Gario

Heh, a year later I finally see there was some music theory going down in here and even got a call-out. What shame must I feel to have missed that! Here's a small Christmas gift from me to y'all (particularly @The Nikanoru @HankTheSpankTankJankerson) - an analysis from me, over eight years after the last one I did! Boy, sorry for that break! ... er, it's probably a one time thing, but y'know? Anyone else who has some really cool analyses of VG music should feel free to use this thread as their playground; it's what I intended this place to be, after all. Time to roll up some sleeves and dust off my analysis skills a bit. Using this link for reference, here's an analysis of the tonal structure of Star Fox 64's Meteo! Seeing that it's in 'E' (double checked against a pitch generator, to be doubly sure :P), that bass pattern that plays in the beginning betrays something interesting - there's a constant flat 2nd scale degree. More likely than not this is added for color, but contrapuntally it's always moving in an upward direction (when normally tonal music will tend to move toward where the accidental is going - lower'd notes move down and raised notes move up). It's not impossible to have this sort of thing in chromatic tonal music, but it's an unusual use of a b2 scale degree (even with a bII6-V#-i motion the b2 scale degree tends to move down to the #7). I'm not saying this is DEFINITELY a modal track because of it (there are very few truly modal arrangements out there), but if it were a roman numeral analysis would make no sense; modal music deals purely in counterpoint, since as a writing style it predates chordal structure as a standalone device. With that in mind, however, I will note that there is no important chord motion until 0:20 (virtually every scale degree outside of 1-3-5 are obvious passing motions, not significant chord changes), so to be fair to modalists out there this does start out pretty modal in structure, even if it's not idiosyncratic with the general modal style of pre-Baroque music. Even that change at 0:20 (which sounds a bit like a V43 chord to me - 2nd scale degree in the bass) it's a pretty weak chord - if one is arguing this is a modal piece of music it'd be easy to interpret this as a bunch of neighbor tones lining up together to make something that only looks like a V43 chord. Had it remained with a lowered 2nd scale degree I'd start to be convinced that this is indeed a modal piece, but the 2nd scale degree was indeed set to normal for a regular ol' track in E minor. Really cool modal elements in this so far, but a modal piece this is not. Arguably, though, this may still not be a tonal piece in the traditional sense, either - more on that in a bit. That little dropping line starting at 0:24, while not otherwise special (it's just a decorative little descending line), does illustrate the more common usage of a lower'd 2nd scale degree: it drops down to the tonic (or in some cases, dropped down to a raised 7th scale degree). Minor theory detour incoming: this is the entire premise of augmented 6th chords in relation to the dominant - having a raised 4th scale degree AND lower'd 6th scale degree (which, when the lower'd 6th scale degree is in the bass creates an "augmented 6th" between those two notes) creates a HELL of a lot of pressure for those notes to resolve into the 5th scale degree (normally leading to a pretty strong cadence). That's neither here nor there at the moment (the track isn't using an augmented 6th chord in here), but I figured hey, a little interesting non-VGM music theory on the side can change things up a bit. Not much else going on aside from that until 0:34. At this point I will say this is the first really significant chord change (to #III, or G# Major), and does it EVER hit you hard. With no significant harmony change prior, and with that degree of double mixutre (the combination of both primary mixture [borrowing from the parallel major] and secondary mixture [raising/lowering the resulting 3rd scale degree]), such a chord change nearly sounds like a modulation in it's own right (with the small jumps to #IV between). I can see where Hank's going with this: if seen as a modulation, then these would be acting as IV-V to the eventual tonic that is D# Minor at (since we're dealing with E minor initially, the enharmonic equivalent of Eb makes a little more sense strictly in theory - #7 makes more functional sense than b1) While it's a pretty cool detour in it's own right, the Schenkerian in me is resisting the urge to call this a full modulation since the target chord not acting as an important chord change in a larger tonal TONIC-(PREDOMINANT)-DOMINANT-TONIC structure that defines tonal music as a whole. If the temporary focus on a different tonic doesn't create a structural section in a piece it acts as a tonicization rather than a modulation. Many use these terms interchangeably, but they're not the same (something I found out painfully upon repeatedly having it beaten into me at UNM...). In fact, due to the nature of VG music it's quite rare to experience a true modulation - most VG music doesn't extend to longer structure pieces to justify the use of that tool (with perhaps FF6's Dancing Mad being a possible exception - I'd have to check that for myself to be sure). In an interesting twist, we don't get any more chords at 0:43 for a while, as the bass, melody and textures all double one another at this point, though it can be implied that the chord is D# minor due to both the tonicizing chords prior and the fact that the F# (the 3rd scale degree in D# Minor) steps down to D#. Without the notes in front of me it's tough to say definitively, but from there the notes seem to be making motions to reset the piece back to the tonic again (the bass gives hint to this: when it stops following the noodling of the melody it lands first on G [3 of E minor], followed by D [7 of E minor]). It's clumsy in my humble opinion, but it gets the listener back to E minor once again, ready to loop the song. With all of that in mind, I would argue that this song isn't tonal in the traditional sense at all - it never functionally moves to a predominant or anything that even resembles a dominant. I'd love to say that it was diatonic, but that's not true, either; there's so much mixture, tonicization and chromaticism that it's hard to ever really define WHY we consider this in E minor. It's not modal, but it's certainly contrapuntal (that is, it follows basic rules about voice leading), and it's certainly uses traditional triadic and tetradic chords (in other words, it uses the basic major/minor triads and the rudimentary 7th chords that follow). Yes, folks, I'm going to make the argument that this is an non-tonal piece. *GASP* Settle down, folks - we're not talking twelve-tone atonality, here. This is more an example of where the late-Romantic/Impressionist period handled tonality - with utter disregard! When a song dances around a central note/chord with otherwise nonsense harmonies as far as harmonic structure/circle-of-fifths is concerned, you'd normally classify it as a centrist piece of music. It's not "tonal", so following harmonic patterns is nonsense, but it's not purposely avoiding a tone center, either (like Schoenberg or Webern did in their time). It's something in between - a note (or notes, in the case of bitonality) is obviously the reference everything else is taken from, but it doesn't utilize harmonic form to structure the piece. Pretty cool stuff, here.

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Secret of Mana Song Title: Colours of the Winter Sky Songs Remixed: What the Forest Taught Me, Color of the Summer Sky, Fond Memories Comments: The arrangement was done by me, but the winds were performed live by my friend, Greg Orosz, AKA Gamer of the Winds (he’s agreed to this submission, here’s his youtube channel to credit him: https://www.youtube.com/channel/UCQFIzKI61fxibPgfPKeJQxw ).

Ooo, this IS pretty smooth. Not as familiar with the soundtrack personally, but upon a quick listen and comparing it to this I think I can hear enough in there. Might be beneficial for someone else to check, though. As far as the arrangement otherwise goes, I like the two contrasting parts that act to divide one another up - that piano part and that jazz synth work - though the piano part is too quiet in comparison. Ideally, if we could get something that's about twice as loud for that piano part that would be ideal. That ending is also pretty weak - fading out on new material is always such a tease. The production on this is smooth, like the arrangement is. During the synth jazz parts the melody tends to be mixed behind the rest of the arrangement for some reason, but it's not a debilitating issue in it's own right. Otherwise... yeah, I like the production on this. I can see some issues that might get this held back by other judges, but I think the good outweights the bad, in this case; I'm all for a postin' this. YES

This is a remix I made for Another OverClocked Christmas Album Vol. 11. Whoah. Source: https://www.youtube.com/watch?v=VJsviRJ4voc ReMixer: Ridiculously Garrett Name of game remixed: The Legend of Zelda: The Wind Waker Name of source remixed: Outset Island Title of ReMix: “All I Want For Christmas is Grandma’s Sweet Elixir Soup" I figured hey why not submit it. I’ll run my chances. It’s a fairly simple track. But it’s pretty jammin, you know?

Definitely a different approach taken, here - it's a slow burning piece of music, which I can always appreciate. Furthermore, it's a good example of how to make a slow burning track remain interesting - that opening sticks with that same chord, but weaves different elements and effects throughout to keep it interesting, and that chord change at 0:58 sounds like a radical change due to how it draws out the first chord. The track moves faster from there, but I appreciated that opening quite a bit. When it picks up pace at 1:49 the track is standard, though it's still quite good. The introduction of the drums was a bit jarring (considering it there was nothing for nearly two minutes!), and that bassline crowds the midrange when it's just a repeating 16th. These aren't dealbreakers, but the drums could've used a better transition, and that bassline could've been lowpassed to clean up the overall mix. Overall, though, the arrangement more than makes up for some of these missteps. In particular, it does a great job taking the source in new directions with those harmony changes and new material layered over it from time to time. That arp handling at 4:31 - 5:48 is done particularly well, in my humble opinion. The sound design misses a tad with the above items, but I think it's clearly above the bar otherwise. Great work! YES

Hello OCR Judges Panel! I want to try and make a contribution to your awesome community. First up, a remix of a well known title. The spectacular track Aquatic Ambiance, from Donkey Kong Country. I'll surely submit more remixes in the future, it is an inspiring and fun challenge trying to get a "YES" from you guys. Contact Information: ReMixer name: Glejs Real name: Glenn Liljestrand Email: Website: https://www.youtube.com/glejsmusic User ID: 34608 Submission Information: Name of game arranged: Donkey Kong Country Name of arrangement: A Journey Through Grand Oceans Name of individual song arranged: Aquatic Ambiance My own comments and info: Aquatic Ambiance.. wow, it doesn't really need any further introduction. Might be one of the most loved pieces of video game music of all time, and therefore remixed a million times already. With my take on it, I decided to try and paint a story. The track takes you from the mellow start of "diving in", through passages of the original melody lines and arpeggios but with my twist to them. Also, some brand new original melodic elements and strings arrangements have been implemented. Might be a bold move, but I believe it fits perfectly. By the end of the song, you've reached the shore. Exhausted and glad you made it. Hopefully it was a fantastic, adventurous journey! All the best, Glejs (pronounced "Glaze")

We're open to posting things like this, but it would take quite a long time to post. If the issues that I brought up in here were enough to sway votes to a NO, it would take some time for the panel to reach that decision (possibly even years), by which point the artist will likely have moved on, dejected. Even with an unanimous YES vote it would definitely sit on the panel for some time prior to posting (longer than the average track). This potential issue is what the submission standards is alluding to when they warn "Anything longer [than seven minutes] and evaluation may be delayed." It's not impossible to post, nor does OCR reject tracks based purely on length. However, very long, complex tracks take much longer to review and submit than many short songs of equivalent length - that's just how a human volunteer panel on things like this works. I've got to keep it real on this front, since it does no one any good to say such a long track won't hit some bumps in the road upon submission solely due to it's breadth. Hopefully, some of my advice averts these particular issues.

I was thinking about DP'ing it, tbh, but I figured he could use a little breeze-through in here, being an older track of his and all.

Wow, classic Halc - I sure do miss his contributions on OCR. This is an older track, but it's a good example of what Halc always had to bring to the table: crisp samples, clean mixing, great sequencing, and that oh so tasteful blend of square waves to give that signature 9-bit sound. The arrangement, while overall having enough variety, does stick to that bass instrument pretty strictly throughout, which makes it go stale after a time, but overall that's a minor complaint so that doesn't take my vote down by much. Halc, send us more stuff. We need one of the OGs of the 9-bit style to show the rest how it's done. YES

Whoa! Didn't know this project was still gonna happen!.. that said, I've been a bit disconnected from OCR and music in general lately due to life stuff, but it's good to be back on the scene, even if with an 8-year-old song. I still fondly remember writing this one in between cashiering customers in the parking garage in Indy. XD I didn't really grow up with SoM, but I've been playing it recently on my SNES classic and it is certainly.. one of a kind, if not a little wonky. What I can say for sure is that Kikuta-sensei is a god damn AMAZING composer and his work on this game is top-notch from start to finish, so I'm honored to be able. to represent this great track of his. Much love and congrats to all the other great artists who contributed to this album, and as always, please to enjoy!~~<3

EVAL ... ... holy shit, this is a 54 minute epic symphonic poem, isn't it? The largest track I've had to judge was a 20 minute Tomb Raider track (though that had more sources - something like 30 to sift through), so this is off the charts. Before I even begin, would there be any way to break this up into significant movements (much like most traditionally long music, from Requiems to Oratorios to Symphonies), then request they get released together as something like a single song album similar to other traditional music releases (like Haydn's "The Creation", Briton's "War Requiem" or any of Strauss' tone poems)? That would scare the judges FAR less than seeing a 54 minute single track pop up on their radar! It's not impossible to post in at least some form or another, but you'd likely be stuck in panel limbo for years with something like this as a single track rather than an album. Furthermore, you must post timestamps of where the source was used, as well. Fortunately, this is a widely known soundtrack so I can personally verify that the sources are well represented for much of this, but that's not a given among the rest of the staff. From a basic listen I can at least tell this is within our source usage bar, but we still need to know exactly what sources you used in this, what games they're from, where they were used in the arrangement, etc. *Ahem* On to the (actual) eval! First thing to note, this is a really, really good arrangement, with some solid orchestration, to boot. When I'm really familiar with the material it stands out just how the motifs are interweaved throughout, as well as how you transformed them to keep them fresh. Being that I've not played all the Zelda games I do feel like I'm missing out, though, and a lack of a detailed source reference in the post (what games, what sources, preferably where each is used in the arrangement) makes it impossible for me to double-check to see if it complies with OCR's requirements. It sounds great regardless, but you ARE responsible for posting what sources you're using specifically. Upon a rough, uneducated listen I think I can hear the source clearly in more than 50% of the track, but without those sources or timestamps it's nearly impossible to tell for certain. Is that some Holst "The Planets: War" inspiration at 43:46? I think it is, don't think I didn't catch that - that chord at 44:39 in particular is iconic. From what I can ascertain, the strings do sound a bit artificial, which keeping it real does impact the track. They're not the worst (they might even still be passable for most of the arrangement), but when they're the only thing playing (like at the beginning, for example) it's pretty noticeable. Obviously a live performance is pretty tough to get a hold of for something of this scope (it would be incredible if you could, obviously!), but overall if you ever plan on getting a hold of a better sample library that would do this arrangement wonders. I normally don't suggest purchasing better sample libraries as a fixall solution (not everyone has the dough to spend), but the amount of work it would take to hand-craft the human touches to something of this magnitude would be completely impractical, likely spanning years in personalized edits. Beside that, with your overall talent otherwise that would just be a wise investment; companies in need of composers would definitely take your music even more seriously with solid instrument packs behind it. I hear the articulations, and I hear the dynamics, so a more advanced sample library would likely give it that much more life and push this far over our bar for realism. On to the other instruments, the woodwinds sound alright, though the brass all sounds extra bright and tin-ny. A small amount of low-pass would help keep them in check. Not too much lowpass, but just enough to make them tolerable to sensitive listeners. Overall the instruments used in this sound pretty good otherwise. Aside from that, though, it's still quite good - even as is, it would have a good shot on the panel. The thing is, though, simply due to the breadth of the arrangement we'd likely need to release this as an album rather than an individual track. That's not at all a bad thing for you, per se - there's more advertisement space provided for something like that no OCR - but it WOULD mean breaking up the tracks into smaller parts (which affects the tone-poem element of the track). Upon a single listen of this I could parse a few places where segmentation would make sense (31:04 and 48:20, for example, have nice clean breaks one could take advantage of for this purpose - hell, 48:20 - 54:57 makes a great standalone arrangement, in itself!), so this isn't unthinkable, even if it cuts off some of the motivic callbacks sprinkled throughout the entire track. Rather than using the front page as a place to post the entire thing, using it to put up a few of the more enticing stand alone moments (like that ending) and telling the listeners in the commentary to listen to the whole unbroken album for the full experience could be a reasonable way to get something like this posted. This "album" method also will allow the less realistic moments that cause some issue in other sections of the piece to be covered as "album only" moments, with the juicier, fuller parts being posted onto the front page with virtually no hassle. There are a LOT of advantages to posting this as an album. If you want to go this route, get in touch with me; I'll see what I can do to help make it a reality. You're right, there's not enough music like this on OCR, so perhaps you can help fix this.

Aww, but we love more traditional arrangements when we can get them - having a formal education myself I appreciate the amount of work that goes into things like this. Our most posted ReMixer this year was Rebecca, after all, and she does nothing but luscious, full orchestral arrangements. This is certainly more subtle in some ways, emulating something stylistically akin to late Classical music (like Beethoven's 6th) or early Romantic (thinking like Edward Grieg's 'Morning Music'). It's really quite neat, even if some of the instruments are a bit mechanical (them violins toward the end, for example). OCR has a strange rep from ages past on being all about the untz, though I can't imagine why. Maybe it's because of the easier level of accessibility solely writing in a DAW has? Perhaps DjP's hillbilly Bubble Bobble is considered too low class to call classically arranged? Ah well, that's neither here nor there, since you're sending stuff my way in the inbox. Personally, I'm looking forward to more Schoenberg or Babbitt-styled 12-tone arrangements to come our way, but people tend to shy away from those styles when remixing (save for one notable WoW remix we received years back... eh, that's more Messiaen, according to the artist, anyway). I can't imagine why.

Yeah, the wind noise is a pretty big no-no on here - that's a super distinct sound from that game. While it's a cool sample, it doesn't really integrate into your arrangement anyway, so I don't think it'll be a severe loss, at least. TBH I wish we could accept Square Enix samples, but they explicitly told OCR not to post music with their samples back in 2012, so we gotta respect their wishes on it - any track that uses them on OCR were grandfathered from before they sent that request. Glad I could help, though!

Well hello there! Welcome to OCR's WIP boards! This is certainly one hell of a way to start, to boot - it's quite good. I'm liking what I hear so far; you've got some good vocals, and you have the guitar chops to match. The emphasis of a 6/8 meter against the 3/4 vocals to distinguish the chorus is a great idea, as well. You've also got a great sense for mixing and production - nothing gets lost, everything pops when it should, and the production seems solid. As far as the arrangement itself, it has a lot of strong points to it - the arrangement oozes personality, the lyrics are quite good, and the aformentioned performances are also good. The backing piano part is pretty stiff, though. It has dynamics, but the articulations sound copy/pasted, and the releases are pretty dry. The releases can be easily masked with a hint more reverb, but the articulation can be tricky to address with some samples - subtle changes to the attack (we're talking milliseconds) can emulate soft pedal and such. The strings also sound pretty artificial for similar reasons when exposed, but they're not as much an issue when they're in the background. When singing, be careful in your lower ranges. It sounds like you're straining in that range, which causes you to go a bit sharp and overshoot leaps. There are a few other spots where you over/undershoot leaps as well (like at 2:20), so it's something to keep an eye on. Also be mindful of your vibrato; while most of the time it's alright, it does get pretty extreme from time to time (like at 1:11), which causes it to get more out of tune than is stylistically appropriate. It's not terrible (most won't catch it on casual listening), but if you're looking for perfection it's something to watch out for next time. The original titles are the only reason you wouldn't consider submitting anything, eh? Damn, that sucks for us - I'd argue that's one of the easiest elements to fix, but at the same time I can respect the argument that the title does indeed change how one listens to a song (give a listen to the 'Threnody to the Victims of Hiroshima', then think about the impact it would've had with it's original name: ' 8':37" '). Just food for thought, anyway - minor alterations to the title are acceptable, as far as OCR is concerned (e.g. "Where Angels Fear to Tread" doesn't work, whereas "Where Angels Fear to Wander" or the truncation "Angel's Fear" would work great). Another idea is to take your chorus and base your title on that ('My Fear of Heaven' and 'Fear of the Heavens' are both great lines that also could serve as representative titles). I 100% sympathize if you don't want to change the title, but it's something to consider. You were looking for some advice/criticism so I provided, but to be honest this is still quite good. If you submit your stuff even as is you'd have a pretty good chance on passing even despite my crits here, so I do hope you at least give it some thought in the future.

Ah, apologies, are you planning on submitting one of the tracks presented here? This is a collection of releases that you've been putting out regularly, so while that falls under an album being pushed in the WIP boards (which is perfectly fine, by the way!), it doesn't make for a good thread to post a mod review due to the shear breadth of tracks on here. I removed the tag from this thread, but if you have a track that you plan on submitting and are finished taking comments on in here, make a new thread for it and tag it for mod review. Thanks!

My name/ReMixer name: Brett Christian Harrison Forum ID: BrettCH Game: Ironsword-Wizards and Warriors II Song: Main Theme Arrangement Name: The Knight's Return It took a little while but this is my second submission of this remix... Made a few tweaks, I hope you guys like it

Well, this one is actually a pretty cool arrangement, with workable production values and some really good samples, as far as I'm concerned. The orchestration is actually pretty well done as well, so kudos for that. There's a lot to dig about this, but there are debilitating issues that hold this one back. First, the instruments are sequenced in a manner that makes them sound mechanical. Every instrument has the same articulation throughout, and the dynamics sound stiff (allowing no variation within phrases, giving it that realistic touch). That lead violin/viola, for example, swells into every single note, with background instruments either ALWAYS having a hard attack or having a swelling attack to go with them. There's nothing wrong with those particular articulations, per se, but they need to be utilized appropriately; swelling into the first note of a phrase and having the violin play legato for the rest of the phrase, for example, will give the instrument that much needed human touch, since that's how a human would perform it. Since you're using soundfonts it's a touch tricky, but one can achieve this to a believable degree by playing around with the sampler's attack and release envelopes (no attack being a sharp articulation, low attack being legato, middling attack giving the instrument a more sweeping note, etc.), so play around with those options to get the right sounds. The entire track also sounds like it's highpassed to a certain degree - there's virtually no lower end to speak of, which makes the entire track sound thin. Open up the lower end of the EQ range on this bad boy and it'll breath life into the whole thing, given that the arrangement is mixed in a way that doesn't cause any other production issues in the process (like limiting and compression errors). I like the idea, and I think what's here is a solid base to work from. Listen to other orchestration on both here and live performances on YouTube to get an idea of what you're shooting for as far as humanization is concerned, and allow that lower end to pass through. You've got the tools to get this just right (again, the samples, even being soundfonts, sound fine for OCR purposes), and it sounds like you got the chops, so give that realism some more attention and let's see this happen. Good luck! NO

Contact Info: J-BHarmonized James High https://soundcloud.com/jbharmonized 33741 Submission Info: F-Zero X Catcher of the *Orchestral* Dream https://www.youtube.com/watch?v=EUSxabS5_qM Original Composers: Taro Bando, Hajime Wakai I've been working on improving my ability at making orchestral melodies. My goal is not necessarily realism, but rather my focus is on the melody...as of now at least since I'm having to stay cheap in terms of sample quality. If you've ever heard of DSK music, I mainly use their soundfonts.

Not too much to add here - this one is a really good reimagining of Zelda's theme. I liked your other track too - it's interesting to get two remixes of the same theme from the same artist at the same time - so it's incredibly tempting to compare the two. I'd rather not, however; they do different things, and while one has a few technical issues with the humanization/production that this one doesn't share, it does something different and no less satisfying with the same source. I'm a fan of both in their own right. I really like this collection of tracks, so let's get them both up on OCR ASAP. YES

Ooo, I really like this. I saw in the other thread (and even dropped this suggestion in there), but listening to this here, the real problematic samples are the two from Sora. Of course the Goofy/Donald samples are not good either for OCR's purposes, but you can look through some Disney material to find suitable substitutes. If those Sora samples are more popular quotes from the game or have some more meaning to the players (Not as familiar with them myself - only played through it once when it came out and once a year ago) you could perhaps speak the parts yourself. You never know, it could be a really cool effect on it's own with your voice speaking Sora's parts. Sorry we can't actually take Square samples, though - it causes so much unnecessary trouble for people. On an unrelated side note, that Halloween town remix is dope as hell - you've got some real solid vocal chops. It... just autoplayed the Soundcloud list while I was writing this, so there ya go, I'm a fan.

Not a bad question, but that's no-go, as Darkesword said If it were from one of the Disney characters, though, perhaps sampling a Disney property could be a useful workaround? It feels weird suggesting sampling the largest media company in the world rather than Square Enix, but them's the ropes 'round here. Otherwise, er, perhaps a good impersonation is in order? Ask around; you never know, someone might really pull through.

Huh, I wonder why; I thought it was a pretty clever arrangement, myself. Ah well, haters gonna hate, as they say.

A new Megaman with a new style? That's pretty cool. It's also cool that they snuck in some concept art in Legacy Collection 2 (It's in the Megaman 8 gallery, showing one power that Megaman will get in 11) - I was wondering what the heck that design was from a week before this game was announced, lol. Speaking of that concept art, I'm loving the idea of Megaman's costume making more significant changes to show off what power Megaman is holding. To Supercoolmike's point on MMX9 = introduction of Cyberelves, I don't think MMX would ever reach that point, much like MMClassic will likely never show the beginnings of MMX outside of the filler at the end of Power Battle 2. At most, they'd likely continue the story of the new type of Reploid that Luminous and Axl are said to be. Putting something like the Cyberelf war or the beginnings of the X series at the end of their prior series marks an end to how far the company can expand their franchise, which for something as reproduceable as the Megaman series would be a serious blow to it's profit potential. If we ever get a game (or games) following the Cyberelf wars, it would need to be done with either a Megaman Zero series prequel or a new Megaman series focused in that era. Either would be pretty interesting, but making an official Megaman Zero game that was a one-shot prequel would get me hella excited. I'm not all THAT excited for a new MMX anyway for similar reasons Zircon has (post-MMX4 is mediocre at best), but on this note of a prequel OH MAN would a remastered/redone console release of the Megaman Zero series be absolutely amazing. It stayed high quality for the whole series, and frankly it follows an amazing story that 100% concludes it's story arc at the end of the 4th game (which is a rarity for these kind of games, due to the incentive to profit on them for as long as possible). The DS collection is a pretty mediocre re-release, so it really would be amazing with a fresh coat of paint. But yeah, new Megaman is a pretty cool thing. Does anyone know if Inufane is at all involved with this one? If not, this is will be the first classic Megaman game outside of his influence - how will the different ideas show forth?

Not sure if he frequents OCR anymore, but @Ramaniscence is the owner of the site. If the issue persists, you should figure out a way to get in touch with him. Also, totally still waiting on them to upload my Deus Ex submission I turned in five or so years ago - tell em' to get on that shizz, while you're at it.

Privately y'all probably know this, but I'll make it public here once again: DjP is a smelly doo-doo face. Also, OCR can monetize my music from the site, just as I said in the prior thread.