The wingless

Herrd it before on VGM. Have no desire to herr it now. YES

hahaha. Beats of Rage sounds like a really angry masterbatory session.

uhh... how can we have 4 yes's and 4 no's? I was under the impression that there are multiple things wrong with that scenario.

I really enjoyed the hell out of this. But to be fair, I really enjoy emotive, evokative, and above all else, transportive pieces. This piece accomplished all those things in earnest. The big complaint I'm hearing from most of my fellow compatriots is that this hardly constitutes a 'mix. First, they're quite right. This has scant few *musical* ties to Metroid. That being said, what is related to Metroid really seems to capture the textures and atmospheres found in Tourain. The bubbling square wave effect was especially cool. It all came together to create a little portrait or snapshot of a world that is little more than a vinette. Is it a good musical remix? Not really, sad to say. Is it a good sound and emotion-scape? Absolutely. And we have so precious few of those that, if nothing else, it would be a welcome rarity to OCR. YES The ghost of COTMM lives!!!

Some major/minor EQ issues here. That wah-wah that comes in the beginning and later in the piece is quite jarring. Perhaps you intended this as such, perhaps you did not. But considering it's used mainly as musical garnish, I think its volume should be adjusted accordingly. Also, that flute at the end is almost irresponsibly piercing. FIXPLSKTHX. Nice solo work though. Reminds me thoroughly of some of the Y's III Redbook audio. Actually, once this thing picks up in the middle, it's a damn good rockin' tune. The samples only detract when you're expecting the million-dollar samples that's become the hallmark of OCR. Once you get into it... the synths have a very nice nostalgic feel, adding more to the piece than detracting, I believe... for the most part. Hell. I like more of what I hear than hate. And Lord knows, Wingy loves him an underdog. YES

Please. I'll fuck this Nobuo character with a stick! I'm RICK JAMES, BITCH. But I digress-- --My man Danny is right on the money. This is fiercely groove-tastic. James Bond teams up with Sam Fisher teams up with Garrett (a la the Thief franchise) etc, etc, etc. Just very cool all around, except for that ending, which is alarmingly flaccid given the erectile might of the rest of the piece... I'm also in love with the 1950's Rocket Revengers intro, complete with victrola grain. A man who keeps an eye on his intros is a man I'd like to have in the OCR library. YES and a strong one, at that. I tip my hat to you, sir

Technically proficient, emotionally bankrupt? I guess that's the question I'm grappling with as I listen to this mix. And yet, I'm sure we've accepted submissions that were rife with emotion, but were technically immature. I don't see why it can't go the other way. (like my style of judging? I'M RICK JAMES BITCH!) It gets a YES because I can hear the immense amount of work done. It is most definitely the work of an architect, and perhaps, the work of an artist.

Hey! The intro sounds a little like Knight Rider! Or as I like to call it, Mr. Feeney in a car. Typically, I would be the first to decry, "More techno!? U fukking newb!" but the intricate details in this piece make it really, really shine. I'm actually quite impressed with alot of things going on here, and the techno genre only helps it stand out from the crowd, as most Zelda 'mixes tend to err on the side of orchestral. I'm actually a little... perplexed I suppose is the word, that my fellow compatriots have voted no on this. It's your textbook diamond in da ruff. YES

Yeahhhhhh.... Prince is right. That WONK... WONK WONKY WONK synth is like Germany and the rest of the piece is France. My question is, can't we all just get along? I would recommend, as the other judges have stated, sitting down with this piece with a gem-cutter's eyepiece and really fine-tuning the hell out of this piece. The other thing I notice is that huge discrepency between ranges. You've got the juggernaut WONK synth and the tinny melody synth, drums and little to nothing else. Some sort of filler would help immensely. As it stands, it's not eq'ed very well, and it's a hollow, waiting for something to fill it to the brim. No

Dood... Sonic Underground had 3 sonics... all voiced by Jaleel White. The sheer concept makes that show awesome when I wake up at 7 to go to grad school... ...but you digress. I like the atmosphere and the mood in the intro. Hell, you've heard my pieces. I spend more time on the intro than the entire damn piece. On an unrelated note, I agree with PoP (Prince of Persia a.k.a DarkeSword) on this one. It has this muted excitement, like it's crying out, "Jam with me, bitches! I'm Rick James" but I'm just not feeling it. I think it has something to do with the synthwork. It's just not... well... jamming, and it trails out with a hollow little feeling. It just feels like more could have been done with the core of the piece and the end. No

BHEW - CAWK - KHEEEEEEEEEEEEE!!

Boo Cocky, the little known ghost from Super Mario Bros. 3, was a subject of great controversy when it was originally showcased in Japan. Like his phantasmal cousins the Boo Didley's, Boo Cocky floats around castles and other, pardon the term, haunts of ruin. Notoriusly shy, Boo Cocky will hide his face and blush a uncannily rosy glow, despite an utter lack of a circulatory system. But, unlike his more G-rated cousins, when the character's back is turned, Boo Cocky unleashes a deceptively potent (and dare I say, traumatic) attack. Boo Cocky rears up behind the unsuspecting character, an unleashes gallon after gallon of supernatural semen all over the character. The character, in what can only be described as semen-shell-shock, can only stay still in a sort of gooey paralysis. Once one Boo Cocky is finished, more follow, often adding a muffin or "ookie cookie" to the mix for their own inscrutable purposes. Hence the Nomme de Guerre: Boo Cocky. Well be right back with Video Game Secrets... on the History Channel.

My boy Beaty (with his oh-so-pretty eyes that just seem to sweep you off your heterosexual feet) is right. It sounds like a first effort, and while that's not a crime, it is a very big hinderence to enjoying the song. The synths combine to form something that is above incompetant, but far below engaging. They also have this flat, blunted timbre to them that accents the piece's lethargy. It's just... dull. I'd say, take Beaty's advice, spice the hell outta this things, and work on yer chops, as we all had to at one point in our musical adolescence... ...I'd like to think my musical nuts dropped around Pearlsong... but enough about me, let's talk about you. No

I could have used a deeper sound. That may or may not include some more instruments... at this point I'm not really certain. What I do know is that a great many parts come off as flat, others as hollow. I'm not so much conerned with the lack of momentum as I am with the all-encompassing sense of space this piece gives, which is not good. It needs to be fleshed out bigger, bolder, and fuller. No.

(how could you own a pc in the late 90's and not be familiar with the original?! For shame!) Great momentamum. Nice change ups. Definitely an intellect behind the wheel trying to do things with a techno piece. Like some of the other pieces judged recently, it's not a mind-blowing affair, but certainly within the realm of a YES

Sweet as cherry pie all around. I'm still a little curious/bamboozled why this wasn't direct posted. YES all around.

Unfamiliar with the original so, away we go. We don't have very many soundscapes. Cotmm pretty much has that market cornered along with a few other brave constituants. But on the whole, it's a niche genre we don't get that often. No, I'm not voting on the grounds that, "Hey, we don't have polka music, I'll YES every polka song I gets!". But I am highlighting the fact that maybe expectations for what this song should be are in the wrong place. What I hear, I like, not really expecting a particular genre either way. And on those grounds, I vote YES

They had killed the love of my life... they were going to pay... !!DICK JUSTICE!! With the heavy bass and funk-centric guitars, that was the first thing that popped into my head. Sorry. I really, really like this. Beaty's right. We have techno up the ass, but I can barely recall any house on the playlist... if any. Beyond that, this is very well (read: cleverly) done. We also don't have many mixes that have fun with themselves. The fun factor on this thing is a solid 9. A very strong YES from me. Now that we've done some funky walkin'... it's time fo da dirty talkin'...

Stick with the Jaguar through every curcuit. It werkz. Trust me. ^^ While it is true that I'd be the first person here to chastise somebody for not being inventive/daring/crazy enough, I give a little slack for those games that either a.) have no previous remixes or are dear to me. So this piece is working those two categories in earnest. Yeah, it ain't the DiVinci Code of Techno. But it's some competant work and I found myself grooving through most of it, which is a fairly good barometer of music in my book. I vote YES on the grounds that while it may not be showstopper, it's more than passable, and has a beat you can throw-down some tin to. Raven... I'm comin' fo' you, biatch!

Wrong. Wrong. Wrong. read the damn thread! Bah!

OMG IT IS TEH LIFEFORXORZ!!! Let's how this holds up to our established crap on this site! (see also: Lifeforce -- Pharoah Land) It's a nice listen, I'll give you that. But there's really, well, not much to it. Some parts are quite repetative, and then, there are some unbearably cool parts that are thrown in from left field (the "saw" part around -1:50 for example). If the piece in its entirety was more like this section, it would be easier to vote yes. But because there are not... NO

I loved the intro. And sad to say, I love discord, intentional or not (see also: Teardrinker). While there are some technical pimples in this piece, I really like it as a whole. I'm loathe to say I like it warts and all, because the faults of this piece are glaring and hard to mother. But there's this charm and novelty to the overall piece that's hard to ignore, as well. Congrats! My first torn decision in a long, long time. Considering the number of yes's to no's. I'm going to vote yes, on the grounds that, if the next person doesn't agree with me, he'll have his way, regardless of what I think. But if somebody else thinks there's something of merit in this, the chain letter can keep going on. YES

Oh Vigilante... your criticisms are like an old man slipping into a warm bath... so gentle. So soothing. Buuuuuuut, he's spot on. Not even a full five seconds in and I get a clipper ship. Not the best way to introduce yourself. Plus this piece gets crazy repetative without any variation or buildup. Dynamics are gone. It's just technically void and sonically, well, it's pretty flat. Engage us. Throw something at us. Right now, it's just a foundation. No

Hmph! I live for but one purpose: to dash people's hopes and dreams into nothingness But today I will make an exception. It is a very well done piece, especially in lieu of the first draft. I especially like how instruments are introduced to add some flecks of atmosphere here and there. Very nice little touches that I rarely get to hear. While it is very well produced overall, it's the little things in this piece that really engage me. Of course, I'm weird like that, but it is appealing on that purely technical level, and that deserves some mention. It is difficult to stand when you get a YES

Good Lord... did somebody order BOO COCKY!?!?!