Rexy

I believe he's looking more in the line of this for a furry fetish. O_o*

I can list a few others from past experiences. Now, out here in this corner of the web, I'm arguably OCR's biggest fan of Crash Bandicoot. True, the series saw a slight dip of quality coming through the PS2 days (though the blow was easened with Vicarious Vision's good-yet-safe handheld entries), but there's one game in that entire series that came off as a bigger disappointment than anything else - Crash Boom Bang! on the DS. I was expecting the series to finally show some improvement through the hands of Dimps, whom I respected well with what they did through Sonic Rush, but with such an awkward execution all around and most of the mini-games themselves being broken as hell, not to mention the weakest overall soundtrack for me, it came off as just a bland party game with Crash's mug plastered all over it. Thankfully the series redeemed itself with the Titans titles, which introduced my younger cousins to Crash (albeit considerably re-designed), though with no new game since 2008 I'm waiting anxiously to see if anything more can be done with it. And onto his PS1 little brother, Spyro the Dragon. Like Crash, that had some great PS1 titles and some off-moments in the next generation upwards. Enter the Dragonfly tried to cripple my sanity, but then I played the GameCube version years later and found it to be a lot less broken. But Spyro: Shadow Legacy on the DS (again...), on the other hand, seriously went through very little testing and could be seen as more broken than even the PS2 version of ETD, and a lot of the charm for the Spyro series tended to have watered down considerably just by looking at the levels and story progression, which in itself was bland as heck. Heck, they apparently turned Spyro into a silent protagonist - not the spunky little guy that I went through my adolescence with. I almost abandoned the series outright there and then, but thankfully the Legend of Spyro trilogy rekindled my interest in spite of the rift it caused between the fanbase. And I've enjoyed playing the Guitar Hero series over the years as well - definitely a good thing to blast through on a casual basis on those plastic instruments. But I got to say I wasn't really won over with Guitar Hero Van Halen - not so much due to the guitar charts (hey, at least I can pass Eruption on Expert!), but more likely due to the terrible graphical presentation in comparison to other titles in the series and really poor song choices on the band's part. So it's fair to say it didn't get much love from me in comparison to other games. o_O

Probably depends on how you see things. But it's always a good idea to elaborate on things regardless, so we'll see. Anyway, I have bumped OCR1396 - Doom "Ghosts of Mars"! The new oldness is now OCR0938 - Star Control II "Hyperspace Electro Blast". Go get it!

Let me say this first - in the years since the release for The Dark Side of Phobos, I've been able to keep a hold on a good portion of the tracks for being able to create such involving and fitting atmospheres at the time, regardless of any nostalgic connection to the source material. Navi's track was among them, not only having that kind of quality amongst the Doom project's offering, but also doing a complete 180 in regards to how he generally approaches his work. And I have to say that even today, it holds up really strong E2M4 as a source is a difficult one to arrange due to how minimalist and suspenseful it is, but what he did was turned it into something more dynamic and frightening while still maintaining the source's core elements. This is noted with the use of the altered choir melody providing the original's pizzicato line in a slightly modified form, adding some form of hopeful tone, which is later echoed with the glockenspiel at 2:45 with the more minimalist progression sandwiched between the major climaxes of the track. In spite of the melodic components, there's been a lot to express fear with more atonal passages within backing tracks, which appears to be a far cry from the chromatic harmonies of the source material but it still works in providing its atmosphere. I say that in regards to source usage, it isn't exactly outright and can be difficult to pick out at first, but what is there was used wisely for the arrangement's scope. Even the production held up well over time. Sure, some of the samples like the choir and strings may appear to be showing their age now, but some of the techniques used here, from the subtle high-grated pads, the vinyl bookending it and a lot of the swelled metals managed to contribute something more unique on a technical front at the time of the album's release. The two sharp rises in tempo are two of the most identifiable components of the track for me - that with what's going on with the more organic instrumentation really ends up taking "They're Coming to Get You" to a very literal meaning, and is thus easily bound to grab the attention of the listeners. Considering the track is 7 years old, these tricks sound really impressive and have done a lot to make it stand out among the other tracks on DSoP. Even today I still have it on my iPod playlist in spite of Navi taking more conventional mixing methods as of late, and that's a testament to how firm it felt to me over the years. If you haven't grabbed DSoP yet, now's a good time - could even be perfect for Halloween!

Chernabogue, due to falling sick these past couple of weeks, I don't think I am going to make the deadline. Don't panic - I should be able to have a proof of concept before the month is out.

You guys had me at maximum attention around Star Light Zone. Either way, loved it during the DoD; still loving it now. Nice work!

A push-up challenge eh? Consider me interested. I may need to wait a bit longer until I'm okay to exercise properly again (had a tooth extraction last week x_x), but I'm keen to see what can be done.

That's why I have been wanting to speak to Matt about this. No one has sent me any kind of message otherwise. Though my plans were originally to get this started up not long after Sonic Zone, however, other commitments ended up taking over completely. Between the invite to the Sonic Paradox Remix Shorts before the contest's end, some visual work for OCR's recent US panels, preparation for Alcon in September and a handful of other projects I still need to finish tracks for, I hadn't had any time to look back. I feel sorry if I disappointed anyone, but sadly this is how things go. I still think a project of this kind of scope should go ahead, and make it a real token of love towards the games' scores. I'll do anything possible to help out either way, though I honestly think it will thrive better via someone who's been supportive to mixer development for some time. No matter what, I'd definitely like to see SuperiorX having a staff role in this, whether it be assisting or leading the whole thing. And I'd definitely do whatever possible to help out the process, whether it be through contributing a couple of tracks, potential co-directing, public relations (hey, I've become a regular listener into Radio SEGA's weekend shows ) or something of that kind of nature.

I don't know about that, Gario - to me that time has felt considerably shorter, more likely around 6-9 months depending on how long they spent being judged. If we're referring about a year's average, I think that applies more to the date of the track's submission. But either way, I would say that if it's been around 12-18 months since you've sent them and you have concern about what's happening, then it's a good idea to message Larry about it. But since he responded swiftly, I guess all I can say at this moment in time is to "keep your pants on" and just anticipate what's coming next

I thought Robbie didn't send "I Lost My Balls In Moscow" because the source was a Russian folk song anyway? It's still a great track that managed to stand the test of time

Joined the group! Let's see how this thing develops over time

Well, I know that Anime Remix used to do Halloween contests, but with anime songs rather than game sources. But the chance to do a Halloween mix in any situation definitely shouldn't be too hard.

Google Images didn't have any Splash Woman themed cakes D: Still, go give some love to one of the most active artists on OCR right now! Maybe even play a load of his mixes... like I know I would

Yes, there IS a rule in place. Seriously, Abreu Project has really let me down in regards to this. And you know what insults me even more? His Marble Garden track for the April Free Month should've been disqualified for the EXACT SAME REASON. But either way, thanks for looking it up. I'll see if I can rally the news over to Paragon. [EDIT: Paragon has noticed and removed the track from the duel.]

Well, GameFuel and NGI may be out of commission, but this album is still going to receive its full playthrough, courtesy of Silver's Saturday Show on Radio Nintendo! Be there this Saturday, the 29th, at 3PM Eastern Time!

Time for me to list a few... including a few Playstation-based soundtrack choices Of all the tracks that Mutato Muzika did for the Crash series, this to me has the closest wintry feel to me. It fits the active tundra setting, adding to both the space and the impending desire to experience Christmas all over again. I also found it to be one of their most melodic tracks in the entire game too, which is also a definite plus. Sure, a LOAD of the Gex 3 score was just a cheesy theme-and-variations approach to the main theme, but the first stage music - themed around the Christmas holiday - made it fit in so well into a track that really satires what's generally heard around the season, complete with appropriate instrumentation. Even the part when it starts facing the 'last note nightmare' trope with its corresponding variation on Frosty the Snowman adds a faint amount of fear to what would otherwise be considered one of the most cheerful settings in the entire game, not much to say considering in general scope the game is much darker than its predecessors. Past Enter the Dragonfly, the Spyro series had taken more drastic turns in regards to music, and I thought the similar theme-and-variations direction taken for A Hero's Tail was initially a bit lazy on its part. But if there was any source that did justice outside of the Saturday-Morning-Cartoon vibe it was going for, it had to be this one. Considering that you were escaping from an icy prison and you were previously playing as Hunter on the rescue, it fits both the tension and the bitter cold that the level was based around, and made it a great showcase for some of the pitched percussion and string/pad writing that was prominent throughout the game's score. The theme's references itself were even subtle as well, allowing the more-frontal string writing to take more prominence and establish itself as a more memorable cue throughout the entire game. This may not be winter in the more traditional sense, but it definitely accompanied the stage's opening snowboarding sequence BEAUTIFULLY. Whether playing as Sonic, Shadow or Blaze, hearing this in the background when going downhill definitely manages to add to the frantic blizzard-packed rush towards Eggman's base at the bottom of the slope. Melodically it could be seen as more minimalist in comparison to the other tracks in the set, but with what there is it managed to build enough layers to keep a lot of engagement for the 3-minute-loop that it is. I seriously think someone can dream trance the living daylights out of this thing and similarly emphasize the snowboarding feel it had going for itself - anyone?! Though this was previously used as a more solemn cutscene cue prior to chapter 8, its prominence during the emptier scenes surrounding it added an extra depth of chill and bleakness towards the Lunar Snowfield, the location of the Red Moon and the Prinnies' reincarnation ritual. Sato may have been on such low-par samples for his general writing, but it was definitely a great way to work with a more minimal setup to emphasize more beautiful writing, impending the future of Etna's Prinny squad, the visuals accompanying the stages, and even the sudden push into the limelight for the Big Sis Prinny, her presence being made even more heart-wrenching by the end of the chapter. An odd (yet wide) selection of wintry tracks from here, but hopefully they should contribute to the discussion

Eino, you've forgotten about this already? But yes, I've managed to grab a hold of the EP myself and put it on iPod rotation. Solid stuff all around from all, and I have to say I enjoyed having my face melted off by Omigadrive's track

Happiest of birthdays to the Mok-man! Keep representing, and keep doing that ethnic vibe you do best

I'll LOVE YOU A LOAD if you get it done. Ristar needs more love

I'm coming in! Hopefully I'll actually meet the deadline this time

We have our first set of live performances! ProtoDome - Duck Tales ~ The Moon Hopefully more will come soon! And I swear Proto blew our minds with his setup

Yes, yes and YES. Of all C64 tracks I've heard around here, Monty on the Run tends to stick in my head a lot more than most - surely someone around OCR would give it some love? In the meantime, here's a cover from the Grospixels to tide you over

Yep, after all that thing about Kuwanger being the "hot chick" for the prom, at the end he just needed to stand up for all the "stags" to find his date. Nice picks all - will be good to hear how it comes out

Christ, with all these people asking for Boomer Kuwanger I have a feeling that Darke may need a 20 sided dice. Have we had more than 2 artists wanting the same theme before?

I'm definitely not going in, for two reasons: contest exhaustion, and very little familiarity with the Mega Man X series outside X3 and X4. But I can however help out with signatures once Darke has set up a definite style with the brackets, re: first post.