Polo

Cool revision, Mr. T.L. Some notes: - DuckTales has a capital T, according to Wikipedia and most results in a casual Google search. Yeah, I know the game in OCR's database leaves the "t" lowercase, but we'll go with the commonly accepted spelling. I'll bug the higher-ups about the capitalization (and other bio-related matters) soon. - I think you mean Disney is the creator of Scrooge; both existed before Capcom and the game based on the cartoon influenced by the comics. But I am happy you wrote (non-game) in the First appearance line. - "Huey, Louie, and Dewey" --> Not Huey, Dewey, and Louie? (the order doesn't HAVE to be traditional, but I anticipate more than a few people going "wait, don't you mean...") - "and the notorious Beagle Boys" --> I think "as well as" would fit better than "and", since they and F.G. aren't his only enemies. It also flows more easily after the comma. - "Scrooge set out in Ducktales" --> You mean the NES game, right? Just make it clear, cuz I first thought you were talking about the cartoon. Also, the next sentence treats that mention as unrelated to Scrooge's first VG appearance. Maybe start the 2nd sentence as "This was his first video game appearance, which is still fondly remembered..." or similar, in order to bridge it cleanly. - "...to once again claim his title as the world’s richest duck." Do you mean he lost his title or simply wants to maintain it? - "In his most recent appearance in Kingdom Hearts 2" --> "In Kingdom Hearts II, his most recent appearance,..." sounds more concise, IMO. - "is said to have helped" can be cut to avoid the passive voice. So far so good.

Take care that when you add new stuff, Arek, it doesn't clash with what you already wrote. Regarding the paragraph about Juri's background: - You repeat that she's in Super Street Fighter IV, she practices Tae Kwon Do, and the Feng Shui System is in her left eye. Decide which mentions you want to keep and where. - "Unfortunately" halfway through suggests that getting kidnapped was a good thing before something bad then befell her. - "brainwashed her to work for them, as well as replacing her left eye" --> "brainwashed her to work for them and replaced her left eye" On the nitpick side, you drop extraneous words here and there; "definitely" in the opening sentence, "Very" in the 2nd paragraph's 2nd sentence, and the phrase "rest assured" later on could be cut to keep the bio sounding less fanboy-enthusiastic and more plainly direct. It's okay to have colorfully descriptive bits ("proves that roses do have thorns" = hot; "as if Capcom was making her a cross-company foil" = heh), but mascot bios do strive to be concise and fairly unbiased. You're almost there, dude. Check it for a consistent tone and no ugly repeats of sorts.

This quote has more impact - it's specific and directly reflects her cold-bloodedness/lack of compassion (not in her dictionary ), which is already noted. Someone will interpret the second one as "OMFGSEXLOLRULE34" or a cliffhanger that suggests she bides her time for revenge or is, in fact, a tad sympathetic. Unfortunately, I'm guilty of this too. Probably because I'm not writing his bio and am not refreshing my memory that well. Glad to work with you guys. Let me know when you're satisfied with your end products.

1) Out of necessity, I vote for the blue Tap Runner, which is almost a year late in being added to the randomizer after Liontamer advocated that his bio be written and entered into the Wiki. Please, djpretzel. *bows* 2) Out of serious consideration, I vote for Q*Bert. Everyone recognizes his snot nose, some of the music in the game in the database was composed by virt, and he's an early game character like Pac-Man and Donkey Kong. 3) Out of personal taste, I vote for Sorceress Edea. Initial antagonist of FF8, sexy, and appears with Squall, Rinoa, and Seifer on the box cover.

Yo people. My computer's on the fritz, meaning I'm working from my family's computer right now, I'm struggling to stay up-to-date with this latest flood of mascots, and I'm not sure I can write a new bio for the time being. But others can claim their mascots to bio-ify and I'll gladly offer feedback. Darklink42, just for reference, we typically post a bio the way Arek did, in terms of format and readability. It makes our job easier when we enter it into OCR's Wiki. As for Scrooge's bio: - You nail that he's wealthy and greedy, but I think it would be more colorful if you explained HOW so. Remember his tall building with the golden money symbol on it? How about noting that he spends time swimming in his sea of coins every now and then? And he's always sporting a top hat and a cane. Plus he keeps his number one dime in a glass jar. All these characteristics I remember off the top of my top hat - who wouldn't? List some of those things as a chance to better personalize your words and the old duck's character. - Details also work wonders for describing the games he appears in. For the first game, note the treasures he seeks in the 4 corners of the earth plus the moon and the fact that he races against Flintheart Glomgold for the goods. Also, try shining light on why gamers are so fondly attached to his first game through positive aspects (play control? music? the Moon's theme? graphics? all of the above?) rather than resigning with "not having much of a plot beyond Scrooge hunting for treasure." Readers would already know that after reading the first paragraph, so branch out. - Huey, Dewey, and Louie refer to both Scrooge and Donald Duck as their Uncle - so how can one uncle be the uncle of another uncle? - Yes, there's Launchpad, as well as Mrs. Beakley, Webbigail, the Beagle Boys and their Ma... It's not a prerequisite to list every acquaintance/enemy in a bio, but it would help if they illustrated their relationship to Scrooge to explain his motives, likes, dislikes, daily life, types of adventures, and so on. - "His relationship to all of his nephews has softened quite a bit over time, as they have gone on adventures together." You're implying he was originally cold to his nephews without establishing that earlier. This is where better exploring his relationships with the other characters would clarify things. - Out of personal preference, I'd suggest putting the paragraph about his game appearances at the end. You can start by building his character and how it's colored/influenced by who surrounds him (friend and foe), and THEN dive into his eternal desire to hunt still more treasure in video games of all places. Not bad for a WIP. But Scrooge deserves something richer (pun intended). Best of efforts with your revision. Sup Arek, that's a creatively engaging first bio you got there. A few notes: - The Created by line needs a link to the Capcom page in OCR's database. - "works under Seth" ("works under a man named Seth" might sound better since the current wording implies the reader knows who or what Seth is) - So far the Xbox 360 is the system associated with the mix currently on OCR, so we'll keep repeat titles (direct ports with no changes) like the PlayStation 3 one off the game appearance lists (unless a song from that system's port of Super SF4 gets mixed). - There are spelling and punctuation slip-ups in there, and while we can make the changes ourselves when the bio's Wiki'ed, it never hurts to be careful in the first place. Following cleanup, I think this is a go. P.S. djp Photoshops the mascots, so pester him if you want that badass pic instead of the one he already supplied. P.S. 2 - I'm flattered you used one of my bios as a guide.

I get a freakishly high kick out of the synth/percussion pattern that enters after 2 seconds. Explosive intro + grimy, prodding lead + infectious beat = HOT SAUCE. The fact that it also ends the mix further adds to its authority. By contrast, the section around 1:12 smoothly offers some space-y quietude, partly thanks to the fading warping sound. I also like how the lead cutely experiments at this point until the hot sauce pattern returns. The source cameos feel naturally placed and flowing, but they don't leave much of an impression on me overall (except for the amusingly creepy debut of The Return at 0:12). I think it's cuz the aforementioned aspects steal my heart first. They're what keep me coming back to this funkitude.

That song appears in Earth Light under the name Galt Turn: Reinforcements (track 21).

There was a gap that needed to be bridged between the last two songs in the game, and bgc pulled it off seamlessly. The bulk of the mix, as djp says, is very celebratory: the percussive flourishes are like flags "waving" their right to celebrate, the lead at 1:46 joyously declares a toast, and the violin adds a sensitive touch like a female singer invigorating the hearts of men. It's also cool how the pistons/hammers, air compression, and other machine-based sounds capture the "atmosphere" of outer space (i.e. being surrounded by tech facilitating space exploration). And through it all, I see a scantily clad huntress smoothly chillin' after a hard day's alien massacre. This satisfies on many levels. See you next mission!

Personally, the sections I'm feeling the most are the ones that go all out or are the most reserved. As I noted in the album review thread, some instruments here aren't my cup of tea because of how they color/distract from the vibe that I otherwise jive with. I guess another way of putting it is: it has its moments. So it's not bad.

Starting with an influential operatic organ, the arrangement focuses on the first 4 notes of the source and what possible lead-outs feel natural and expansive. By encouraging most leads to try out this tactic (and in different keys), the mix essentially builds off its own ideas for maximum maturity. Outside the 4-note expansion craze, the trumpet quotes 0:15 of the source and the wailing guitar (love its 3 separate tones) echoes 0:53 of Wario's Castle in an altered note-timing fashion. Accompanying these two leads and others is a spacy, arpeggio-y synth that acts as a countermelody first and a breathing, transporting sound second. Other players that aren't major spotlight hoggers are cleanly processed, including the grimy bass synth in the beginning and the cymbal that's as head-bangingly active as a shaker. All the while, Earthbound-ish drums are distinct and craft their own beat variations whenever they feel. Even the smooth outro packs an edge, warning the listener not to let their guard down just cuz the mix is ending. Definitely a castle worth seizing.

Instrumentation's a personality grab bag. The Jack-in-the-box lead adds a touch of innocence, backup strings like the cello and violin soften the mood, and the choir-like pad pairs with the chimes like a mystical echo. Drumwork comes in tap/clap/slap-happy varieties and is nourishing like whole wheat bread. Even timely effects like whirling winds and space warpage sweeten the action and facilitate transitions. Since the Js already tore into the tacky-sounding woodwinds, I'll just add that I think the guitar panned left could use a similar dose of TLC to make it sound more natural. Arrangement's a devilish curveball. Here's a rough remix-source breakdown: - The Jack-in-the-box synth and the piano+bell+guitar trio at 1:41 represent the fluffy, lonesome lead at 0:58 of Fear Factory (FF). - The chimes (0:33, 1:24) play the role of FF's rising, rubbery lead at 0:43. - The woodwinds at 1:08 and the stick-like percussion are a nod to the furtive 4-note echoes from the early stages (0:03/0:04) of FF. Because the mix's order and structure are far removed from that of Fear Factory, it almost sounds like it's repeating key phrases in the hopes that the listener will stop and say "oh, now I recognize what that part is!" Many instruments add a little spin to their assigned roles, but it's the suave electronica synth at 2:30 that offers the most source-defying originality while giving the others a leader to look up to. Looks like DK has nothing to fear from THIS factory.

Instead of spotlighting individual keys, this piano mix is driven by groupings of chords and runs which, when combined with the factor of distance/reverb, produces a warm and enveloping soundscape. It certainly warms my heart. <3

Methinks the wacky intro is declaring: "I may be drunk, but I mean bizhnesshhh!" I mean, there's the swaying lead, the rapid-yet-slightly-behind-schedule drum loop (5-6 seconds in), and the provocative tone reminiscent of arcade games challenging the player to get a high score. As the effects of booze wane, the mix invites the listener to friendlier locales that come in bouncy, strategically clandestine, and free-for-all varieties (with one lapse into the initial dare-based attitude past the halfway point). It's also interesting how, although the mix doesn't end on a definitive beat (or even finish its final verse), it still loops cleanly. A boost to the source's potential punch and a boost to my adrenaline. Cheers.

It's amusing how most synths are possessed by a ghoulishly wacky character not unlike the Boos in the Mario universe. The hissing hi-hat sounds more like industrial steam puffs to me, busily blowing a surplus of awesome out the mix's pores. Even the bass synth at 1:48/1:49 and elsewhere resembles a monster doing its own "om nom nom nom" eating process. One lead (0:30) follows Outside's lonely arpeggio in spirit, popping up and shifting in sporadic ways, and another (0:59) is simultaneously shaky and paralyzed in its exploration (sorta like Luigi, heh). 1:34 rises to the third note and briefly pauses (as in the source), and 2:14-2:27 finishes what's left to cover, playing not three but four of the same notes to square out the song and come full circle. And the piano in the end couldn't be more direct homage to the original. Captures the tension and amplifies the atmosphere of the game. Well played.

Because the sources share a common tone as well as certain key players, this mix is able to gather and strengthen those factors in such a way that the end result not only pays direct homage to them, but could very well be another source song from the game. Samples are modulated gradually and judiciously, allowing both the mix to evolve and the mood to stay laid-back but focused. To name a few versatility upgrades: - The buzzy bee-like synth pattern (intro) tends to creep into the sound field, often at the tail end of the wavy, pitch-bendy, Egyptian-like lead (1:07, 2:30), and it appears anywhere from gauzy to shimmering as it faithfully plays in one of two different keys like in Cave Music. - The Egyptian lead recites its own source notes, note patterns of other source synths, AND original material. - The gum-throaty bass synth (0:21) resembles the opening grooves in Cave Music and Middle but accentuates the same moments in the beat a little differently, and the drums couple light and hard thumps like they're played by the son of Bigfoot (i.e. you don't mess with them). Also, I CANNOT STOP DANCING TO THIS - everything just draws me in, without fail. One of my new favorite ReMixes.

Strings, horns, woodwinds... bliss. Even the tempo is gently modulated to match the moment. Except for the glitchy moment at 0:43, this is as smooth as an eagle's flight. And considering how hard it is to beat CV3, this sure feels like a sunny respite/breath of fresh air after Trevor's labors.

The sparse, suspenseful moments in this mix color the atmosphere as cave-like or post-apocalyptic, especially in the layered intro and 2:28. Liberi Fatali and Those Chosen by the Planet take the initial spotlights thus: TCbtP's undercurrent bass drives the drama from 0:08, thus supporting LF, and after some role-building-and-swapping, TCbtP's choir mingles with LF's lead at 2:14 to consummate the sources' marriage. Kuja's theme secretly transfers the feel of the first of every three notes to 4/4 from 3/4, and the quick runs of Terra's theme seem kinda afterthought-ish but act like a fittingly "resigned" closure. Overall, I admire both the source choices from FFs 6-9 and how they're arranged to melodically pass the baton. Smart stuff.

Two main factors make Da Pipes super-engaging: 1) Mostly due to the snap/clap snare, the whole thing plods along like a dude in baggy clothing carrying a stereo on his shoulder and taking loose but heavy steps to the beat. Which is hilarious in my mind. 2) Gargly startup sound, wahs on reverb, chewy/slimy lead... let's just say that most synths are processed so much like distorted human voices that you can almost imitate them using your own voice. Additionally, the breathy winds and snare beat changeup nearly miss each other so often that I'm left smiling when they finally cross paths at 1:37. Can't go wrong with this funky adaptation.

Each sample sports its own charming, unforgettable character, from cheesy horns to goddess-y vocals to swift and playful swishes/scratches. Can't say I'm too keen on the execution, though - despite the steady pace and progression, the mix tends to feel trapped between acting aggressive and placid due to either some samples' conflicting vibes or some leads' mini crests and falls in harmony. Lots of bold blends in here, but it's like an acquired taste overall.

It's definitely a faithful blend/maintenance of the manic moods of both sources while tightening up their activity. The voice clips are obnoxious IMO, but I can appreciate the liberties taken in placing/splicing/cutting them up in the spirit of the originals without stifling the percussion. Even the ending is a nod to how the sources end, further upping the impression that this came off the OST. And who doesn't love 1:14-1:50? It feels both like a freestyle playground and an arrangement challenge. It really outgrows its borders.

Lead: solid with a chewy after-effect. Second synth: springy complement to the lead, taking over when it feels needed. Hi-hat: tittering, and even sounds bolder and deeper at times. Kick: beefy. Synth textures: shimmering. Break at 1:13: much obliging. The collective energy spicing up Professor T. Bird's cutscene music: priceless.

0:41 always sounds like "RCX" instead of "SGX" to me. But that's about the only awkward bit I can note in this magnum opus. Percussion crashes the party like no one's business and synths jitter and glisten like they're getting buzzed/high. Every flamboyant part of the source is kept, but they're built upon in ways to give them even more oomph. For example, instead of echoed-into silence, low orchestral hums lurk in the shadows as violin quips lead the way back into hyperdrive. Also, the piano's freestyle run is wild enough in the source, but here, preparatory chords and a REALLY fast tease help launch it into a world of its own (so much that it hits higher notes at 3:25). And if that wasn't enough, the mix halts to take a deep breath at 3:33... and BAM! More ownage. Definitely a trip. Would take it intravenously.

Wowzers, I feel like I'm hang gliding as I listen to this. I can feel the wind in my hair, see far in every direction, and even smell the smoke from cooking fires. Sizzling textures, pulsing bass and drum synergy, a brass that denotes daybreak... the aural experience is simply enveloping. A tantalizing treat for the senses.

While The Landing feels like it's serious in making history with proper military strategy, SeeD Mission jumps right into the thick of the action. In other words, this mix's tone feels more accessible. Every bit of the source is comfortably niched together in one way or another, employing smooth and unorthodox twists. Examples: 0:34-0:47 and 2:04-2:17 - Echoing bleeps and bloops make for a happy/silly interlude. 1:38 and 3:14 - Energetic high notes follow a down-the-scale run from the source in a surprise-attack turnabout. 3:40-end - The somber orchestral fadeout seems to say "the real battle's not being fought here, and is not yet won..." Pumps me up like Zell ready to throw some punches.