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Looks great to me!

- Could you center the LH markings in m9/11/13 so they're all centered under the whole note?
- m14: Not really a big deal but the top tie in the RH is slightly longer than the bottom two.
- m39 should have a tie in the top voice.

All fixed.

- m24/28/32/34: Is there a reason for the grace notes in these measures? They just sound like normal notes in the original, and they fall on the beat with the other instruments.

You are correct, but it is impossible to play it like that unless you have three hands or extraordinarily large hands.  The grace notes are supposed to tell you to anticipate those notes slightly to give you time to play the low power chords.

Thanks for checking!

Yep, just the thing bolded above. I think I remember Deku pointing that out once - that when possible it should be placed where it overlaps one staff line instead of two. Super small thing but I just thought I'd mention it anyway.

Makes sense to me.

Also I think the second layer in m. 15 LH would be nicer entirely on the staff.

Definitely, I just wasn't paying attention when I added that note in.

New files up.

My one complaint is that the melody gets obscured in m26; maybe just keep the lower G there, or move the E to another layer so the performer knows to give it priority. Also, the tempo at m28 is a bit faster, it should be around 65bpm.

I realised I forgot to write in the upper layer in bar 25 so I added that in, but since the top G just hangs over into 26 it's not worth restriking so I just removed the top G in 26 to make the resolution clearer, as you suggested.  I added a poco agitato rather than a metronome marking at 28 since it's a really small change bpm wise.

Could resist peeking at this one, I love Yasunori Mitsuda's stuff This is a really cool piece and a well done sheet as well.

Could resist but didn't, eh?

- m. 15 is missing the bass pickup to m. 16. (A double barline would also go nicely here if you want)
- m. 26 and 36 LH are missing fermatas.
- I'm usually not the one suggesting this, but I think a D.C. at the end of this piece would be more suitable than a repeat bar - due to the different sections of the piece and the last measure not having a strictly time ending.

Fixed these.  I don't really mind about the repeat marking either way so I changed that too.

- Some of the eighth rests (m. 9, 11, 20, 24) are in between staff lines as opposed to on them (or the other way around, I forget)

I tried to be pretty consistent with the rests when I was writing this up.  I lowered the ones you mentioned because I felt they looked too close to the first layer's notes (G or lower and I lowered the rest.)  Or is the issue that you'd prefer me to lower those once more so that they're not on a staff line?  I can do that if that's what you wanted, but I don't really want to place them where the other ones are.

Thanks for having a look/checking guys!

Oops, fixed.

Awesome, looks great!

-m25-26 harmonies. Yep, those are not in the song in this exact form. I added a bunch of harmonies places to fill it out and provide more weight to the motion. I like what I have and believe it remains true to the original tone and want to keep it how it is.

Not really sure I understand this choice.  The melody has harmonies in the original (the ones I mentioned) so there's no need to add them in for weight since you can just take them directly from the original.  Why change the harmonies to sixths when they're thirds/fourths in the original?  How is this 'true to the original tone'?  I don't get it.  You use the original's harmony in 33-34, so why not here also?

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-m28 - These low chords are also a bit of my own creation. I played around with them a lot to get them to sound satisfying, and this was the result. I prefer to keep them as is.

They still sound overly muddy to me but if you really want to keep them then at least tidy up the inner ties on these chords (and in 35-36, 65-66 and 73-74) which are currently very squished (especially in the the second of each of these pairs of bars).

-missing notes in chords from m38-44. Added the suggested ones before the key change, but not after. I think leaving them out for 42 and 43 is for the best, as it emphasizes the minimal change from 41 to 42, since now only once note (albeity doubled) changes. I like this effect and want to keep it. I did add the extra cord in m44, nice  catch.

I don't really understand this either.  It's only a minimal change because you haven't written in the full harmony from the original.  If you wanted the chords to be weaker after the key change you could leave out the bottom note since it's doubled above.

-The D in the third left hand chord in bar 10 sounds like it should be a C#.
-En in the third chord of bar 14 should be an Eb, right?

You missed these / didn't mention them in your post.

All of the other changes / not changes look good.

as long as someone else can double-check whether this is actually there or if my ears are just failing me:

I agree with msf on this point about bars 10 and 48.

Other things:

-The final phrase in bar 6 has fifth harmonies above what you've currently written in.
-Why does the lower layer in 7-8 double the guitar part and then start following the bass part (loosely) in bar 9?  I think it'd be better to be consistent here but maybe there's a reason I'm missing.
-The D in the third left hand chord in bar 10 sounds like it should be a C#.
-En in the third chord of bar 14 should be an Eb, right?
-There is more harmony in the RH of bar 19-20 that you could add in if you wanted to, starting (A -> F -> G -> A etc.)  I think it would help to distinguish those bars from the previous iteration where there was less harmony, but maybe you left it out for ease of playing.
-Not hearing the An octave on beat 2.5 of bar 16.  It sounds like a low Dn hit that you left out of the sheet in bar 15.  Same for bar 20 where it's written differently again. 
-You're missing a G/A on beat 3.5/4.5 of bar 20 as well as the guitar plays another En on beat 4 there.
-Missing bass riff at the end of bar 21 which might be worth including.  And again at the end of bar 22.
-I'm not hearing the harmony you wrote in for the end of bar 25 and bar 26.  The Bb sounds like it's held through the three notes at the end of bar 25 and I'm hearing something more like F -> Eb -> C -> Ab under the melody in bar 26.
-I'm not so sure about the low chords in bar 27-28; would it not be better to just use octaves there since you already have the harmony on the chords in the right hand in these bars?
-In lots of places you don't seem to follow the bass line in the left hand which is reasonable, but the end of bar 34 seems to me to be a good place to follow it more closely.
-Same comment as before about the low chords in 35-36.  Also, the motion of the bass isn't the same in 36 as it is in 35.
-The chord in bar 38 is missing an Ab.  39 is missing a Bb.  40 is missing a Db and then an Eb.
-Similarly to the above, bar 42 is missing an F and bar 43 is missing a G.
-The chord in bar 44 changes on beat 3 up a step to C major.
-My earlier comments apply to bars 45-60 also.
-There's a little ornament on the guitar while holding the C in bar 61 that you might want to include.  Even if you don't, that chord should be a dotted minim rather than a minim tied to crotchet.
-I think the F on beat 4 of bar 62 should be tied to the previous F.
-The Ab in the second septuplet in bar 67's ossia sounds like a Bb like the previous ones to me.
-Why not also write in the solo for bar 68?  You've already had to accommodate for the ossia space anyway so it won't take up any extra room.
-Similar comments to before for bars 69-78, including missing harmonies in 76-78.
-Any reason why the final D in bar 84 doesn't tie over like it does in bar 80?
-Missing bass movement in bar 85.  The bass restrikes the D on beat 3 and the moves up to an E and back down again before going to the A.
-I think it would be cool for the left hand in the final bar to follow the percussion rhythms since they're so striking in the original.

Hope some of this helps.  This is a tricky one to get to work on piano so nice job making the sheet.

I still don't like the subtitle but I'll concede.

I arranged it so that the RH would just be playing the repeating ostinato the whole time. While it is possible to have it play the extra notes on beat 3, I don't think it's as comfortable to play. The LH could play them too but then there's not a lot of time to go from the bass part to the high notes.

How about writing them in as optional notes (e.g. small noteheads)?  It just feels odd to have the most prominent line in that section be notated incompletely.

In the first line of the article the subtitle is included, and it is also present in the original Japanese title as Chikara e no Ishi. I agree that it's kind of weird, but I also don't really see a reason to remove it since we typically include subtitles for other games here such as Dragon Quest.

Yes it's included in full in the main body of the text, but they truncate it for the page name for (presumably) the exact same reason I'd like to truncate it.  It's going to look really weird on the Xeno series page next to the other games with the title being that long...  Maybe we could truncate it for the on-site name, but keep the full title on the sheets?

Other than that I don't think I have anything more to say here regarding the sheet.

Brilliant! Accepting after I fix the articulations.

I was actually suggesting using an additional one at the tempo primo whilst still keeping the one at triumphant, but if you'd prefer to move it that's cool as well.

As far as I'm aware, this is pretty standard notation for 'big note is the one to play, with small note the optional note instead of the big note'.  I've never seen it mean anything else without additional clarification.