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Oh snap, I didn't realize that I still had more time! I threw something together last-minute and sent it in just in case there's still time left. It's definitely going to sound rushed and under-developed, but it's better than nothing! haha

Not fair. "Drunk Man" was made in one day and I wasn't much sober. So find 1-2 hours to make something please.

Is there any way to make a list of games and have OCReMix simply play me random remixes from only those games? If not, can this feature be created?

Unfortunately no, not yet. This is a good idea for a feature though!

yes, you did which is why the only thing i really tried to interject in my initial post was to step away from the technicality of a remix being unoriginal which is already infallible as you've pointed out... but rather focus on how an artist can inject a great deal of originality into the project making it very much "their own" without it being technically or legally their own. like a really creative cosplayer https://technabob.com/blog/2016/02/04/super-mario-bros-x-fallout-cosplay/ there is still quite a bit of originality, artistry and vision here and as a result it is very much unique, i've never seen anything like that before... that's all i'm saying

"straight up revision" yeah you're still kind of missing the point. there is very rarely a truly unique creator and your definition of what that is seems irrevocably rooted in logic and there is no logic when it comes to art and how it is passed from one "creator" to another. i understand what you're saying... obviously if you're remixing Zelda's Lullaby, that's Zelda's Lullaby as composed by Koji Kondo, not Waleed Hawatky. that part is self-explanatory... but otherwise, what you're suggesting is that then the entirety of "classical" music save a composer or two and the entirety of jazz save a writer or two would be utterly "unoriginal" and/or "revisionist" and that seems both exceedingly harsh and tone deaf to the fact that music is almost never played the same way twice unless it's recorded. i call bullshit on the "makes sense to value your own work more than revisionist ones" because i make this argument having written just as much original music as i have arrangements, currently releasing my 12th original album and frankly i don't see much difference between where my "original" work is derived from and where my arrangements are. in the end, the process feels just about the same... with the exception of one critical feature: MELODY. i feel like where we're having a fundamental disagreement is on the effect of melody because melody has the unique feature of being a specific combination of notes and meter that make it particular and thus why we recognize music and sing along with them in the first place and why when either of us goes and remixes a videogame song, it's immediately recognizable. were i to arrange a popular game tune and outright ditch the melody and offer up my own (as i just did for an unreleased Xenogears track), then most casual listeners wouldn't know either way. even some musicians wouldn't know unless they knew the context (ie on a game music album or site, etc). my new Xenogears song is practically an original tune... and in truth is a lot more a result of my originality than mitsuda-sama's and, like with the Adventure Island tune, your argument doesn't hold any water in regards to it. it would if, say, it was a note for note cover but that's not the only kind of game remixing out there so making your blanket statement is still not the play here... take specific forms, even. any waltz in videogame history isn't going to be immediately accused of being derivative (although it most definitely is) and is given the benefit of the doubt that it is original. same with the blues. just because the original game source was a blues song doesn't mean that piece is any more original than one derivative further. you choose where to set the point of the revision based on the fact it is the immediate source... but a vast majority of game music is not original so when an artist takes it upon themselves to make it a point to arrange something in a completely new concept, calling it a "promotion for a commercial product" is offensively disingenuous your assessment isn't wrong (it is quite logical albeit sterile) and of course neither is your reason for losing your appetite and i'm certainly not criticizing that you felt that way. i'm just offering the opposite perspective because i feel it's just as valid and also just as correct. saying you "won't hear an argument otherwise" in regards to the matter, however, makes you look a lot more wrong than you are. now... if we were talking about this from a purely practical business perspective (in other words, content attribution and sales), then yes, you're right: you could never pass an arrangement utilizing the original source's melody as an original composition and if you did, you'd get sued so hard, you'll open up like an azalea and that's like something that pretty much everybody in the scene, whether here or anywhere else, is already perfectly aware of. an individual's reasoning for wanting to do something or not do something cannot be on trial so i apologize if somehow i came across that way. it was never the intent at the same time, your initial post presented itself kind of trolly... seeing as how OCRemix is a site dedicated to the very thing you essentially shit on in two bullett'd points lol nobody is going to sit you down and force you to remix videogame music or blast you for wanting to write your own music. in fact, i'd be the first person to encourage it seeing as how i take my original work considerably more seriously. the problem is you came out guns ablazing albeit passive aggressively talking shit about remixing as essentially "cos play" disregarding the artistry involved on the part of thousands upon thousands of very talented artists who have spent lots of time pouring their souls into this shit and then spend three pages defending that. not your preference but the unnecessary cutdown of the form on quite literally the first site to embrace and promote the shit lolllll soooooo..... yeah, i see no need to do so further either. (by the way, in case it isn't already clear, this is not at all personal and i aint at all mad at ya this is all just music nerd talk)

eh frankly, shoehorning "success" (as a function of any external metric) into why anyone does anything is part of why new artists are often so utterly confused when trying to find their own voice and why so many promising musicians end up boring cookie cutter clones. whether anyone listens to your remixes or thinks you're good at it or if it "propels" your "career" as a "musician" are ultimately very arbitrary points. furthermore, i'd wager that if the audience isn't appreciating that it's you making the music, then you're probably either doing something wrong or that was your intent all along. in other words, it isn't intrinsic that your arrangement won't be deliciously unique; it's either a choice or a failure. as for other measures of "success"... it's great that it works out for some people to where music gets to be their actual livelihood... but more often than not, i've found that particular life to be difficult to attain and, once it is, quite stressful... unless of course you're stupidly talented at it (which i am not), in which case, it's blissful... but in the majority of cases, the sheer saturation of the field drowns out even the fairly talented ones and that life just isn't very easy... unless you really do love hustling and grinding gigs and contracts as much as you love creating. right on but no thanks. and look if it's really about doing what you love... well, i do what i love and, shit, i feel i'm pretty damn successful at it too lol seeing as how i very rarely do not achieve what i set out to do (stupid fucking uber-shitty CEO track that sucks pokeballs is an example of a time i didn't haha)... and from where i'm standing, that's the best measure of "success." furthermore... i think part of why there has been such a mixed reaction to the OP is because of the second point that was made. ie: "A remix can never really be your own. It's like fanart or cosplay: You're ultimately (where OCR is concerned) just giving free promotion to what is, at the end of the day, a consumer product." LOL SHOTS FIRED - dude, that is abysmally pessimistic. it's your truth, perhaps... but it's hardly anything beyond that. as i cheekily alluded to in my previous (shit)post, nearly every remix i've ever made pretty much cannot be confused with anyone or anything else and certainly neither its source nor its creator lolllll perhaps that's because my originality, even in a remix context, is entirely my own and is my truth; that the original notes of any given remix of mine were first conceived by someone else does not mean my vision was, nor my interpretation nor my performance of it... and thus neither was the resulting "remix." at risk of sounding like a dick, the alternative is a very limited way of looking at art seeing as how a vast majority of contemporary music is fundamentally derived (a very long conversation topic for another thread no doubt) making this whole notion of "originality" something that ought to be measured OFF the sheet and not on it. ie. nakamura-sama may have composed "oil ocean" from sonic 2... but zyko wrote "the long war" and it's kinda hard to confuse the two another example: "Strange Island Eggplant" off the Bad Dudes' "Jingle All the Way" EP takes a short 15 or so second ditty from Adventure Island 2 and turns it into a fully fleshed out song fitted with lyrics. how is that not my song? :shrug: ===== tl;dr (because #zykorants) any artform, derived or not, can absolutely be "yours" (since nothing in existence actually is) if you seek it to be and learning how to do that is the real trick IMMA BOUT TO GET BBQ'D

You've still got 2 days!