If there’s one big takeaway I’m getting from this song, it’s this: more video games need to have themes in 7/4!!!! That theme in particular really stuck out to me, but there are so many different themes in this track to love as well. I really like how you’ve framed it as an end credits thing; I can totally see a game where this plays as animation and production credits are scrolling on screen while the characters whose themes are playing get their final bits of screentime, being animated doing something idly mundane in the aftermath of whatever the plot of this game is about. Thank you for labelling the different themes you had in mind, by the way; having your vision laid out makes the listening experience that much richer!

I mentioned this earlier, but I thought the first heroic theme was REALLY interesting. Other highlights I thought were the overall vibe of the scheming villain section (I prefer goofier, whimsical villains to more serious ones anyway), the melodic synth line in the 3:12 section (the way it evolves into a Pink Floyd-like vibe at 3:47 is something I don’t think I’ve ever heard the likes of before on this site!), and the rhythmic synth textures at 4:15 and 5:34 (we love elements that provide both harmonic and rhythmic interest). Also, shoutout to the super cool rhythmic transition at 3:41, and the way you reprised the 7/4 heroic theme in 4/4 at the end (which was maybe my favorite development of the song)! All in all, a lot to love here.

One thing I would suggest exploring more if you ever want to consider branching out into this kind of composition again would be the transitions in between starkly different sections. It’s clear from your lengthy description that this is definitely a factor you’ve considered already, but it still does feel to me like certain transitions such as 4:15 or 6:57 were written after the different sections had been written and were created as a way of sort of shoehorning the sections together. One way to make this smoother is through the use of interstitial sections, so instead of jumping right from section to another using a drum fill like at 6:57, stick a short new section in there that acts as a transition between the two (something like a quieter part that builds up, like at the 1:25 transition that I thought worked pretty well). Aside from that, I would only have a few production quibbles, such as that the kick sounds a little flat (is it from an acoustic set?) and the song is a bit lacking in the low mids on the whole, with sections like 3:41 and 5:45 being the most apparent. That said, this song still works super well on the whole, and these suggestions don’t detract from it at all!

It’s clear you’ve put in a ton of effort into this, and it really paid off. Super well done, and I hope this becomes an actual video game someday! Great work :)

As a fan of villain themes, I like the scheme theme in this one. My impression is that the villain is not exactly overtly evil, but a more calm and chill type, while also being clearly shady.
The battle themes have these great electronic melodies, but I feel it could be more intense if they are intended for boss themes (unless they are being intentionally nerfed), and would probably benefit from more dynamics, like having some parts get louder, and possibly more instruments.

The outro is very smooth and appropriately dramatic.

My favorite parts are:
(2:00~2:34)
(4:16~5:15)
(7:20~)

Quite the project you have done! I love the simplicity in a lot of the song (mainly in the beginning).
Overall, I love the song as a whole, regardless of the perspective (I have three for this song: story, background, mood).
Also, so many long songs for the VGM challenge. :P (I can't say anything since mine is over 8 minutes long: https://www.newgrounds.com/audio/listen/985060)