Polo

This is like a goddess in musical form: sweet, soft, graceful, heavenly, sublime, and emanating its own inner shine.

This is a pretty chill bop. It packs just enough suspense and mystery to stay on the inviting/whimsical side of exploring those dangerous temples. I've actually been playing some Zelda II hacks recently, and this mix is a fine supplement to the experience.

Ye gods, this is like a drug that guarantees an instant hit. Not sure what I love more: the references to mythical figures, or the fact that this manages to get away with a quiet lull (between lyrical jaunts) in an already short span of time. Either way, this is seriously addicting.

Of all the vocal remixes I've listened to, I must've sung along to this one the most. It's that fresh and inviting. Highlights: - At 0:32/0:33, the extra tonal downfall on that last word ("...it came to be this way...") feels like a deeper, bolder step of uncertainty and self-doubt into the unknown. It works so well. - The drop of most synths halfway through gives compatible breathing room for the more reflective, farther-reaching lyrics ("So it's been written through the ages of time..."). - While the first chorus projects a feeling of regret and resignation, the higher key at 3:12 colors it with confidence and the courage to turn a new page in one's life.

Oh yes. I always liked how the first few seconds of the source sound open, pure, and calm, and I love how this mix takes that starter vibe and just rolls with it. No hurry - just plenty of reflection while smelling the roses and feeling the light breeze on my skin and being at peace. The piano also reminds me of the opening to Nausicaa of the Valley of Wind. I can see those giants walking across the burning wasteland right now...

Gentle waves, gorgeous instrumentation, somber progression. Sounds like Link is playing a dirge for Marin (or maybe all of Koholint, considering the ending of the game). I'm also happy to hear the tail end of the source altered to something simpler and more tasteful (1:16-1:19 and 2:13-2:17).

Zombie Panic (beginning and ending) - The flute-like lead lends a bit of a ghostly vibe to the source, making the antagonists seem more like intangible spirits than physical monsters. Evening of the Undead (in the middle starting at 0:54 - pay attention to the countermelody and you'll hear this source) - As a whole this section feels like an exploratory detour, and the tune at 1:18-1:30 and 1:54-2:06 even sounds optimistic. Also, I think it's no accident that there's exactly 10 screams heard, equal the max number of neighbors you can save in any level. Already 3 die before the mix kicks in, the 7th marks the change in source/mood, and the last one is the wake-up call that says Zeke and Julie screwed up big-time. They frantically race around a bit, retrace their steps... and just throw up their hands in defeat. While the mix ends on a content note musically, it ends on a despairing note visually.

What really gets me is 2:15+. This is where the mix takes a somber, soul-searching turn. It's as if Setzer suddenly became acutely aware of something important deep in his heart. As he stares into the distance, he ponders his life, his choices, what his friend Darill meant to him, and what the future holds. The way the mix fades out as it continues its phrase makes it sound like the airship-bound gambler will fly higher and longer in his search for that meaningful something...

As meandering and sedentary as a buoy in gentle water.

Generally somber/nostalgic mood, occasional leaps in self-confidence, introspective lapses... I can practically hear the thoughts of a wanderer: "Is home the way I left it? How much have I changed? Will I be welcomed? I've come this far; might as well keep going..." Appropriate title and an effective illustration of how coming home is by no means straightforward.

The Chao Cave just got more fun to explore thanks to a couple of key factors: - 0:30+ feels like we've briefly halted our steps to learn that, if we listen/look hard enough, other magical beings are coexisting with the Chao. The glistening, shimmering flutters and such really add a sense of ethereal and otherworldly wonder. - When the bells aren't bridging 2nd and 3rd measures (like 0:18 and 1:03), they're heralding something bigger (like in the beginning and end). In both cases, they play the role of all-important guides to help us keep our wits about us and not get lost. In other words, this mix boasts a solid blend of free wandering and staying on track.

The wah synth seems to enjoy a bit too much modulation - I can rarely predict its exact vowel sound until the 2nd half of every 4th measure (0:10-0:11, for instance). At least the layered percussion that follows amicably gives it some solid footing. I often find myself bobbing my head from side to side when listening to the beat. It's certainly helped by the dynamism of 0:58's sugary whistling lead and 1:55's carefree roamer. I also like 2:20-2:27 - even though it's not a very impactful climax, it still elevates my spirit along with the notes being played.

There are times when the rapid 4-note bass pattern of the source sounds muted or overtaken, but at least it's offset by other sounds maintaining the tone or emotion of the moment. The percussion, similarly, sometimes gets drowned out, but I like how it ever-so-gradually evolves alongside the mix to add different shades of flair. I'm guessing 1:24-5 is an attempt at partial melodic rearrangement, but to me the C-G-Bb progression sounds off. It does sound a little more at home at 1:41-2 though. Given the way the last minute sort of hits the reset button on the mix before deflating into nothingness, I interpret this section as a wannabe prelude to another song/chapter in the musical narrative. It also would've been nice to hear more exploration of the source's second part ("Ab-G, Bb-Ab"-dominated), although the extended measure at 2:40 (with the organ at 2:47 adding to the mayhem) is certainly strong. All in all, this makes fitting hellfire music.

Bowser DOES kidnap Peach many times. Even players who don't closely follow the Mario series know this. If you mean my wording sounds over-the-top/kind of tongue-in-cheek, then yeah, I can see that. I just felt saying he kidnaps her "once more" or "yet again" felt a little lacking, but I incorporated the wording anyway in the revision below (no qualms about it this time). It starts to draw attention away from Rosalina, as if to say she's no longer important and the other characters' motives become the focal point (granted, that's the way it is in the game, since Rosalina's a side character, but for this bio...). It's also a tad redundant to say Mario must rescue Peach from Bowser right before saying Bowser kidnaps her. Looking at my version again, I think it becomes a little vague to say their paths cross when describing the villain's actions, if only because said actions don't explain the good guys' interactions clearly enough. Maybe I can try this: I think this helps keep Rosalina on the same level as Mario by showing that her stakes are not less than his as they team up against a common enemy. I also added "her debut game" to keep the sentence it's in from appearing too simplistic.

For me, the main draw is 3:14 - 3:36. Things get ridiculously fast here, like there's a contest to see how much the percussion can be pushed to the limit. Consequently, it's hard for me to keep my composure while listening to this section. Sometimes I'm in stitches; often I laugh; always I smile. I concur with djp's comment that this could be labeled "music for nanomachines." It definitely has that robotic feel to it - in fact, after a ritardando climax characteristic of a number of Sam's arrangements, the last several seconds sound like an emergency signal going, "Abort mission. Retreat in progress..." Electronically pensive and exploratory.

Interpretation's on the ball with this one. I'm totally into the material that flows naturally out of Ravaged Village at 1:27 and 2:00. The backup guitar studiously creates expressive countermelodies that grow beyond the bass melody of the source. Compared to the deliciously hot synthrock leads, the percussion's a tad soft (notably the cymbal hits), but it makes up for that with its flexibility: the drumwork at first appears on-the-beat basic until decisive moments and transitions cue it out of its comfort zone to act both faithful and enrichening. Superb stuff, though I gotta say: poor Aerith. She's treated like a villain and didn't get to integrate her meows with the song in the video until the end.

If this mix were personified, I'd imagine it would resemble someone going through introspective recovery. It starts off lost in a boozy buzz that's hard to shake (intro), becomes calm and centered but retains an air of sadness (0:35+), then seems to confront/reconcile with its sharp, messy, almost alien feelings (1:44-2:19). Then it sort of repeats the process but with more momentum and confidence until - ! Well, the cutoff could mean its life has been cruelly cut short in an accident or (via Repeat button) the process is like a groundhog day loop. It seems open to interpretation, not unlike the inkblots in the title.

So the first paragraph would be removed, and the sentence in question would look like this: "Rosalina's path crosses Mario's when Bowser not only kidnaps Princess Peach for the umpteenth time, but also steals the comet's Star Power (its fuel to fly through outer space) before making off for the center of the universe." Is that too long? I could change "its fuel to fly through outer space" to "its energy source" or something if that would help trim it down a notch.

Oh wow, that's thinking ahead. Nice. The urls are even simpler now across the board. Yep, fixed on my end. Muchas gracias.

This takes me back. To where or when, I don't know. But it's all good - so chipper and nostalgic. Pretty much every tactic put into arranging this makes me smile. As others have noted: three ocarina songs sharing one tempo + notes spaced more judiciously to help carry along the bouncy vibe without skipping a beat = pure genius. There's so much "shimmering" going on (hi-hats, cymbals, bells, whatever) that I can't help but wonder if a little Navi dust was also used to make this.

1:23 feels like a decisive turning point. Why? It follows an initial run through part of the source not unlike a scout on reconnaissance, who then beckons the rest of an army onward toward some great purpose, like attacking a fort or storming a castle. The bass, percussion, and 5-notes-then-4 pattern are all saying "we're heading out. The mix is on the march." The bulk of the breakdown vividly encapsulates a cavern setting (as djp pointed out), particularly 2:12+ with its icicle-soft synthwork and 2:55 with its "high up with the stalactites" edge of loneliness. 3:40+ is another momentous section of Braincooler, what with its key change and 3:48's melodic creativity. To me, this is where the mix is really starting to spread its wings and fly to more promising places as long as it keeps evolving. It sure has the momentum to do so.

The many flourishes and segues speckled throughout caress the melody and make it sparkle. Some sections are a little samey - for example, at 1:01 and similar points, most instruments drop out to give the bass and percussion the floor (just like in the source) - but then again, they seem to reinforce the charting of a clear, direct path among the chaotic biosphere of a foreign planet.

On the "forums" dropdown menu, the "Social Networking & RSS" icons are gone when browsing the actual forums (whether the Forums Home or any individual thread), although they appear everywhere else, like the front page, ReMix writeups, and lists of systems/albums/organizations/etc.

Detracts? Do you mean it leaves her out of the spotlight for too long/doesn't talk about her early enough? I can see that, but the first paragraph establishes 2 things: 1) Rosalina's part of the Mario roster, hence the payoff when "[her] path crosses [his]," and 2) Bowser kidnaps Peach, hence the nod to Mario's "special one" down the line. Alternatively, I could just work the fact that Peach is kidnapped into the third paragraph like so: "Rosalina's path crosses Mario's when Bowser not only kidnaps Princess Peach for the umpteenth time, but also steals the comet's Star Power..." Is that what you had in mind? Mario and Rosalina both have stakes/goals, plus it's clearer who is meant by the words "special one."

Okay, v.2: In Super Mario Galaxy, a familiar plot remains intact: Mario must rescue Princess Peach from the nefarious Bowser. As the title suggests, the plumber travels to different planets and galaxies to fulfill his mission. Helping him this time around is one of the franchise's most mythical characters: Rosalina. A self-proclaimed protector of the cosmos, Rosalina is in many ways one with the stars. She lives aboard the Comet Observatory, a celestial body from which she gazes upon myriad galaxies. True to her protector instincts, she raises little star babies called Lumas, who look up to her as their adoptive Mama and journey with her until they mature into various astronomical objects. With her magic wand, Rosalina demonstrates such powers as levitation and the creation of a force field to protect herself or even surround the entire observatory to appear like a natural shooting star. Rosalina's path crosses Mario's when Bowser steals the comet's Star Power (its fuel to fly through outer space) before making off for the center of the universe. Though stranded, the goddess-like figure exhibits characteristic patience and wisdom to formulate a plan: Mario must retrieve enough Stars to power the Comet Observatory so she can take him to where his "special one" is. She first gives him a Luma, which grants him the power to fly to distant galaxies, and afterwards is ever present to offer advice and encouragement with her motherly grace. All in all, Rosalina is as steadfast and gently guiding as a star in the sky.