Dj Mokram

I'm not afraid Will, but there hasn't been any announcement, deadline or update (even internally) since rocktober. So understandably I'm a little concerned, that's all.

I tried warning the staff in irc and posted in the Wild ARMS thread, but was met with little to no reaction. So in a desperate move, I decided to hit the last hope of mankind: no, not Mirby. The KNGI chatbox. ;P Glad to see people are finally taking this seriously though, cause this is serious business. And it seems that what I uncovered was only the tip of the iceberg... I remember Stevo kicking their ass last year, when they tried selling Lucid Dreaming. Attempting to make a profit from someone's work without their consent is just plain robbery. These scumbags need to be stopped before they can do anymore damage to everyone.

Un-fucking-believable! 3 albums full of people's hard work being stolen and sold for profit by these scumbags.Weren't the links taken down in less than a day last time, when the same case happened with LD? This cannot be stressed enough. For great justice! Don't lose hope and keep listening. You might be surprised in a good way.

Attn OCR Staff: legalsounds.com is selling the album! http://www.legalsounds.com/download-mp3/wild-arms_--armed-and-dangerous/album_567378 I think it's the same site that tried to sell Lucid Dreaming a while back.

Uploading a track always makes me cringe at how broken the user interface is. However, I've noticed that the bot-infested forums have been wiped clean. Gives me hope that change is on the way for ThaSauce's design in 2012.

^ This. If the game is allowed, you can definitely sign me up for a Deus Ex medley of sorts.

^ This, pretty much. ^ And this. Average pop has always followed the same recipe: plain melodies, simple drum patterns and catchy chorus that gets stuck in people's head. Only difference are the faces/voices/asses/personality-disorder of the shooting stars being brought on the stage that day. Add to the mix some mass advertising and social/peer pressure, and you've got a craptastic tale eternally retold. Everything else is a subjective matter, as is anything that involves personal tastes.

Fair enough. Then I'd like to bring back Deus Ex Human Revolution from the grave and add +1 vote to it.

Great birthday to both of you ThaSauce veterans.

Then what's the point of elimination if any game knocked out can instantly regain all its votes? Does this mean anyone can bring back any game from the first list and add +1 vote to it?

So, out of curiosity (again), did this outpour of positive feedback had an impact on the final design?

Actually the site is being shut down on charges of conspiracy to racket and money laudering. Wait, what? That's one step away from revised enemy combatant status, unlimited suspension of rights and deportation to Chris Dodd's basement.

Looking forward to these. Also, technically Ghouls & Ghost isn't an RPG. ;P

Totally missed this yesterday with the OCR blackout. Yay for Headdy! Huge thank to Mike for not only taking valuable time from his busy schedule to join our modest unofficial project, but also for pouring his heart into this mix and doing justice to an obscure game, a wacky source and a downright crazy boss character. Even though he has numerous mixposts and is an amazingly skillful musician/producer, Flexstyle is one of the most down to earth, easy to talk to and work with artists on this site. I can only wish more famous remixers shared the same open-mindedness and unconditional love of VGM. At first, Mike had a different, more progressive electro version in the works, that sounded like a mix of Masashi Hamauzu and Hiroshi Okubo. Dunno if mastering the DKC3 album had an influence on his decision to switch to a completely different direction, but it was undoubtely for the best. Backstage and SuperFinagler battles being high-speed chases sequences with frantic action and non-stop craziness, this happy hardcore rendition of 'Hustle Maruyama' fits the context perfectly. This reminds me at times of the Sampling Masters (Shinji Hosoe & Ayako Saso) with this magic and dynamic electronic alchemy that gets you pumped. The nice change of pace during the break at 1:41, with furious glitching breakbeats and nasty sturated bass, adds an underlying element of tension and unpredictability that suits the persona of Maruyama/Trouble Bruin perfectly. Overall, it's a superb harcore-electro track, very uplifting and accessible, and a fitting tribute arrangement that can be (and hopefully will be) enjoyed by a wide audience, regardless of any prior knowledge of the game. Don't forget to check the tribute album for which Trouble Brewin' was originally created, at http://kngi.org/dhsbp.

Wow, can't believe I've missed this. Awesomesauce! Thanks for the bump Gario. To think this thread could fade into obscurity like this with zero replies is madness.

Thanks for clarifying Dan. Now I have a better understanding of your point of view, and see where you're coming from with this. With all the money gamers put into their hobby over the years, a marginal entertainement venture has grown into a full fledged industry. Game composers are transitioning to scoring for TV or movies, but the blips and blops aren't appealing to Network producers and Hollywood fat cats. So why limit yourself to making game music when you can score documentaries or feature films? From a studio's perspective, why hire some dude who makes chiptunes when you can have Hans Zimmer? Game writers, like any other interactive media writers nowadays, have always secretly been hoping to write for the silver screen and make it big time. You only have to watch, as you said, games slowly turning into movies (with at times more cutscenes than actual gameplay *cough* MGS4) to realize it. Worse case scenario (many SquareEnix games from the last decade), all the budget goes into lenghty CG and grandiose scores at the detriment of mechanics. Which, predictably, often results in somptuous looking and sounding, yet archaic/buggy games. (The Last Remnant, Infinte Undiscovery, FFXIII, FFXIV, MindJack) Most composers in the industry are proly married, with their children's tuition, big house and tons of studio gear to pay for. And let's be realistic here: video games are nice, but no one wants to eat rubble and sleep in the mudd for the rest of their lives. So studios create cinematic games with cinematic cutscenes and cinematic music because it has a much broader appeal. And judging by how the game industry is getting in bed with hollywood nowdays, their strategy was solid.

You're a fan of the 'classic' Deus Ex, right? Then listen closely and you'll notice melodies from the original were included in songs. Not to mention ingame radios playing UNATCO and Main Title among others. Have you played the game btw? You complain about 'retro vs modern soundtrack', but may not realize the constraints associated with modern game sound design. Nowadays, composing for big AAA titles isn't an all or nothing process like it used to be during the past generations. Many require adaptive music, long tracks made of multiple layers that are triggered by player specific action or situations. When a composer translates such work into a soundtrack format, it's generally in a more subtle and evolutive way. It basically starts slow with few elements and, as the piece progresses, content layers are added to build tension. I guarantee you there are plenty of pieces in that soundtrack that have variety, depth and are oozing with details. Try being patient and listen to the songs more than 20 sec before skipping to the next track. Then you might notice it too. Just because there are no catchy chiptune solos or crazy guitar wankery outright, doesn't mean a game soundtrack is bad. The point of game music is first and foremost to fit the game's context/content. And in that regard, Michael Mc Cann's work on DXHR was stellar.

Yes, but so far it's been mostly for old games. Thus why Brandon started this thread/project for recent games in the first place. One important thing to consider also, is that being posted on OCR doesn't necessarily mean you've done justice to a game/song. It simply means you have the abilities to create music that appeal to the OCR judges, and if you're lucky, the OCR crowd and beyond. The rest is entirely subjective. If you personally can top songs that are equal or above OCR bar, both composition and production-wise, then more power for you. My point is that not everyone will have the vision and the means to do that, especially with so much AAA titles on a multi-disc scale. The score of a game like Skyrim, for exemple, isn't exactly as easy to interpret as Mario Bros Level 1-1 or Ice Cap Zone. Again, I'm not saying it's impossible, I'm just pointing out that it will be a tall order, regardless of who remixes what. Holy crab 71 games! Good thing the spreadsheet caps at 99. How many games will you keep? 10~15? Also, are you gonna make a poll to determine which song from each soundtrack to remix or will it be open ended?

Oh, I understand the need for a shorter list now. Sorry for my twenty suggestions. ;P Awesome project is awesome. I support this endeavor 100%. It's worth mentioning though, that most of these soundtrack have production values already equal or above OCR bar. Toping these modern professional compositions will be a tall order for the remixers.

Oh, wait! There's already one.EDIT: ninja'd by Stevo. Seriously though, it'd be amazing is if OCR and The Shizz joined forces to make an album together. What are the odds of that happening before the world come to an end? ;P

Shizzies already have a ' 122112 Game Over' album in the works.

*Pokes thread* Here's hoping this project hasn't faded in obscurity...

This is the round table. Dead men words hold no meaning. If we're going that far back, then I'll simply vote for all PS2/PSP Ace Combat. Too bad PS1 isn't allowed, cause I'd have added Electrosphere as well. Now here's a franchise that deserves its own tribute album. I'll also throw one vote for Okami. That game is a masterpiece and the work of Masami Ueda on the soundtrack is simply breathtaking. Btw Brandon, if I may ask: why are you building this list in the first place? Are you gonna direct a project for the game that gets most votes?

Bionic Commando (2009) Soldner X-2 Ace Combat X Those were sorely missing from the list. Also B, I'm with you on many games on your list, but it would be nice to define a starting point. Do you mean modern games as in current console gen or back to the PS2/GC/XBOX/etc. era?

Out of curiosity: is the word being covered by your left arm 'University' or 'Remix'?