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All done!

• m14 RH You could move this slur a little bit upwards so it's not so close to the LH stems, and also smooth the shape out afterwards so it still maintains its curve.

Not sure how smooth it looks now, but it's adjusted.

Everything above should be accounted for.

• the return point symbol for the D.S al Fine at m5 is out of the margins, maybe move it to the right of the treble clef at m5, same height?
On a separate note, does the DS al Fine section only exist so that the grace note in m3 isn't played on this phrase? I think the fact that you're supposed to go on from m26 the first time through could be indicated a little more clearly, might I suggest adding (second time) to m26's Fine?

I decided to just go with the simple repeat bars and put the grace note at the end of measure 2, so it's a bit more obvious it isn't played on the second time around.

The DuckTales 2 sheet is up to date.

I should have the above updated. If anything came up from the chromatic transpose, let me know.

["The Bermuda Triangle"]

For this update, I've brought two ship-related themes.

DuckTales 2
"The Bermuda Triangle" | MUSX | Source

Mario Party
"The Wide, Wide Ocean" | MUSX | Source

The files have been updated.

- m20 beat 2+ sounds an octave lower

It is, but I thought I'd make them higher so it'd be easier to jump to the dyads in the next measure and would be less awkward to play compared to having the notes cross staff where the higher of the octave is played as staccato eighth notes while the lower notes are to be held longer.

Someone's thinking of Squeaky Clean Sprint, huh?

Slipped my mind actually, but that's a good example.
There's also the Shower Room from Pikmin 2 and the Turtle Bath's theme from Chulip, to name a couple more.

As a contrast to last year's theme, perhaps we could do an aquatic update this year. Not only underwater themes, but any tracks that play in places with a sizeable amount of water. Lakes, rivers, waterfalls, beaches(which were in the last one too, but could also apply here) and so on would work. It could even be related to indoor water fixtures, like showers, sinks and bathtubs. There'd be plenty to work with!

This can be up for debate by the updaters, but I think the title should be changed from "Himalayas" to "The Himalayas" instead, since that's how it'd be referred to in reality. It's also how it is titled in the soundtrack for the remake. This could be a bigger discussion for other songs, like "The Amazon" for example, but that can be saved for later date.

• m30 and m62 RH hearing G# grace note and note as An for 1.0

I assume you meant LH here instead. Everything should be changed accordingly!

I feel like the voicing for the chords needs some work. In m. 3-8, the jumps are very large and pretty difficult to pull off accurately at this tempo. Could you try inverting the triads downwards and/or using dyads instead to make it easier on the left hand? I can provide some suggestions if you like.

I went with making the chords dyads, inverting some of them, and also making the bassline for measures 3-6 part of the second layer so its note lengths are more distinguished.

In measures 12+, the bass is missing and having the left hand play the mid-range chords. I think this could be addressed by making sure you have your inversions correct (ex. m. 12 plays Eb in the bass) first and thinking about what other chord tones would make sense to include from there. Again, happy to suggest some options if you like.

The initial intent with this section was to focus on the chords, since I felt they sounded fairly important to the flow of the section, while still keeping the bass intact within their rhythms. Sometimes the chords would already have the bass's notes and others I'd have to add it into them. There may be a few exceptions on the account that it'd make the chords sound unfittingly crunchy on the same instrument compared to how it sounds on the source, which uses different instruments to its advantage. I've left the section alone for now.

For m. 19, use a regular An instead of Bbb. In measure 22, make sure to keep your intervals consistent. The second chord would work better written as a simple Dm triad, and last one as Bm. (Technically could be Ebbm and Cbm but we could do without that many flats lol)

I believe I cleaned up the accidentals here, but let me know if I missed something there.

I meant for no staccatos. Apologies for the inconsistencies. Hopefully, I didn't overlook anything this time.

All should be addressed in the sheet.

- The beat 1 bass notes don't sound particularly sustained in m. 2/4/6/8. More of a stylistic choice?
- Similar for m. 18/20/22/24, although I notice m. 20 is the only one that has a staccato on beat 1 already. Unintentional?

I wrote those notes as sustained because how I perceived the length of the notes in the source. They sounded a little longer than the staccato'd ones and, while they're not really held that long, I thought that, with the abundance of staccatos littering that particular section, making them tenuto would help them stand out more as opposed to reading them without any articulation.
And yes, measure 20's was a mistake.

- It doesn't sound like any of the 16th notes in m. 16/32 need staccatos at all.
- Similar in m. 14/30, except I think the ones on beat 1.75 are good.

You are correct, though I think this includes counts 1.75 on measures 14 & 30 as well.