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For me it was darkness-induced audience apathy. Arlo was beaten up so hard I kinda detached myself from him and the movie as a whole.

Also I can't really describe this (because it's been ages since I've seen it), but it felt like something was missing in it.

Nintendo Sound File, and FamiTracker Module respectively. The first is a file that stores all the audio in a single NES game. The latter is a file specific to Famitracker, which is pretty much your standard project file (like with any audio program).

Using a special version of Famitracker to read the .nsf files, and a rather convoluted setup, you can make accurate sheet music (not regarding playability).

For the chiptune song, do we restrict the selection to only those songs whose .nsf's/.ftm's/etc. cannot be found online, or do we allow/pick a song with its .nsf/.ftm/etc. already online? FamiTracker can display the notes of .ftm's in a form where they can be converted to 100% accurate and comprehensive sheet music with some effort, and NSF Importer can convert .nsf's into FamiTracker output.

(One website with several .nsf's is https://www.zophar.net/music. That's where I found Fire Emblem Gaiden's music in .nsf form, for example.)

I'm not sure about this. Thoughts, guys? I've only listened to separated channels a few times in the past, but that seems like a little bit of overkill.

What Dekka is suggesting is not just listening to the separated channels. It's opening it up in FamiTracker and writing the notes down exactly as they are.
Though I personally consider this lazy, in this scenario we aren't assessing transcription abilities, so if whoever uses this particular strategy edits the piece enough so that the notes are suitable for piano (a.k.a. "arranging"), it's probably ok.
Also finding a good piece for us all to do and making sure there isn't an ftm of the soundtrack readily available on the internet would probably be a nightmare, so I'd suggest not considering it as an issue.

I'd suggest adding a 4th, optional, challenge category. It shouldn't be something difficult to hear; rather, it should be something difficult to notate. This is where the real differences in styles of arrangers would become clear.

In addition, I think we should choose songs that don't have arrangements on the site or the piano arrangement boards.

I agree with these things.

Mmm... nah I think Libera's right. It's definitely got much more of a 12/8 flavour/drive. This kind of syncopation (as you would know) is very common, and I find it hard to believe that the bass drum of all instruments would be "syncopated" like that for almost the entire piece. Also your comment saying that 6/4 suits the bass more isn't completely true either.

Yeah... because it's uh... a puzzle game.

- The triplet in M. 19 looks a little funky. Go ahead and edit that a bit.

I'm not sure what you meant but I did a little fiddling I guess.

- Right-align the composer/arranger names. 

Gosh dang it every time I do something I swear it just reverts back.

Edited.

- Courtesy # on the LH G# in M. 67 (beat 3).
- The tenuto is slightly colliding with the tie in M. 68.
- Same thing with the slur in M. 83.

Finally done. Was extremely tricky, but I think I managed to do it.

1 - Formatting
Your measure numbers look awfully small.....
Your initial tempo mark looks a bit wonky. That's probably from the musescore import.

2 - Notes
RH:
m2-9: I know you left it out intentionally, but I really think the 3rd voice should be added here. The intro feels so empty without it. Heck, when I listened to the original, that's what my ears were drawn to the most. If you don't think you can shove it all in the RH, could you move the chords down to the LH for parts?
<snip>
m20 b1.25 the Bb should be an A

LH:
I'd write m1 like this (also m9 and m49 and 57 and anywhere lse this happens):

Spoiler

[close]

3 - Theory/Performance
m57 -
slur the grace notes pls in m13

Okie dokie.

Maybe include the 16th notes in b1 and 3 of m12 and 16 in layer 1?

Intentionally left this out for vacancy of fingers.

Some nice work here.

M.1-20 feels like it needs some more articulation. I feel like that whole section there is really dying for some staccato treatment.
In fact, the whole arrangement could probably use some more articulation, but it's particularly lacking in the first section.

M.21: RH playability? You could roll that chord, but I don't see any reason for not just changing the inversion of the lower chord so it can all fit into one hand.

Otherwise, good stuff. I'm curious about how manageable those single note tremolos are, but that's probably for an updater to decide.

The only problem with that method is that it pretty much erases any formatting made in MuseScore, particularly measure and system distribution. It also comes with a lack of customisation for said formatting.

Get your own spaghet. I only sell tacos.

If you're going to further update this program, I'd suggest immediately focusing on subtitles on each page, copyright information, and page numbers, because those (besides the measure numbers you already added in) are the only things a MuseScore user can't get in the MUS that's required for formatting.
The uh... "Pno." thing could already be removed without any need for a program, btw.

Those'd be hard though, because the way MuseScore sets up those bits of text is different from Finale. Impressive what you've done so far regardless.

Run for the hills.

Thank you.... I honestly wasn't expecting anyone to reply to what was essentially a wall of struggles and some insight into myself.

It's very good to vent surprisingly.

I worry that if I cover it on YouTube again people will be all "ugh, not THIS again".

If you spice it up and change things around compared to your first arrangement, that shouldn't necessarily be the case.

Broken Moon to me, is like Dearly Beloved to Kyle Landry. It's one of those themes that I feel a lot of attachment to, hence my avatar of Suika Ibuki, and the tshirt I own, and my figures.... you get the point xD

I understand that feeling too, though for me, the piece is Story Music Box from Yoshi's Island.

I have found recent inspiration in the form of Mega Man 9 and 20XX,

Hold up... you like Mega Man too?! (Mega Man 9 is some good taste).

but sadly, I feel my lack of ability to either play the amazing arranges on here, or to try make my own arrangement of something from 20XX - it's too fast, even if I slow things down or try to strip it down there's so much going on in the background.... I can hear how amazing it would sound if an amazingly talented person were to arrange it, but I can never reach out fully to grab onto that inspiration and try to pretend to be that amazing person because I feel completely out of my league, largely down to my left hand (I BLAME CASIO CHORDS IN HIGH SCHOOL GAAHH!!), but I don't want to dumb it down to just the same octaves....

That's how NES-style pieces (especially Mega Man) end up. The LH parts are always way too tricky for me to do as well, so I can't actually play any Mega Man pieces.
(I used to be able to play Snake Man Stage though).

I was going more for a title screen feeling, but it does actually sound like it could also be more like an ending, or score entry screen now that i think about it

That's also what I was guessing. Perhaps I'm more used to the later Touhou games' title screen themes, which have more energy to them. The overall structure of your piece still strikes me more as an Ending theme still.