Liontamer   Judges ⚖️

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The piano line from 1:06-1:49 was there before but is pushed up and sounds rigid, slightly behind the beat, and isn't mixed as the primary foreground element, so it's not working here, and is further exposed by being this prominent. I talked with VQ about it a little, and she said "It's louder because the previous comment was it was a bit too buried in the mix and they wanted it and the cello in front, followed by the NieR harmony, then the rest... It's not a different sound, it's the same Yamaha grand VST but paired with a jazz organ for note sustain... ?" I would say be careful to not let any ill-fitting clutter and busyness be too prominent. Don't be afraid to just melodically quote something in a straightforward way instead; I'm sure your sound design will personalize it well. You'll think I believe you don't have musical talent when I've heard a lot of good ideas from you and have said so in writeups; you don't have an ear for melodiousness, so when you dip into original composition ideas, the writing can be very disorganized and lacking melodiousness. For example, the belltones from 2:10-2:31, which are slightly different in writing than v2 that was previously judged) aren't melodious and sound randomized. It'll seem like I'm holding my nose when I'm saying this: the concept could work, just not like this... no need for this random stuff. Keep it focused and coveying some sort of direction. SFX added from 3:34-3:35 sounds out of place like a cuckoo sound; didn't fit the overall aesthetic you set up. That said, other more subtle added or adjusted parts were working. This still needs more refinement, IMO, you may want to let Zack or Emu take a stab at a melodic direction for this with some new part-writing (i.e. something to supplement what's already there) as well as revisit the bells from 2:10-2:31. I'm more permissive on mixing, but the point still stands that there were sections where there's no overt direction (partly due to the mixing, partly due to the writing). While you don't need to start anything over, you're also not going to get it there with minor mixing adjustments, again, IMO. Still very good potential, so let's be careful to not just try to add extra frosting on top of the cake. The sound design's pretty solid, but there's still some dodgy writing and imbalanced mixing getting in the way. NO (resubmit) EDIT (1/28/24): Listened again, but my reservations stand. I don't even like that I'm a NO, because I want more NieR, and this is like 70% of the way there, IMO. When VQ stays on the melodic straight and narrow, it's more cohesive; once she strays, she has the tendency to start writing off-key or clashing stuff. If that can be sorted, count me in!

Previous Decision COLLABORATORS [FEAT.]: Zack Parrish = *Live Acoustic Guitar, *Fretless Bass VSTi, *Glass Harp / Armonica VSTi, *Cello VSTi *Children's Choir VSTi & *Pipe Organ VSTi Emunator = *Additional Pads & SFX for Mid-Section / End-Section / Outro, *Mentoring & Mixing Guidance # Festive greetings, J's! Originally done for The Coop & Dyne's *17th* "An OverClocked Christmas" unofficial album, this is my chill take on NieR's Snow in Summer, with quite a few very appreciated, last minute collab additions courtesy of Zack. Although this will be my third year contributing to the album, (the previous years done with tracks from Snowboard Kids, Secret of Mana, and Mega Man X3--respectively), I have been wanting to remix this song since the first time I participated back in 2021. It had taken years to finally conceptualize it in full, (and giving up on a couple of not-so-great mash-up ideas for it,) but I am happy it has finally come to fruition in 2023, where now I can feel confident in creating and mixing its transformative content and executing the plan to do it with. And, honestly, I am glad I finally put my mind to the fire and kindled the courage to open up the source MIDI and take a look, otherwise I would have never known just how thoroughly complex and harmonically-driven the source was. With source usage, it is throughout the whole song, start to finish, with no repeats. I said to myself..."why break and recreate something that is already beautiful?" Instead, I elected to *add* to it, rather than *subtract*, starting by changing the instrumentation entirely to fit a whole different genre bend. This arrangement is akin to the relaxing vibes in my remixes for "A Wish" (Secret of Mana) and "Big Snowman" (Snowboard Kids), yet it is not as somber as "The Frozen City" (MMX3). I am not a huge Christmas-y person, however, I love many things that are "Christmas-spirited / adjacent", as well as a few fairly traditional ones that make an exception (e.g. "Carol of the Bells"). I tried to encapsulate those aspects of Christmas songs I do really enjoy in this mix, such as: lots of strings, pretty bells & chimes, choirs, plenty of percussive elements, pipe organs, ritzy piano, jazzy bass, etc--but, employ them with a bit of a twist; a nice undertone of Lo-Fi / Hip-Hop, indicative of the snappy percussion and plucky bass, as well as the low flute / whistle-y, whiny / minimoog saw synth that has an East-West Coast/90s flair (i.e. that "oooo-weee-ooo" you hear in a lot of Oldskool Rap tracks, such as "Big Poppa" by Notorious B.I.G.) There...wasn't really much to my creative approach this time around, as my focus was mainly considering what I could do to showcase a different spin and feeling from its original incarnation without "breaking the mold". An...iteration that had equal parts the feelings of hope and happiness, and solemnity and loneliness that could be invoked during the (generally) joyous holiday season, against the original's more depressive emotion, that filters up and crescendo into the feeling of almost...oppression--religious fervor turned into militaristic battle music midway through the song. I never got to play NieR (although I own the original and Automata), so this is me taking the raw emotion I felt from the source alone, without context or ties to the game, and changing it into something very..."me"...I suppose. I just know the first time I listened to the source, the choir pulled me in and the drumbeat lulled me to stay till the end, and I wanted to simply mimic that ebb and flow in a "me" manner. This one is probably one of my more "conservative" remixes, but I'm a firm believer in not all songs being created equal nor should get the same treatment, and I did not feel this one needed to be bombastic or as over-the-top with the sheer insanity some of my other pieces of work came to be. It's subtle, it's Xmas-inspired, and my hope is that this one can make it in for the holidays. I know I had only submitted one other Christmas-related track, and sadly MMX3 / Blizzard Buffalo was rejected and did not make the cut. I will return to it shortly, however I hope people enjoy this one, and this one has a chance. Have a Merry Christmas and thank you for the time and consideration to give this track due judgement. I pray for the best. <**ADDENDUM: ...Third time's the charm...? ¯\_(ツ)_/¯ ♥>

PROJECT REMIX - LUFIA II: OF GODS AND MEN* Lufia II was one of the first RPGs as a kid I had ever had the pleasure to play solo, and to this very day I remember renting it from Blockbuster for the first time--ages past--and thoroughly enjoying it. Great story, a colorful cast of quirky characters, and to top it all off, mind-busting puzzles galore. I don't think I've ran into many games up to that point (or since) that utilized such a wide-variety of puzzle mechanics and skills related to each, that were almost seamlessly interwoven with the overall gameplay elements, and at that young age it blew me away and boggled me, for sure. ...Was probably the most fun, albeit aggravating bit of puzzle solving I've done in any game. In this, I had an interesting time reliving the nostalgia (...perhaps more like PTSD) of hearing the theme to Dragon Mountain once more, and I am truly ecstatic and lucky that I had caught the ability to make a remix for the album when I did. I was aware it was in a hellscape limbo for the longest time of not getting released (almost two decades!!!), and I didn't think I had a shot...but I took the gambit, asked Gario what's the 4-1-1, and here we happily are. :) For anyone wondering, the title is a bit of a tongue n' cheek inside joke about the wacky puzzles in Lufia II, in particular one infamously known by the nickname/moniker "The World's Most Difficult Trick" (‘TWMDT’); this is in relation to the pretty damned tough sliding puzzle at the end of Dragon Mountain (that a *whole lot of people* cheated on using gamer magazines, GameFAQs or RPG Classics websites to figure out how to do), and it held some of the best items/gear in the game for either the party or your dragon companion Capsule Monster. ...And OH BOY, do I remember it, and the puzzles before it (the weight puzzle, the ice blocks, the burning plants, etc) . . . And the *frequent* amount of random battles in-between--(hence the interlude with Battle #1!) Truly, the greatest pro gamer move is just spamming the "RESET" Spell like a mo-fo until you passed it. ;) Jokes aside, I did not have a particular inspiration for this piece, but the closest to ones are probably artists like Savant, GameChops, DJ Cutman, Joshua Morse and James Landino, and my approach was rather random AF. It came together and was built in a way more piecemeal fashion, oddly me working from the top (high-end synths) to the bottom (bass, drums, percs and kicks) rather than the opposite way...as this time I tried to find the vibe within the source's lead material first and foremost, rather than via the source's bass or additional drum machine / samples. And it was a wild ride. People who had a glimpse at this track over the time I've been working on it and endlessly tweaking it can attest: it had grown and mutated and was thoroughly carved and fleshed out and embellished over a lengthy period...and I think the improvements are there and shine to a fine waxed polish. :) A lot of my focus here was on tightening technique and employing more interesting synth groupings, call and response, and chord stacks than I ever had before--in pursuit of strengthening my hardcore EDM skills. I wanted a banger, I craved it, and with Lufia II (being one of my fave RPGs from the SNES era) I'm glad it was the one I gave said treatment to. ...This may not have been the "world's most difficult [track]", but it certainly pushed the limits of my current arranging, mixing and production knowledge and skills, and added an abundance more to my repertoire. :D Thanks again to those who gave me a lot of hints, tips, tricks and critique on this piece (ya'll know who you are!), and to Gario for helping me, encouraging me along the way, and allowing me to add some spice to the wonderful album stew. If it weren't for those comments and this opportunity, I do not think the song would have elevated to the heights I've managed to raise it to. I hope it meets expectations, and people groove out to it. ♥ :3 Games & Sources: LUFIA II - RISE OF THE SINISTRALS / ESTPOLIS DENKI II: ORIGINAL SOUNDTRACK; DISC 1, Track 34 - Towering Mountain (Logismos Shrine) & Track 8 - Battle #1; Composer(s): Yasunori Shiono; Release Date: 17 February 1995; Label: Pony Canyon & Scitron

Well, I think the first thing I should probably address is that, this is more along the lines of a cover and I am not sure it is transformative enough. In fact, I probably wouldn't submit it if I wasn't so happy with how it turned out as is. I tried going back to it over the past two years to see how I can expand or change things but nothing really ever came to mind. I remember seeing a track by someone recently that had a comment along the lines of "Not everything has to be for OCR, and maybe that's fine." Or something like that. And maybe that's the case here but I am not a judge and I wanted others opinions to speak for themselves! Anywho, Some things of note, I submitted another track from FFVIII this year (I promise to try and branch out in 2024 lol) that incorporated thunder and rain. This is the first track I actually tried experimenting with using it as sort of an instrument or a pad so to say. I'm imagining the scene this comes from, after the dance and SeeD fiasco, but its a rainy day and Quistis (mah gurl) just confessing and oof. The beauty of it all. This is probably also where I began using vocal overlays a bit more and sort of using it as a trademark of mine. Sometimes I'm self conscious about that but oh well, I like what I like. This is also rather short which is problematic from a transformative standpoint but I liked that I squeezed a bunch of different kinds of sounds that I enjoy in a tight space. Anyway, sorry for the long post for such a short little piece. Again, its not the most transformative thing I've submitted but I'm okay with that. As always, I'm just happy to hear back from others and continue to improve. And who knows, maybe with some more inspiration I'll find what I need to change this up some more, but if not, its been a pleasure little track of mine. Artist Name: H36T Games & Sources: Final Fantasy VIII Nobuo Uematsu Tell Me

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

Viewers were digging the Light Infantry soundtrack a lot as well, by isonosuke! https://isonosuke.bandcamp.com/album/light-infantry-ost Same with Pizza Tower! https://ronandecastel.bandcamp.com/album/pizza-tower-soundtrack During this past Summer’s event, a lot of viewers dug Logan Hayes’ soundtrack to The Pedestrian! https://loganhayes1.bandcamp.com/album/the-pedestrian-original-soundtrack

Remixer: LXE Name: Alexis Gelinas Email: Website: instagram.com/lexadex_yo 38753 -- * Game: Super Mario 64 * Remix Title: Raga Koopa * Song Title: Koopa's Road * Notes: This was my exploration into the world of indian music. This arrangement features sitar, bansuri, tampura, and various hand drums such as tabla and ghatam. Hope you enjoy this unique take on the song :D -- Alexis Gelinas

Original Decision Credits Mel Decision: arrangement, production, mixing Zack Parrish: alto saxophone, guitar, bass GameroftheWinds: bass clarinet Emunator: percussion Lucas Guimaraes: effects, foley This track was a labor of love! What started out as a last-minute bonus track for Final Fantasy VIII: SeeDs of Pandora has evolved quite a bit with the addition of live guitar and bass, rerecorded saxophone, an entirely rewritten percussion section, and brand new effects to bolster the lo-fi vibe. I love writing lo-fi music, and when I was exploring songs from the FFVIII OST to rearrange, Fisherman's Horizon immediately stood out to me as a track that would fit the genre with it's softer, comforting feel. I felt like I could make it work in the short amount of time I had to create a track for the bonus disc on the album. With the help of Lucas Guimaraes and GameroftheWinds, I was able to include some live winds on the track. Since the release of the album, this rearrangement has gone through several iterations. Most recently, I've had the pleasure of collaborating with Zack Parrish and Emunator, who hopped in to expand on the existing parts. Zack especially jumped in head-first: he re-recorded the saxophone section, and played live guitar and bass for the track, replacing my previous virtual instruments. Emunator rethought the entire percussion section, bringing in a more dynamic beat to help move the song along while still keeping you in the groove. Finally, Lucas topped it off with some additional sound effects that brought in the right amount of ear candy. I can't thank these guys enough for all the work they put into the track, along with multiple rounds of feedback to get the mix balanced just right. Their expertise and advice really helped me hear where this track needed to go in order to succeed. Games & Sources: Name of game(s) arranged: Final Fantasy FVIII Name of individual song(s) arranged: Fisherman's Horizon

Thanks for enjoying the site so long, and I appreciate the sentiment of putting this together. Unfortunately, we don't accept traditional remixes where original music is extensively sampled, we're primarily about rearrangements. Particularly the FFXIII stuff is just taking Eino's audio with no changes. This track violates our Submission Standards: NO Override

From Dual Blade This is a tribute to two of the best artists on OCRemix: mp and Eino Keskitalo. I've been a fan of OCRemix for about 15 years (thanks to Limewire). This was inspired by djpreztel's farewell post on November 4, 2023, "It's time - some would say past time - for OverClocked ReMix itself to be ReMixed". Games & Sources: Final Fantasy VIII, Final Fantasy X, mp's Final Fantasy VIII Liberi Fatali Overhaul Liberi Fatali, and Eino Keskitalo's Final Fantasy X Katumus Lulus Theme Hopes Theme FF13.

Would need a unique title if it passed -LT Artist: Astroverse Dimensions i have redone almost the complete soundtrack in rock/metal style tried to keep the sequence the game pretends and put in as much themes as possible and mixed it with original samples to keep the feeling Games & Sources: TMNT II Back from the Sewers (Gameboy) Almost complete Soundtrack Tsuyoshi Sekito Yuko Kurahashi

This was originally written about 10 years ago. I wrote a few remixes all at once and only got around to submitting Firewalker, which is my only other submission. In that time, I've had a lot of time to fidget around with this mix and arrangement to land on where it's at now. That has mostly resulted in making it more compressed and louder as time has gone on haha. I was quite apologetic in my first submission because I didn't feel like I used the original material enough but I feel more confident this time around. That is to say I think this track rules but I'm prepared to be humbled by the judges. Games & Sources: The song I'm remixing is the Lost Woods theme from The Legend of Zelda: Ocarina of Time composed by my man Koji Kondo. I don't know if I need to give a lot of description for this haha. Ocarina of Time has to be one of the most remixed games on OCRemix. Ocarina of Time is about a young lad trying to be a horse farmer but he is easily distracted and accidentally saves a kingdom. Here's a Youtube link for the exact track

This was my Dwelling of Duels submission for December 2022, MAGFest Month. I participated in DoD for the first time in January 2022, not knowing what I was getting in to. After seeing the enthusiastic (and constructive) response to my submissions, I got hooked and committed to do a full year of DoD to practice recording, arranging, and production. This track was the culmination of that year. I wanted to take everything I had learned submitting to DoD in 2022 and crank it up to 11. I thought the Mole Knight boss theme would make for a good djent cover, so putting the arrangement chops I gained over the year, this is the result. It's heavy, it's prog, it's got vocals, it's got guitar solos, it's even got a violin solo! Track credits: * minusworld - guitars, bass, programming, lyrics, arrangement, production * Brandon Strader - vocals * Development of Avoid - guitar solo at 2:23 * Shea's Violin - violin solo The opening of Mole Knight's Boss theme reminded me of the intro to "Make Total Destroy" by Periphery, so I adapted it into a similarly fretboard-spanning octave tapping riff and went from there. I knew I wanted alternating growled and clean vocals, and Brandon Strader delivered 110%. Development of Avoid did the solo at 2:23. This track was perfect for his style. The solo is weird and alien, but also strangely memorable. I added the bridge really late in the month, and Shea's Violin came on board for a short violin solo and killed it. The main source used is Mole Knight's boss theme, "Claws of Fate". Mole Knight's stage "An Underlying Problem" is used in a few places, and the Specter of Torment version of the stage, "Facing the Task" is lightly used. Main source: Shovel Knight - Claws of Fate (https://virt.bandcamp.com/track/the-claws-of-fate-mole-knight-battle) Other references: * Shovel Knight - An Underlying Problem (https://virt.bandcamp.com/track/an-underlying-problem-the-lost-city) - melody from source at 0:00 adapted at 0:49 in this cover; bass line from source at 2:14 adapted into breakdown at 1:23 in this cover * Shovel Knight: Specter of Torment - Facing the Task (https://virt.bandcamp.com/track/facing-the-task-lost-city), chord progression and melody from source at 0:44 adapted in the bridge at 1:57 of this cover The lyrics are mostly a generic "down with the system" deal, but with some mole- and shovel-related imagery. I did take some inspiration from current events at the time... namely a certain head-of-state warmonger and a certain owner of a bird-themed company. ### Verse 1 We are beneath you We make the ground quake under your feet Collapse the system Bring it down to earth You are beneath us You think your status makes you our savior Demon in disguise Fallen angel ### Chorus Walking all over us again Can’t take much more, we are at our wits end Look at this world you left for us Covered in rust, and dust, and lust Fire and smoke reach toward the sky Brandishing claws, revolt sparks in our eyes Through with the lies you’re shoveling Disgust, distrust, combust Yeah, bring it down ### Verse 2 For all your worth You are worthless A blight On our kind Your cultists Have disowned you True colors Red stripes, blood ### Bridge Shining brightly As we unite! We Will strike the ground Move this mount-ain On our own And you’ll Be left all alone All alone ### Breakdown Influence overthrown Name no more known Monuments overgrown Yeah ### Down Bridge The future’s Shining brightly As we unite! We Will strike the ground Move this mount-ain On our own And you’ll Be left all alone ### Tag Rise up Break through the fallow ground Sharpen your claws New world inbound ### Outro Walking all over us again Can’t take much more we are at our wits end Fire and smoke reach toward the sky Brandishing claws, revolt sparks in our eyes Games & Sources: Main source: Shovel Knight - Claws of Fate (https://virt.bandcamp.com/track/the-claws-of-fate-mole-knight-battle) Other references: * Shovel Knight - An Underlying Problem (https://virt.bandcamp.com/track/an-underlying-problem-the-lost-city) - melody from source at 0:00 adapted at 0:49 in this cover; bass line from source at 2:14 adapted into breakdown at 1:23 in this cover * Shovel Knight: Specter of Torment - Facing the Task (https://virt.bandcamp.com/track/facing-the-task-lost-city), chord progression and melody from source at 0:44 adapted in the bridge at 1:57 of this cover

Artist: 8bitsofglitch I had a rhythm in my head for what I wanted the SMRPG map theme to sound like, and I've wanted to do a version of the Wario land map theme for a while, but seeing as its so minimal I decided that it would be a good idea to combine them together. Originally I was going to expand on the Wario theme a bit, but it just wasn't working in a way that suited me.

Lots of RTA viewers commenting that they want Sean Bialo's Donut Dodo soundtrack! https://cosmicgem.bandcamp.com/album/donut-dodo-original-soundtrack

RTA in Japan (essentially the JP version of Games Done Quick) is doing their Winter speedrunning event RIGHT NOW and using OC ReMixes as the break music once again! Their charity of choice is Doctors Without Borders! They first used OCRs as the break music for their Summer 2023 event, and we're honored as always to be a small part of it as the break music! https://twitch.tv/rtainjapan https://rtain.jp

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

Opens up sounding kind of flooded and muddy; not sure why it feels like it's cluttered, but it does. Vox in the intro was cool, then it transitioned more into strings at :53, and it really feels like something's lightly distorting or messed up with the mixing. Arrangement-wise, I'm about 1:45 in and enjoying the expansive treatment. The brass at 1:50 actually sounded pretty solid for samples and had some impact. Still, the mixing's all off, because most of the soundscape seems like mud and muck. The parts themselves sound good, so it's unfortunate that different instruments are so hard to hear and parse due to the mixing. 2:40 had a dropoff and gave things a chance to reset. 3:00 had a return of the vocals, then :41's vocals were repeated at 3:21. 3:53 went for a bigger energy again, but it was a rinse and repeat of 1:13's section, though you did try to vary up the placement of the vocals to provide some textural variation later on. Still, from about 2:44-on, the overall energy was being retread with some minor differences; the arrangement really didn't have anything new and substantive after that halfway point. Agreed in full with prophetik that the mixing needs to be addressed so that the piece's dynamics aren't undercut so much, and you also need to either drastically reduce the track's length or add some new compositional ideas or variation somewhere in this, otherwise the second half feels too tacked on and unnecessary. The overall concept and sound is very promising, Bryan; don't be discouraged if this doesn't make it with any YES votes. Great source tune choice, and you've got something to be proud of here, even if you don't work on it further. I hope you'd be open to revisiting this and would love to hear how much you can improve the arrangement and production. NO (resubmit)

"Train Ride" - :00-1:16 "Die Toteninsel (Emptiness)" - 1:16-3:13 "The Promise" - 3:13-5:13 "Cigarette Wife" - 5:52-7:30 "The Promise" was the hardest theme for me to grok, at least until I looped it tons of times. The other 3 sources were easier to wrap my head around, but everything's arranged in a pretty straightforward way, so there's nothing cerebral or difficult to recognize in that respect, which I'm thankful for with a longer piece like this. (Obviously, the tone and tenor of this as a piece of music IS cerebral.) Once I listened to each source then its corresponding section, I ticked the source usage box and relistened to see how it felt as a unified idea. Nice quick stereo bouncing around the soundfield of Andromeda's vocals from :57-:59. From 2:16-2:27, the vocals felt out of place or in a different key than the music; maybe it's just me, but it felt odd. I thought the vocals were well performed and layered overall though, along with Nicole's harp, and the other instrumentation by PF. I don't mind the gap between parts 3 and 4. I've played enough scary games to have heard sound design like this, so I'm flexible enough to say let it ride. The vocal processing for section 4 didn't click for me, the singing was flat and was getting in the way of the music; clearly it's a feature, not a bug, and tied to the strangeness of the secret ending, it just didn't work for me personally. Interesting piece of business that won't be everyone's cup of tea, but can be appreciated for what it is. Weird shit? Count me in! YES

Despite the strong energy of the performance, the mixing sounds pretty rough and lossy, so much so that I needed to throw on a control track to ensure my setup wasn't messed up. What happened to the highs? From :36-:54, you can very faintly hear a pad-like line doubling the guitar, but if you're not listening on headphones, you won't hear it, and it was mixed in a way where it might as well not be there. The overall performance still has a strong presense, with the drums in particular do a nice job filling things out. The arrangement has nice dynamics in spite of seeming like just a big shot of metal intensity. I'm not going to go conditional YES because if the source files were gone, I'd want this on the site, but we should certainly ask Mauricio about it. YES

Still has lots of sample-exposing moments, like at :15, 1:50 & 1:52, where the highest notes absolutely made me wince, plus the timing still feels too rigid. More attention to the right-hand part in particular not sound as stilted would help. That said, the updated piano sample's thankfully richer and more expressive. Dunno what you did, Chimpa, meddler of meddlers, but whatever secret sauce was added pulled it over the bar. YES (borderline)

Original Decision Resubmission. I switched out the piano for added depth and warmth. Tweaked the reverb. Added a little warmth and reduced some of the brightness from the highs. I asked Chimpazilla for clarification on something she had said in the previous decision and she ended up helping me and asked to let her do a master. Games & Sources: Final Fantasy 6 - Forever Rachel https://www.youtube.com/watch?v=LWfdEj9jHDM (main source) Final Fantasy 7 - Tifa https://www.youtube.com/watch?v=cO_ftxA28Y8 (main source) Final Fantasy 7 - Mako Reactor https://www.youtube.com/watch?v=9ZH6coTxDTo (cameo of the intro only) Final Fantasy 6 - Terra https://www.youtube.com/watch?v=ObccgHQdos0 (cameo of the melody)