel's theme (and both parts of it!). Then we get "Determination". EDIT: ENDS WITH UNDYNE WHAT 78. You Idiot: Very ambient, but the notes of Omega Flowey's theme. 79. Your Best Nightmare. Man, what an incredible track. This six note motif is Omega Flowey's theme. Then, we get six variations on "Your Best Friend" (aka normal Flowey's theme) scattered throughout the track. One for each of the human souls that Omega Flowey has absorbed. 80. Finale: Flowey's theme with an awesome reharmonization. Now, you have no idea about this aspect of Flowey's character yet, but Asriel's theme comes in at :40. Come on Toby, those are some serious aural spoilers! 81. An Ending: Ruins music, then leading to the track that is basically "respite" (which comes later), which is that adventure theme. Hey, maybe we should call that theme "respite". 82. She's Playing Piano: What you hear Undyne playing in her house when you go to hang out with her. Guess what! It's part C of Alphys' theme! 83. Here We Are: Welcome to Alphys' True lab. Which is why this is just Alphys' theme--Theme A. You get the rhythm of theme C near the end. 84. Amalgam: Holy god this track is AWESOME. Don't know where the melodic material comes from. 85. Fallen Down (Reprise): There's Fallen Down again, but it's been extended! Now we get themes A, B, and C from Once Upon a Time. 86. Don't Give Up: Adventure theme (or respite or whatever). 87. Hopes and Dreams: Ah! My favorite track. Beautiful variation on Theme A from Once Upon a time in the beginning, and then most of the melody is actually based on Theme C from Once Upon a Time. We also get snippet's of Flowey's theme in the background, which is great now that we know how they're related. You also get that variation of Theme B from Once Upon a Time, which sounds more like Snowdin/Shop theme than anything else. Same with the end of this track--this is from Shop. 88. Burn in Despair: Based on those six notes from Omega Flowey. Scary. 89. SAVE the World: Once Upon a Time paired up with Flowey's theme. Pretty cool! Then we get more of Theme C from Once Upon a Time, with Flowey's theme returning to haunt the background again. 90. His Theme. Yes, Asriel's theme. Get your tissue box out, because you're going to cry a lot. (I cried a lot). I think it's the 1-5-9 motion in the left hand of the piano that really does me in. 91. Final Power: This is just some of Hopes and Dreams reversed and slowed down slightly 92. Ah, nostalgic music. This is a pretty long track, but you get all three parts of Once Upon a Time, as well as that variation from the Shop theme./Snowdin village. 93. Menu (Full): the full orchestration! You did it! 94. Respite: Epilogue music. That "adventure" theme we heard a lot. 95. Bring it in Guys: awesome credits music. Enemy Approaching, Nyeh Heh Heh/sans., Snowdin Town, Once Upon a Time, Undyne, adventure theme, Death by Glamour, CORE, Bergentrückung, Fallen down, Once Upon a Time. 96. Last Goodbye: More of some Hopes and Dreams/SAVE the World style music, mostly working with Themes B and C from Once Upon a Time. The end of this is awesome. Finishes out with Theme A from Once Upon a Time. 97. But the Earth Refused to Die: Heard just before fighting Undyne the Undying. Variation on that "adventure" theme. 98. Battle against a true hero: Theme reserved for special boss battles in the genocide run. That opening theme comes back later. We get that adventure theme again! 99. Power of NEO. Same motif from the last track. This one is pretty short, because it doesn't last long. 100. MEGALOVANIA: This is a track from Homestuck, apparently. No other themes from the game in here, as far as I know. 101. Good Night. Good night, goatmom. Once Upon a Time again. Whew I can't believe I did all that! Have fun!