MindWanderer

I don't feel like there's a source disconnect here at all.  The connections from 1:38 and 2:56 of the remix to 1:09 of the source leaped right out at me.  More importantly, the whole thing feels like a cohesive whole that's clearly derived from the source material.  It's not like there are huge chunks of original writing here.
This is indeed some nice, mellow, rich synthwave.  No glaring production issues that I can pick out, and the arrangement is solid.  I have no concerns putting this on the front page.
YES

I'm in the "not enough" camp, too.  It's a nice, chill groove, and it's certainly transformative in terms of style.  But it's basically minor variations of a loop of the first 30 seconds of the source.  It's very repetitive.  By the end of the first minute you've heard everything the remix has to offer.  I wouldn't call it a cover, but it's short on content.
Edit: Allow me to tone-police myself, as I realized I came across as excessively negative: I do really enjoy the groove here, and while the lo-fi tone is a matter of taste, it's executed well.  It's good "loading screen" or "elevator" music, for a minute or so.  I have nothing but praise for the foundation created here.  It just needs to go further.
NO
 

Well, the arrangement is certainly a lot of fun, and HeavenWraith's guitar work is a coup.
Mixing still isn't flawless, especially in the guitar section, where the saw is crowded by the guitar from one direction and the chimes from the other.  In general the highs are quite crowded and busy.  Like some other Jorito mixes, it could probably do without a part or even two in a lot of places.  Which is painful to say, because each part is great, but sometimes less is more.  I didn't even hear the arp in the guitar section until my fourth listen or so.
Still, I think this is well above our bar.  A good addition to any album.
YES

That's hilarious.  And true to form, Timaeus altered the Chrono Trigger source so much that the connection doesn't leap out at you anyway.  But it's clearly Chrono Trigger and not the PMD theme (which I checked just to make sure).
The opening is lovely, the vibraphone is an excellent choice for the Radical Dreamers lead.  I got one of those goosebumps moments.  The piano gets squashed a bit occasionally, but it's still clear despite losing some resonance.
Some of the layering gets a little crazy, and results in occasional discordance.  Nothing too severe, though.
Basically a classic Timaeus mix all around, with a creative mix of themes and some excellent synth work.
YES

I'm with Sir_NutS on this one.  Sure, timestamping comes a little short, but where it's not using the source material directly, it's either non-melodic padding and pacing, or riffing on the source's textures and style.  This could appear in an actual Kingdom Hearts game and would be instantly recognizable remix of Roxas's themes, no question.  I think that counting the seconds in this case obscures what we're trying to do here.
I do think it has some production issues--it's very busy, overcompressed, and even clipping a bit (I see it peaking at a bit over +0.2dB), and actually I was waffling on passing this one for that reason.  If this does get sent back, I strongly recommend giving it a bit more breathing room when you resubmit.  But I'm coming down on calling it passable.
YES

It's funny, forums seems to have died out but nothing really replaced them.  Reddit-style commenting makes it impossible to discuss things in a conversational format.  Discord is a throwback to old internet chat rooms, where it's incredibly difficult to find old comments or discuss more than a handful of topics at the same time.  I for one appreciate the old format.

It's funny, forums seems to have died out but nothing really replaced them.  Reddit-style commenting makes it impossible to discuss things in a conversational format.  Discord is a throwback to old internet chat rooms, where it's incredibly difficult to find old comments or discuss more than a handful of topics at the same time.  I for one appreciate the old format.

It's funny, forums seems to have died out but nothing really replaced them.  Reddit-style commenting makes it impossible to discuss things in a conversational format.  Discord is a throwback to old internet chat rooms, where it's incredibly difficult to find old comments or discuss more than a handful of topics at the same time.  I for one appreciate the old format.

It's funny, forums seems to have died out but nothing really replaced them.  Reddit-style commenting makes it impossible to discuss things in a conversational format.  Discord is a throwback to old internet chat rooms, where it's incredibly difficult to find old comments or discuss more than a handful of topics at the same time.  I for one appreciate the old format.

It's funny, forums seems to have died out but nothing really replaced them.  Reddit-style commenting makes it impossible to discuss things in a conversational format.  Discord is a throwback to old internet chat rooms, where it's incredibly difficult to find old comments or discuss more than a handful of topics at the same time.  I for one appreciate the old format.

Thanks Rexy for that breakdown!  Always helpful to have that for complex arrangements like this.
I've been listening to this one for a while and have been on the fence about it.  Ultimately I'm in agreement with most what what my fellow judges had to say: the vanilla synths and mechanical instruments are just unpleasant, and there's a lot of crowding in the busier sections that's causing both muddiness and some pumping.
On the plus side, I personally thought the arrangement was just fine.  It covers a lot of territory but it all seemed coherent, perfectly respectable for a long-form exploration.  As for the frequencies, I have better high-end hearing than my colleagues, so for me a melody being carried in the 2.5KHz range is fine, but I understand how many listeners would find it unpleasant, and a low pass at 10KHz will almost always do more good than harm.
I'd love to see a revision, but the sound quality for sure need another pass.
NO (resubmit)

Thanks Rexy for that breakdown!  Always helpful to have that for complex arrangements like this.
I've been listening to this one for a while and have been on the fence about it.  Ultimately I'm in agreement with most what what my fellow judges had to say: the vanilla synths and mechanical instruments are just unpleasant, and there's a lot of crowding in the busier sections that's causing both muddiness and some pumping.
On the plus side, I personally thought the arrangement was just fine.  It covers a lot of territory but it all seemed coherent, perfectly respectable for a long-form exploration.  As for the frequencies, I have better high-end hearing than my colleagues, so for me a melody being carried in the 2.5KHz range is fine, but I understand how many listeners would find it unpleasant, and a low pass at 10KHz will almost always do more good than harm.
I'd love to see a revision, but the sound quality for sure need another pass.
NO (resubmit)

Note: I'm evaluating the SoundCloud version of this song instead of the YouTube one (or the one the submitter provided).  The one we got has indeed been compressed, or rather limited.  I'm not sure why we weren't given the superior version.  Worth following up on if we choose to post this.
A lot of it is conservative, and there are a lot of similar arrangements out there, but this does stand out in a few ways.  It does progress through different instrumental styles, and the breakdown in the middle is pretty great.
My big question is, at 9:28 long, does it have enough ideas to sustain it?  IMO, just.  The triplet that drives the backing does wear pretty old, but it comes and goes.  There are some sections that get repeated, but they're long sections repeated only once, so it doesn't feel repetitive to me.
It doesn't tread any new ground but it's a solid arrangement and performance.
YES (assuming access to and permission to use the uncompressed version)

Pretty straightforward, for a Timaeus mix.  The muted trumpets sit a little strangely in the mix, but otherwise this is spot on.  A beautifully smooth integration of the themes, as usual.  Great work all around.
YES

Agreed with Gario and Rexy.  The arrangement is pretty cool, but the soundscape starts off a bit on the muddy side and gets more severe as it goes on.  By the end the bass backing is almost a wash of white noise.
I did feel like the original writing from 2:00-2:15 was a bit odd.  It's much brighter in tone than the rest of the remix, so for me it breaks the flow.  This is just my personal preference, though.  The issue holding it back is the mixing.
NO (resubmit)

Yeah, the tail of the reverb cut out, so that's a mandatory fix.  And the ending in general was indeed disappointing.  Otherwise, this is pretty much exactly what one would expect from Andrew under a time constraint: nothing groundbreaking but fun and competent.  Not thrilled with the name--had to read it 3 times before I could tell it wasn't just the name of the source--but it'll do.
YES/CONDITIONAL (on letting the tail fully fade out)

I liked this as part of the album eval--at least, after it had been cleaned up a bit--and I still do.  Earth Kid's dulcimer work is superb, the vocals are a beautiful touch, the electronica fits in well now, and the beat is infectious.  It's quirky and delightful.
YES

There may be a lot in here that doesn't scream Nightwish, but plenty does.  It's pretty darn epic in any event.  The lyrics are really hard to make out, but that's my only crit.  This is going into my own playlist for sure.
YES

I'm going to lean the other way, I'm afraid.  I was listening to the source and the arrangement back and forth, and I frequently found myself not even noticing which one I was listening to.  To be sure, it's slower, but the ambience and textures are so very similar.  I also agree that it's underdeveloped; take out the slow-burn intro and the underwhelming ending and there's barely two minutes of fully fleshed-out content.
I waffled on this a lot, but I'm coming down on this mostly for not being interpretive enough.  Add in some exposition and/or change up the textures a bit and I think this is golden.
NO (borderline, resubmit)

I didn't feel like the references to "The Good, the Bad, and the Ugly" were even noticeable unless one was specifically looking for them, and even then they're subtle.  Despite how iconic that theme is, I had to specifically look it up to listen for the tie-ins.
The strings were a little mechanical, but there wasn't much of them.  The vocals coming in halfway through were a little surprising--that works better in Morricone's work where the vocals are much more in the background--but that's a minor issue.  The arrangement does get a little hot and busy in the climax (3:48-4:20, especially 4:04 on), but that's my only major concern.
Otherwise, really good stuff, absolutely accomplishes what it sets out to do, and definitely should be part of the album's mixflood.
YES

While I didn't go back and listen to the original submission, I do remember it, and I don't feel like this resubmission is significantly different.  Between the compounded grittiness of the synths, the constrained frequency space, and the overall repetitiveness of sound and texture, I have to come down the same way as before.  I think any one of those would be tolerable, but probably not two and certainly not all three.
Edit: To clarify why I think the bitcrushed instruments are a problem: This technique effectively adds a small amount of white noise to every channel it's applied to.  On one instrument, it's fine, stylistic choice, whatever.  But on several instruments, all that white noise adds up and becomes an ever-present buzz, which I find distracting and which I think reduces clarity.  The soundscape is such that every instrument can still be heard, but it's all through this veneer of mud that adds nothing and makes it all much less enjoyable.
NO

There's one thing about this that immediately leaps out, belying the idea that this is a real orchestra: it's super dry.  A space big enough to hold all these performers would have way more reverb.
That's my only real concern, though.  The arrangement is a lot of fun, and both your performers and your libraries are really strutting their stuff.  I kind of hope this does get sent back, because I'd love to hear this again with just that one tweak, because it really does make a difference.  But I'm not going to reject it just for that.
YES

I took my 4-year-old daughter to MagFest this last weekend and gave her the chance to play a bunch of different games.  The clear winner, surprising me, was Spyro, which she spent almost 2 hours playing.  I had to help her a lot, but she did much better at it than at other games she tried.
In retrospect, I shouldn't have been surprised.  The platforming is generally very forgiving.  Spyro has only two attacks, both of which have very generous hitboxes.  And his glide means that he'll go forward if you hit the jump button in midair, which makes simple jumps onto higher platforms easier.  Compared to something like Mario games (which I tried her on), there's a lot less coordination required.
Anyone have any other suggestions along those lines?  Cute aesthetics, low precision requirements, minimal reading required, nothing that really requires explanation?  I have the Spyro trilogy (just have to install a PSX emulator), but some more options would be nice.

Been listening to these all day, still can't choose.  Great work, both of you.

The Wolf Among Us was a comic book series that Telltale adapted.
I agree that they were just doing too much.  Why play Minecraft: Story Mode when you can play Minecraft?  Who's associates Guardians of the Galaxy or Game of Thrones with a slow-paced interactive experience?  Who wants yet another story in the Batman universe that doesn't clearly explain what it offers on top of the series' existing 70-year history? (I hear the Batman games, especially the second one, were actually quite good, but it takes some digging to find that out.)
I enjoyed the Walking Dead season 1, but I was getting bored with it by the end of Season 2.  Kind of hard to care about the continuation of a story when all the characters die.