Polo

Instead of a single anonymous poster's words getting cut off or taken out of context like in the old days, this method is far more economical. It's fair to the latest reviews/reviewers and fair to those who prefer a simpler method of comparing djp's/the Judges' comments on a mix to the community's. I myself read the reviews already posted before I finalize my feedback (so I don't unwittingly repeat what someone else has said), so it's a boon. I'm still breaking my habit of looking to the top left of the threads for the "main" tab, but it's nothing I can't get used to. I'm also flattered djp finds my reviews "awesome" enough to be noted in his post above. <3

What I find particularly rich about this mix isn't the lead synths or percussion, but the supporting sounds gestating in the background, like the low hum/growl, swirling ambience, choir, and buzzing anti-synths (for lack of a more sophisticated term). That's not to say the more obvious pieces playing the source have no merit; of course the 8- and 16-note leads, punchy drums, and transitory synthwork keep the track pacing forward. And certainly the reverbed one-shots (the starting and ending sound), radio wave signals, last Metroid squeals, and so forth add spice to the surface. But the background sounds collectively emit the impression that there's something ALIVE in the darkness of Zebes, something breathing, stirring, mutating, even curiosity-piquing. It even hints at the area it's in (its height/width/depth, what the walls might be made of, etc.). Every time the leads and percussion drop out, especially during the last minute, the dim light from the bass party brightens. Without it, the mix wouldn't feel as dark or as spacious as it currently is.

I can't not like this. Hysteria just LEAKS out of this mix's pores. Each well-defined section boasts a level of tension to be reckoned with, never feeling out of place. And the way the synths are processed, you'd think they lost their minds or something (which can only be a good thing). Electrically charged synths enter the woodwork as if to signal approaching danger, and the 4-note arpeggio entering at 0:29 seems to say, "I'm the boss and don't you forget it!" as evidenced by its beefiness and the way its DnB underlings support it. 2:35+ extrapolates both the arrangement and the mood automatically and in a fitting way. The piano chords playing the second half of the source at 3:20 direct the mix into a whole new direction, more focused and foreboding than before, soon joined by the mainstay synths and percussion. And then 4:30 strikes. While the eponymous hysteria dominates, the background synth playing around with the melody is a subtle but interesting touch. Then at 6:00... silence? A bird chirping, maybe? (I like how that lingering synth gives that impression.) Everything seems tranquil, unperturbed. Maybe I'M crazy for imagining the hysteria, ha ha.

You mean the left. Totally. If not for OCR, I would never have learned why Dan Hibiki, Voldo, the HUnewearl, or quite a few other mascots are so unique. The Mascot Bio Project turned into quite a library of info. In addition to dropping comments in the Reviews forum since the start of the month, I donated $30 to the goodwill of one of the most welcoming sites I've returned to time and again.

After listening to the source, I must say I admire how the melody hidden behind the beats and within the vocals has been brought to the fore. Here, thanks to the glistening, glittering synths, cherubic bells, and fading pads, its tone becomes nectar-sweet. The sensitive strings and the bass drum can be a little overbearing sometimes, but it's nothing major. Due to how most elements don't linger on any one note, as well as how the arrangement evolves, I'm kept in a perpetual state of wanting more, eagerly awaiting the next second/section, even during repeated listens. Spellbinding.

On every Organization page, clicking "view all" (remixes) results in a 404 error.

AE sure had loads of fun with this mix. Here he sprinkles stutter and reverb left and right, maintains the sweeping wind ambience, and even includes a couple of 8-bit basslines from the source, among other things. Some of the leads sound really gummy and chewy (and therefore tasty ). I also welcome back-and-forth panning sections like 1:41 - 1:43 because they sound awesome on both headphones and speakers. The mood takes a serious turn at 0:50, but the synths keep the rapidfire pace before it transitions back into the original "open skies" feel. You can almost read AE's thoughts as he worked on 3:05 - 3:24: "Let's cut half the synths first, okay, and then let's throw off the beat a little, yeah, and then the volume gets turned down and blasts back, then we'll finish with some uber-tite rapid percussion!" The ending's kinda creepy, kinda tense, especially when it goes mute all of a sudden. It's like the final blow to really "knock the wind out of me."

Thank you for pointing that out. In addition to the link you gave, I cross-checked sources on Wikipedia and they too note that Jin's mother is missing rather than killed. Jin's bio has been updated accordingly.

I'm not opposed to the idea. Still, I think people will still click a mascot they don't know even if their name shows up on mouse-over. "LocoRoco? WTF?" *click* It's your call if you don't wanna click 'em. But we did our best to keep them knowledgeable, succinct, and reader-friendly.

I dig how the source's feeling of hopelessness has been revamped into a mindset of finding one's way through time. Whether it's boldly grinding into industrial/electronic dominance or taking minimalist breaks, this mix is expressive every second. The strings that play over the percussion add a sweet touch without getting sappy (2:27 = <3). The reverbed piano in particular adds a lot of depth, even in the background. It only gets better around 4:46, when the latest melodically liberal chunk takes hold, turning up the sense of lost exploration a notch. The electronic synth quips at 5:43 and 6:15 are the icing on the cake. I can almost imagine the "crash" ending is what someone hears right before ending up at the End of Time. Two thumbs all up.

I assume a Street Fighter IV ReMix is set to be posted soon, cuz I saw the title added to several appearance lists. What system are we going with, Arcade ('08) or PlayStation 3 ('09)? I see a lot of the former, but if that's the case, then Dan, Sakura, Cammy, Gen, and Rose cannot have it in their appearance lists. Suppose we get a Soul Calibur II mix and it's listed under PS2. Heihachi would have it linked in his list, but not Link, who appears in the GameCube port. Just as ReMixes can only be categorized under one system, we strive to do the same to titles for every appearance list they're in. Also, is it just my end, or is there a lot of tall, unused space between the Darkstalkers and the "What Is" text on the DS Category page? Really? I think it's one of the more comprehensive and fun bios to read (the first paragraph draws me right in). But I understand how you feel. The same thought strikes me sometimes when I read some of my own bios.

This is what the ultimate bayou barbecue sounds like. Billy's spending a day-long truce with his enemies, flippin' burgers, poppin' open fizzy beer bottles, tossin' horseshoes, breakdancing, crackin' jokes, AND battling alligators. Contagious, mind-blowing fun. It's probably due in large part to how the Latin brass and the wah guitar play off one another, blending and countering with blendmelodies and countermelodies alike. Of course, the other instruments (particularly the claps and drums) sound just as hot, even if they're not as prominent. Superlative work.

Yeah, I was gonna bring that up. I for one appreciate said links changed to intrasite company pages, like how they (and ReMixed games) are linked in the Interview articles. I'm glad the repeat mascots sharing one bio all show up on their respective pages. By that extension, if it's not too much trouble, could we have the Darkstalker mascots appear on the Darkstalkers Category page? Personally, I think it's fair game if djp noted the clickability feature in a writeup. We can keep this thread open for bio readers to point out mistakes/broken links for us to fix, or general feedback. You, Linearity, and I are the editors. Remember all the nitpicking we went through in getting them polished for the site? LT then graced us three with our haloed Wiki accounts because of his trust in us. :salute: Also, congrats on your new EMBLAZONED title.

THANK YOU!

Sounds like a ReMix of Opening Theme, from what I can tell. The persistently changing melody is a bold choice and a commendable strength of Dorsal Dub. As others noted, the sonar is a slick touch, but I think it loses some of its mysterious vibe while other synths are in play. On the other hand, if it played three more pings at the end, the mix would wrap up on a more satisfying note. I like the whistles (1:38 - 1:44); it's like they're calling out to the abyss. Before that, the brief minimalist lapse (1:28 - 1:31) could be a bit longer to distance itself from - and better emphasize - the rather offbeat percussion. Speaking of which, the popping drums, muted rubber band pluckings (that's what they sound like), and other percussive tidbits are a treat.

GrayLightning captured the beauty of blue skies as seen and felt from an airship. Every instrument plays a delicate but pronounced role in crafting the atmosphere*. I'm all for the relaxed pace, so neither the dropped tempo at 0:37 nor the hurried pace at 1:56 are jarring to me. 2:03+ embodies smooth sailing, plus it's chock-full of my favorite moments: Sticky, juicy percussion - if this were candy, I'd lick it profusely and have it melt in my mouth. Let's call it ear caramel. Brass swells - a subtle, emotive touch, like small clouds or gusts of wind. Choral patches (2:40) - they enunciate a brief moment when the airship sails above the highest clouds. Offhand static (2:58) - weird, but I like it there. * the mood AND the breathable air.

By moving from majestic to tranquil and back again, the feel of aquacadence seems to conjure up imagery of a pirate ship setting sail, then underwater, then the ship again. 1:15 - 1:42 sounds like the sweetest lullaby a mother can sing to her child; it brings tears to my eyes. (The flute shares its love so beautifully with the bells.) 2:30 - 2:54 doesn't carry the same purity, playing in a slightly higher octave, although it doesn't sound out of place. Then when the drums thunder forth and crescendos hit anew, it's like dolphins have leapt out of the water, leading the ship to glory.

The main page for Sagat's Moonbike says it was evaluated by the judges, linking to the 1001-1250 Lockdown Decision thread.

Melodically conservative, but the sound field is nicely packed. New leads, countermelodies, and percussion patterns join seamlessly without burying the existing ones, contributing to a chill, groovy, delicious soundscape. What really whets my appetite is what sounds like a combo of gear crunches and heightened drums that pops up at 0:46, lingers as the lead synth fades at 1:36, and reappears at 2:40 and elsewhere. And of course Sagat's quirky 22/4 time signature is faithfully reproduced. Awesomesauce.

It's like the tilted Klax board is the dance floor and the blocks are playing DDR every time they flop facedown. The audience raves compliment the aggressive, punchy vibe going on, while most of the synths are vicious enough to eat you for breakfast. 1:17-1:24 even sounds like an alarm going off, ha ha. By the way, the source (called Led Fut) sounds similar to American Gladiators - Event 1.spc, so I sometimes end up thinking of those buff brawlers competing when I listen to Nine Inch Klax.

The iconic source and this ReMix tell me the same message but in different ways: Source - "You will die in this decrepit place. Nothing you do will alter that fact. The demons here don't like your company, and they'll slaughter you if you so much as cry." (harsh and blunt) ReMix - "You fought hard, dear Space Marine, and in the end it just wasn't enough. Now lay down your arms and your spirit, and find inner peace. You will join your fallen comrades on the other side." (gentle and forgiving) This mix is so much easier to listen to, is what I'm saying. It hits the right tones softly but firmly.

Gracias for fixing the ReMixer links and labels in the Reviews and Judges Decisions forums. I'm just noting that sigs have regained visibility in the process, in case you still want them invisible there. (Doesn't bother me personally, just sayin'.) Also, I can't believe I missed this yesterday, but the review thread for Otanjoubi Cid says FFVI (6) instead of FFVII (7).

A very colorful mix. I imagine it playing at an archaeological site as diggers unearth pots, jewels, jeweled pottery, and musical instruments used by the ancients. The bells are rich, sounding like they once adorned a dancer's clothes for animation AND acoustics. I think the flute adds a sweetness that suggests Will's cool-headed optimism on his travels. Blazing guitar shredding and toned-down percussion during the following ear break are also pluses in variety (2:39 kinda sounds like a steady horse gallop; nifty). And then there's my favorite element of Will's Journey: the synth that debuts at 1:27. That is a bold, rad, exotic synth. It bends, twists, and speaks in all different tongues. And the way it ends the mix... *sweet finger kiss gesture* Wild.

When an anthemic song like Cid's is molded in the sweeping style of trance, it's the epitome of "emotionally charged." This mix seems to illustrate Cid's hopes and dreams in a larger-than-life scenario, kinda like this... 1:08 - The sweeps set the stage: the sky. Infinite, changing, looming... and out of reach. 1:49 - Cid has his sights on the sky, determination growing in his heart. 2:18 - He prepares and revs up the Highwind... 2:47 - ...and it takes off, rapidly gaining air and speed. 3:14 - Pilot and airship glide all around the world. 3:42 - Another round-trip commences... 3:55 - ...and the pilot pushes his vehicle into hyperdrive. Pigeons and seagulls perish in the spinning blades of death. But Cid pays them no mind as he stands on the airship's carapace. 4:22 - As the Highwind flies higher and faster than before, Cid LEAPS with the most majestic Dragoon jump ever, piercing clouds with his spear and reaching outer space in a superhuman ball of fire. From the ground, one can see him briefly shine and fade like a star. In sum, FFmusic Dj boosts the source's potential so naturally it becomes ever more solid and epic. (Also, if you listen closely, that Southern falsetto is singing the first 9 notes of Cid's theme. Just so you know.)