Emunator

I think Kris is right on the money with her gut feeling here, but to me this was more clearly problematic. I love the minimalist approach here, but that also leaves the instruments fully exposed and unfortunately showcases the points where the sample transitions are less believable. The decay/release on the choir felt too fast in the intro. I also agree with her impression of the flute, it needs a bit more of a natural cadence to the vibrato and expression. At moments like 1:03, you attempt to sequence repeated notes that I don't think your sample library is equipped to handle, those sounded unnatural. I picked up on similar issues with the strings, too. I also thought the bassoon (?) sample had an unusually buzzy tone that I can't quite put my finger on. I think the strength here, as I've seen in several of your other arrangements, is in the additional embellishments you make to the writing. The little harp flourishes and percussion really stuck with me in a good way. However, I don't find that the instruments that are really doing the heavy lifting (strings, flute) are just not sounding great in this exposed of a context. It is very conservative, and I am also on the fence about whether there's enough personalization introduced in the harmonies/countermelodies to consider this a substantive upgrade, but regardless, the exposed samples are just not cutting it for me NO

For what it's worth, there's some additional source usage that sounds like the 7AM chord progression and a reference to the 9AM melody (among other songs on the OST.) Larry didn't mention any qualms about source usage, but there's some additional elements that aren't explicitly present in the Rainy Day theme. Anyway, onto my vote. As you can probably tell, I'm a huge Animal Crossing nut and am intimately familiar with the soundtrack, so I greatly appreciate the concept that you decided to run with here! I've always found the environment of Animal Crossing to be mesmerizing and tranquil, which your track captures very well, while still introducing some of your own personal flavor Onto some of the issues, though. Larry did an exceptional job breaking down the issues with the arrangement. I found this to be underdeveloped because it's a rather short arrangement that also has long stretches of non-musical content (rain sfx.) When you cut those sections away, you're barely left with 2 minutes of material, much of which is built on the same beats and patterns. There's not enough evolution throughout the arrangement, which is a necessity to prevent your track from feeling stale. I also thought the fadeout entirely to rain that was utilized multiple times throughout your remix felt lazy from an arranging standpoint - I would love to hear some more deliberate musical transitions to link together your ideas, and some more changes to the sound pallet between each section as well. The production is off to a good start, the sounds you've chosen all complement each other well, but the production leaves a bit to be desired. I did not find the piano sample to be particularly suited for this style of music - it has a tinny, mid-heavy quality without many low or high frequencies, so it sounds like a very low-quality sample. I can't tell if the sample itself actually is low quality or if it's just your EQ curve, but I think this would be much better suited with a piano that has a bit more low end presence. I wonder if the rain sample that you're using is introducing too much mud into the mix. I can't tell for certain without seeing the project file, but one trick you can try is to add an EQ that cuts out some of the low end of the sample (a good starting point would be a low-cut around 200Hz) but automate the mix of that plugin so that it only kicks in when the bass/beat are active. It sounds like you sidechained your kick to the rain, which actually feels somewhat unnatural to me the way that it dramatically ducks the rain on every beat - I think a selective EQ (or a more subtle sidechain) might achieve the same effect of cleaning up your mix, but feel more organic. There's also a noticeable lack of high end content in the mix overall. Right around 1kHz, there's a steep drop off that can be seen below. My spectrometer looks like this throughout most of your track, so it's not just an anomaly - your writing itself is lacking anything significant going on in about half of the frequency spectrum. This is something you should really address in the songwriting part of your track first rather than trying to fix this with EQ and mastering. Some sort of melodic counterpoint that resides above 1kHz, or maybe double your arpeggio up an octave... anything to balance the frequencies out would help make this a much more compelling arrangement to listen to! (If you're not familiar with this plugin, I'm using SPAN, which is a free VST plugin that shows the frequency balance at any given point in your mix. I highly recommend using it for situations like this, and also to check the loudness of your mastering! https://www.voxengo.com/product/span/) I love the concept here and would love to see you expand further on this, but I'm afraid this feels more like an initial concept than a fully-realized arrangement. I hope you find some of this feedback helpful, whether it's applied to a resubmission of this arrangement or your future work. Happy to chat if you have any further questions! NO (resubmit)

There's some really cool stuff going on here - some excellent transitions and heavy chugs. Production seems pretty nice across the board, and the arrangement is thoroughly interpretive. The ending came on a little suddenly for me, but it's not a huge deal. Personally, my issue is solely with the lead guitar - the rhythm guitars sound passably convincing in this context, and the drums/bass are just fine, but the lead guitar is just not expressive or humanized enough to pass muster. I personally think you could push this over the bar just with getting a live performer to play that lead line. Since the lead guitar is present through so much of the mix, unfortunately there's really no way around the fact that the lead performance is rigid and lacks the human quality that a live guitarist will naturally introduce into their performance. NO (resubmit)

Huh, maybe it's just me that was overthinking things here! That definitely happens to me with genres I'm more personally familiar with, so I want to reiterate that I definitely enjoyed this in its current form despite my above ramblings, so I want to make sure that doesn't convey as unnecessarily negative to the artist when this is published In that spirit, I will remove the "borderline" qualification from my vote since I don't really think it applies anymore.

I'm going to share my judge's vote again as a public review, because I really fell in love with this track when I heard it on the panel! Truly one of the best arrangements I've heard this year. ... I have to say that this floored me on first listen. From a production standpoint, I'm impressed at how spacious and open this feels when considering how much you have going on and how heavy some of your riffs are. When mixing metal, it can be tempting to just smash the volume of everything as loud as it can go and brickwall your master, but I admire your restraint in choosing to leave some room to breathe, and I think your end result is all the better for that decision. Arrangement-wise, this reminds me quite a bit of SixteeninMono's debut mix from 2016. Like that submission, your arrangement feels like a slow burn towards an intensely-satisfying climax, but the journey to get there is just as fulfilling. The whole song is full of beautiful textures and nuanced but powerful guitar performances. Some personal highlights include the harmonies from 1:09-1:15, as well as the entire breakdown and build that starts at 2:05, which went in a really unexpected minimalist direction but makes perfect sense in context of the rest of the arrangement. And I can't sing enough praises about the climax at 3:06, which provides an incredible emotional catharsis to cap off an already-stellar mix. I know I spent my whole vote basically gushing over this, but it really is one of my favorite songs I've heard since returning to the judges panel. I really hope you send more our way soon!

Keeping this short, but just to add my 2 cents at djp's request, the vocal performance and some of the other elements of production also didn't sit quite right with me. There was a lack of energy in the vocal performance and saxophone that did not match the quality of the arrangement. I also found some of the lyrics to be awkwardly written (i.e. "I really want to feel safe") but would be okay with this if the vocal production was cleaned up at bare minimum. This is an excellent arrangement but a second pass should hopefully make this a no-brainer YES vote. NO (borderline)

Hey there! I love the glassy, breathy texture in the intro, I would have liked a slightly cleaner fade-in so it's not starting so abruptly, but that's not a big deal. There's some great synth sounds in here that work great with the Forest Interlude melody. I liked the drum break at 3:03, that was a great transition that hooked my attention! There's a few areas of concern I wanted to point out that would help improve this and get it up to OCR standards: The mix could definitely use some sidechain compression to clear some of the space and give more of an implicit sense of rhythm to your track. I'm not sure what DAW you're using, but this is a good resource to understand the concept of sidechaining regardless of what program you're in if you're not familiar with it already: Basically, you set up your mix so that your kick drum (or any other element, really) will proportionally "duck down" other parts of your mix so that your kick hits harder. One good place to start with this would be sidechaining your kick to your bassline - right now, as others have pointed out, the bassline sounds repetitive and doesn't have enough dynamics to sound interesting. This will not only help your beats cut through the mix better, but more importantly, it will give your bassline some extra movement. It sounds like you've attempted this effect by changing the velocity of the bass notes (apologies if I'm wrong here!) but this would be a more precise, organic way of doing that. I would also consider doing a more subtle version of this effect on other instruments like your strings and pads to clear out space in your mix. The drums still sound a bit flat to me overall, mainly from a sample perspective. The kick drum sounds fine to me, but the snare gets repetitive. One thing I like to do in my own mixes is include multiple snare samples and have a different snare drum hit on the 2 beat and the 4 beat, or layer them differently throughout the song. The tambourine also doesn't really work for me, it just seems like a weak sample and isn't dominant enough to carry the 1/16th note rhythm. Some accents would be fine, but I think you need a sharper, better-quality sample for your hi-hat rhythm. The transition at 2:54 is weak - some sort of sweep effect, cymbal crash, or anything else along those lines would help that chord change have more impact. Some sort of transition effect is definitely essential there to go along with the writing. I thought you ended the remix at a strange point - it cuts off right in the middle of a melody and doesn't offer any sort of resolution. Maybe try playing around with something similar to your introduction, but gradually break the track down to its simplest elements, or even add some original writing of your own, which leads me to my final point... Although you did a lot to change the sound design of the original into a more synth-heavy direction, all of the writing is still more or less direct from the source material. If you're just looking to make a cover of the original with no intention of submitting to OCR, that's totally fine and you can ignore this critique, but if you were to submit to the site, this would definitely be brought up on the judges panel that the remix is too close, melodically, to the original Forest Interlude song, and you would need some additional changes to the structure or the melody of the song. Take this feedback for what it's worth, depending on what you intend to do with this track. I hope you don't find this feedback discouraging or unwanted - I enjoyed the foundation of your remix very much, but I still think there's a lot of room for improvement if you're willing to pursue it, especially if you planned on submitting to the site. Good luck, let me know if I can clarify any of this or provide additional feedback

Absolutely LOVE Click Clock Woods There's some pretty whimsical flourishes that expand on the original here, and I really love some of your additions to the the backing instrumentation in general! This conjures some excellent vibes and has some interesting ear-catching moments throughout. However, I found that the rhodes was not a suitable lead for most of this track - the sample itself felt sterile and lacking any bite, but more significantly, the performance felt lethargic and not humanized. It doesn't seem to be sequenced in the way that a human would actually perform the instrument. There was kind of an awkward swing to it that didn't seem to line up with the rest of the track's groove. When the bells came in at 1:06, it sounded a little better, but in general, the lack of expressiveness and general production quality on your lead instruments, especially when everything is so exposed and minimalist, sinks this submission I'm afraid. I'm not going to dwell on the overall mastering because it's been covered on many other tracks, but I'll mention it for posterity's sake - it's very quiet and lacking in master compression. Would love to see you revisit this soundtrack, but I don't think this submission is the one that will get onto the site. NO

This certainly packs a lot into a short runtime! Although it's a fairly straightforward cover, there's a lot of personalization added to this thanks to the enthusiastic performances. Seriously, the rhythm guitars especially sound badass here, and there's a ton of variation to keep this fresh throughout. The chiptune synths, while not anything groundbreaking from a sound design perspective, added a surprising amount to the arrangement and fit really nicely with the rest of the instruments. I find myself agreeing with just about everything Larry said, but fall on the opposite side of the bar - for such a short and conservative arrangement of the source material, I think things need to be absolutely ironclad, and there's a few things that, on top of the arrangement feeling just a tad bit undercooked, make it hard for me to pass this in its current form. The high end does sound slightly scooped out of the snare, and the balance between lead guitar and rhythm guitar is not perfect... for my money, I'd like the lead to be more present in the mix. I also echo the sentiments that the ending was underwhelming, and would have benefited from something more conclusive. Ugh, this is a hard vote to make because, in a vacuum, this is thoroughly enjoyable, but when viewed in context of the OCR standards, it falls short, mainly due to the straightforward and underdeveloped arrangement and some minor production issues. I wouldn't be upset if this passed, but I would feel a lot more comfortable signing off on it if even a few of these qualms were addressed. NO (borderline)

Love this source, easily one of the most memorable pieces from the Smash Bros. franchise I think you're onto something with the concept of transforming this into an instrumental hip-hop track, and you've got some interesting things going on with the percussion and some really interesting original writing that are worth exploring. I know you were concerned about too much dissonance, but I actually found that to be a strong point of the arrangement, I appreciate the contrast between the more grounded sections and the dissonant, original writing. However, Larry succinctly covered some of the issues with this track, many of which lie on the production side. He correctly identified that the dynamics of the track are flat, and there's not a sufficient difference in punch between the different sections. This can be achieved through a number of ways, but I think a strong place to start would be layering in additional sounds and textures to thicken things up. Maybe a synth pad with more bass frequencies, or a more dominant bassline so that there's more content in the low frequencies than simply a kick drum. This will also help the issue with sample quality - although you're using a nice variety of instruments that complement each other without growing stale, the samples themselves are not very great quality and sound very robotic. Having more going on in your soundscape can help mask some of the imperfections in the sample quality. The overall mastering and mixdown of the track feels unfinished, too. Looking at the waveform, there's almost no compression going on, so the waveform seems to peak whenever the drums are present, and sound unnaturally quiet whenever they're not. I strongly suggest looking at the volume levels of your instrument and throw a compressor on your master track to tighten up the mix - some extra cohesion between the instruments would go a long way in helping this sound more like a finished effort. This is not where it needs to be yet for OCR's standards, but I admire the effort and hope you'll continue to refine your craft and keep sending stuff our way! Good luck! NO

This is so amazing, what a great opportunity to bring such talented musicians together. I really, really love this

Pretty rad! I love the predominant use of the glassy tones here. Lots of complex writing and varied sound design keeps this engaging while still retaining the signature chillout vibe you were going for. Things got muddy during the busier sections due to the high level of reverb on your leads and the presence of the supersaw stabs, for example, so on future submissions, I would suggest trying to rein in your reverb slightly (maybe try using a send track and EQ'ing the reverb signal itself so you can sculpt the reverb signal to reduce mud.) It's an easy trap to fall into with chillout arrangements. I also feel like your leads in general sat rather quietly in the mix - a very slight volume boost to give them more presence might not be a bad idea. In spite of those issues, this sounds good enough to my ears as-is! There's room for improvement on the production side but there's a lot of creativity in both the sound design and arrangement that helps this succeed on its own merits. Nice job! YES

What a lovely track. I'm finding myself particularly torn here, because the content that exists is absolutely stunning, and easily the most accessible track I've heard from Michael to date. When all of the instrumentation comes together, it's truly sublime. However, the track doesn't really kick into full gear until 2:20, and less than a minute later, it's over. This is a strange case where one section of the track sounds so excellent that it makes the rest of the arrangement feel underwhelming by comparison, and I would love to hear the arrangement developed and pushed further in the remaining sections. I'm struggling to come to grips with the structure of this remix - I've come to expect more of a deliberate, climactic buildup from post rock arrangements, whereas this track seems to be broken out into more discrete sections where the energy level jumps more rigidly. I can't tell if there's anything objectively wrong with this, or if I just have certain expectations based on my experience with post rock. After multiple listens and several days to stew over this track, I still can't quite put into words how I feel about it. At the end of the day, I think this is worth passing in its current form. The textures are beautiful, the live performances give a lot of life to the track when they come in, and there's plenty of source throughout. I feel like this could have been a much stronger showing with a more developed, deliberate arrangement structure, I can't deny the quality of what you've already laid down Good luck with the rest of the vote! YES

I agree with Rexy on pretty much everything here. You've got a super high-energy approach with some badass guitar performances and drum writing... like, I cannot understate how heavy some of these riffs are, but the mixdown is problematic. I'm also picking up clipping all over the place on this track, which absolutely needs to be addressed first off. I'm also wondering what happened with the guitar leads at :11 and 1:26? They sound so buried in the mix, but they are also too distinct and exposed to really pass as a backing element. If you're able to fix the clipping and address some of the other latent mixing issues, this would be an easy pass in my book! NO (resubmit!)

Very creative fusion of sounds, I've always been a fan of this 9-bit fusion style and I appreciate the creative liberties you've taken here! Your chiptune synths are all expressive and fun, and I didn't have any major issues with the quality of the acoustic instrumentation either. Not the most realistic samples in all cases, but they get the job done to me! This is close to a pass for me, but I have a few issues that I think need to be addressed before this is ready to post. First off, I thought the drums were a very weak point in an overall-solid package, primarily from a mixing standpoint. The samples you used seem anemic and just don't have very much energy to them, which could be remedied by way of compression, distortion, and some selective EQ boosts to allow certain formants to cut through better, or perhaps even swapping your samples out for better quality ones. The writing itself, while not totally on autopilot, does feel phoned in to an extent, so I would not be upset to hear a resubmitted version of this with some more prominent fills or more energetic, groovy riffs. The other issue I have is with the overall mixing/mastering of the track. There's a lot of headroom left on the track, and an apparent lack of master compression to glue the track together. I would normalize the volume of your track and add some compression to your master chain - perhaps this might even help breathe some life into the drums, too. Love what you've done here, just a few areas that could use a bit more TLC Hope to hear this one back again! NO (resubmit!)

Having not heard the original sub, I can say with confidence that this sounds GREAT to my ears! I'm loving the energy in the mixdown, each instrument is clearly audible and whatever loudness/overcompression issues may have been present before seem to have been ironed out nicely. Guitars sound punchy and thick. I am in love with the variety of synth leads and the energy they each bring to the table, and similarly, the drums are pulling their weight in a major way and always manage to keep things rhythmically fresh. I honestly can't find any major faults here - nice job ironing out whatever issues may have been present in the original submission, thanks for taking the feedback into consideration and using that to make something that sounds even better! YES

For as strange of a remix as this is - I will admit that I had to sit with it for quite a while before tackling it - it really makes a lot of sense how you got to this end result from the source you're remixing. It's weird, but it feels surprisingly natural. This is a track that I'm sure will not resonate with all listeners, but especially along with the context provided in your submission letter, I absolutely think this is the sort of musical boundary-pushing that we should be encouraging here, and perhaps it will expose listeners to a genre they might not have otherwise been familiar with. This is a challenging and deliberate effort and I appreciate what you've done here! I agree with the consensus here that the mixdown is very clean and there's not a lot that could be chalked up as "accidental" - the noise that others have called out at 1:45 is about as close as this track comes to that, and I will agree that the noise is a bit harsh, but it's not a dealbreaker. Nice work Michael! YES

Oh hell yes, I remember Kuro's last submission from 4 years ago as a fond favorite of mine, so let's see what we've got here... ... Yep, this is just as good as I expected. You haven't missed a beat. There's a number of different rhythms and layers going on here, making for a deceptively-complex mix that holds my interest the entire time. There's really so much to unpack here, but the mix never feels overcrowded. Special shoutouts to the transition at 3:25, you knocked that out of the park!! The vocaloid lyrics keeps things fresh as the track progresses, although I will say that the choice to introduce that element so late in the remix felt curious to me. I would have possibly preferred to hear the vocaloid brought in earlier and trade off parts with the lead guitar, though this is certainly not an explicitly wrong decision - just a personal preference. The fadeout might bug some judges, but I didn't take any issue with it - it seemed like a deliberate creative choice to end on a guitar solo and let the track slowly fade away. Source usage seems to check out with no issues. I'm not hearing anything that would hold this back from posting - nice work and great to see another submission from you in the queue Brendan! Keep 'em coming! YES

Pretty neat! I was worried that the sound palette would not be sophisticated enough based on the intro, which was pretty simplistic, but this fleshed out quite nicely as it went along. The adaptation of the Lost Woods melody to a different key was handled smoothly, and I particularly love the melodic climax at 1:45, really tasteful stuff! After that, you introduced some new mallet and guitar textures which were certainly the highlight of this mix for me, that section sounded awesome! My main concern with this arrangement is that there's not really anything unique after the 2:32 mark. 2:32-3:17 is just a retread of 1:05-1:50, and 3:17 to the end of the track is basically the same as :38-1:05 with some extremely subtle changes. Between that, and the introduction taking so long to build up to the Lost Woods melody, it left me questioning how much is really here and if there's enough to consider this a substantial arrangement. My impression after a few listens is that the song effectively runs of out content at 2:32, which is really unfortunate because that Navi transition sounded like it was leading to something really high-energy. My gut tells me that this mix is very close to the bar, but would benefit from some additional layers to help the first minute of the mix sound more interesting, and to re-write everything after 2:32 so it's not a straight repeat of content that you covered earlier in the song. I wouldn't be upset if this passed, because I really enjoyed what you have so far, but I feel like this could be a much stronger mix if your arrangement were developed further! Good luck either way NO (borderline/resubmit!)

Thanks everyone! ♥ Let me chat with Brad and see if we can't figure out the bass issues before this gets posted. Basslines are NOT my strong suit and I would love to iron out anything that sounds wrong before this goes live.

A lot has been said about this, so I'll just quickly cosign this as a formality. Really innovative arranging from Rebecca, there's a few instruments that sit in the uncanny valley of realism but this time, it felt entirely in service of the creepy mood. I still find this to be on the quieter side of acceptable, but I can accept that an unconventional mixing style befits an unconventional arrangement such as this. Nice work! YES

Gotta agree with the others that this has a very "demo" quality to it. That's not inherently a bad thing - there's some wonderful ideas here, and even more diverse of an instrument selection than normal for you I listened to the remix before the source, and I was not expecting what I heard at all, which means that you did a pretty good job creating an arrangement that is unexpected I'm not going to rehash the same mixing critiques other than co-sign Bev and Brad, but this suffers from the same lackluster mastering and production as some of your other recent mixes. Thankfully, I don't hear anything majorly wrong with the recording quality, but the production could be so much more punchy and energetic to match the performances you have going on. Practice A/B comparisons between professionally-mastered tracks that you enjoy and I think you'll hear the difference in a way that can be actionable for your future mixes! I noticed prophetik called attention to the opening piano riff and its repetitiveness, and I also wanted to highlight how that part felt pasted on and lacked cohesion with the rest of the mix. The piano riffs elsewhere in the song sound much better integrated, but that particular riff just sounds awkward and dry. This one has great potential and is one of the most energetic, fun arrangements I've heard from you, but now it needs a mixdown that does justice to your performances. I hope this feedback is helpful, I am excited to see how you improve and keep mastering your craft! NO

OW! Please make sure to put a limiter on your master track to prevent clipping, there are a few points in this arrangement where your track clips over 0.0dB and it's extremely harsh on the ears. Aside from that, there's a real charm to this synthetic surf rock thing you've got going here! I'm usually put off by all but the highest-end synth guitars, but this actually worked for me in many ways. The distorted organ was also pretty cool sounding. Aside from your lead instruments, however, the sequencing on this track is incredibly robotic - they're quantized hard to the grid, coupled with a lack of variation in velocity for the notes. I would love to hear a version of this where the drums/bass/other rhythmic elements were sequenced more like a human would play them. You could have also gone a lot further to spice up moments like 1:58 by writing a more energetic drum fill. Breaking down to just drums is a great choice to let the track breathe before the solo that follows, but the drums feel too basic to hold my attention as a solo element. This is a pretty cool take on the Mach Rider theme, but the production and sequencing needs some work. Thanks for the submission though, good luck! NO

I've always wanted to hear what Rebecca could do with a Pokémon source. This is whimsical and nostalgic at the same time, it captures the duality of the original source material while expanding on the instrumentation a great deal. I'm certainly no classical music expert, but I'm feeling a little bit of Debussy in the string writing at times, which is frequently both complex and unconventional but also utterly serene. I can tell that this is a little bit dated on the sequencing side of things, especially with the articulations on the strings and woodwinds which can't quite keep up with the melodies at times, but overall this hits the mark well enough. Hearing Kristina's mixing/mastering job really showcases how much of a different strong production can make, I would love to hear future submissions from you reach this caliber of production, I think this is a very attainable bar for you to reach on your own! There is a really pervasive crackling that does not sound intentional that I would love to see addressed. I wonder if this is related to the sample rendering issues we're hearing on some of Rebecca's other tracks? That and the sudden ending are enough of a showstopper to work on getting a fix, but other than that, I'd be happy to see this grace the front page! YES (fixes check out, this is good to go!)

Ruku! This has all the vibes I expected from his previous work. Love love LOVE the drumwork and the slightly wonky piano on this, and the periodic phaser sweeps are crisp. I strongly feel like this arrangement could be cut down to be a little more concise and still have the same effect. At nearly 4 minutes without much change in instrumentation, it sounds like this was almost meant to be more of a beat than an actual song arrangement. Not saying this NEEDS vocals or anything to pass, but without some a more salient hook to grab onto, I don't know if the length is justified. The bigger concern is the mastering. I don't think a high level of compression is necessarily a bad thing - I A/B compared this with some Nujabes and Uyama Hiroto tracks and those are also mastered with pretty heavy compression. You're honestly not far off the mark. I think part of the issue here is that the lower piano chords start to bleed and lose definition when they're hit hard by the compressor, and since the chord writing is so thick and there's so many additional instruments, everything starts to become indistinct and muddy - much moreso than you would experience using the same mastering chain on a track with more breathing room in the instruments themselves. I think relaxing your master compression and opting for a slightly faster attack, as well as looking at compression levels on individual instruments like the piano, will make a world of difference, even if it's done subtly. This was a close call for me, and I want to stress that I *really* want to see this sent back to us. I love this genre and would love to see more representation on OCR! NO (please resubmit!)