I've been able to reproduce the menu bug described in BallDor's review. This happens when the player quickly cancels just after entering the rift, before the graphical transition is finished. Probably a variable that is changed after the transition instead of being changed before. It's possible to come back to normal by using the exact same method, it seems (just in case someone else have this issue)

Apart from this issue, this game is cool, with an interesting concept. I'm not really fond of the sound, music and graphics though.

This game feels more like a prototype : You've basically seen everything it has to offer after five seconds of gameplay. It also doesn't have much to offer compared to other similar "growth" games. You could probably think about adding some more to it, more content (ie. different fish types, different levels, obstacles... but also new gameplay systems to make this game stand out compared to what already exists in this genre).
About the game itself, the biggest issue I had is that the area is way too small. You should either increase the resolution of the game or make all the fishes (including the played one) smaller. This would increase the freedom of movement of the player, and by adjusting the spawn rates of the different fish accordingly, waiting for the good one could be less frustrating.

This game is fairly simple and really lacks innovative ideas, but on the positive note, it does perfectly what it is supposed to do.

I tried really hard to find something wrong in the mixing of this track. I shoulnd't have tried.

I especially like how you decided to put emphasis on the vocals using distorsion (or maybe a saturated backing track ?) in the chorus, as it really adds to the power you wanted to convey.
There's just a minor detail that bugs me, that can be heard in the choruses, for example at 2:43. It can be heard every time you say "Ideals born from reasons", at the end of the sentence. I hear some kind of noise there that reminds me of someone knocking an acoustic guitar or something like that (I know, weird comparison), I'm unsure of what it is, maybe the compression that brings in front of the mix the end of the word, or a noise in the background ? I think I wouldn't have noticed if it wasn't repeating each time in the chorus, but it's maybe just... you know, me being myself and seeing problems when there is none. xD
Well, maybe there's actually a little bit too much compression at times, but this is coming from someone who just spent two weeks mixing orchestral stuff with instruments that needed a lot of room to breathe - so I'm most probably just biased on that point.

In terms of composition, I thought, at first, that there wasn't a lot of originality (maybe because of the first chords of the chorus ?) although the track is still very efficient, but the magic is actually more in the details. The sound design/instrumentation on the melody that starts at 0:28, the last seconds of the chorus, the small risks you decided to take in the solo section of the track, it actually all adds up to create something that sounds familiar, yet has its own identity.
In terms of pace and structure, I believe you wanted to create a contrast between anger (chorus) and despair (verses), but the guitar of the chorus tends, in my opinion, to evoke determination more than anger, and the power of the vocals in what I'd call the "despair" section constrasts with this interpretation as well, so I'm not sure I got your intention right on this part - but once again, this is coming from someone used to work with different styles of music, with a different problematic. :p

The biggest issue I can hear in this track is the fact that the guitars sound REALLY muddy. It probably comes from the way they've been recorded, but while everything else in the track sounds crystal clear, the guitars feel like they're far behind the other instruments. Maybe you could try to raise the levels of the guitar and throw in some EQ to compensate for the recording issues.

I also noticed it's always the same sample, without any variation, that is used for the strings' staccatos (it can easily be heard in the intro, at 0:10). I know it's only a detail, and not that important given the style of the track and how these staccatos are buried in the mix for the rest of the track, but as someone composing mainly with orchestral instruments, I couldn't help but notice that. ^^
What we usually do on this kind of staccatos, when working on orchestral stuff, is randomizing a bit the velocity of each note, so the same sample isn't always used (I'll spare you the whole "an orchestra is naturally imperfect" argument this time xD). But again, your staccatos work as intended anyway in this context, so it's not really an issue, just a little personal nitpick because of how I'm used to work ^^
And in this style, maybe it wouldn't work really well anyway. Give it a try, and see if it works for you.

Finally, I don't really like the snare. While it doesn't disturb me too much, maybe I'd have added some mid/highs to it. It may be a bad idea though, I'm not really familiar with this style in terms of mixing.

Apart from these things, I really liked your track : it is highly energetic and works really well, it's just sad that these guitars don't shine as they should.

Honestly, this would have been a great track if it wasn't killed by production issues and your lack of experience regarding MIDI programming for orchestra.

I have read the other reviews, and saw you use notation software. One of the issues with this kind of software is that you don't have as much control as you could on the dynamics of the instruments you are using.
If you use notation software, it's a good idea to import the MIDI in another DAW, and to add more changes to the dynamics of your instruments, for example by using the CC#01 on the DXF patches from EWQLSO (other libraries from EWQL will have similar patches, but I think it's EWQLSO, given how it sounds), and adding some velocity changes. Just to give you an example, this bass drum becomes incredibly tiring because it doesn't feel "human", it is ALWAYS played with the EXACT same intensity, every single note. The same goes with most of your other instruments, even if it's more subtle.

If you really don't know where to start, you could read EWQLSO's user manual (chapter 5 mainly). I don't know if this is the best thing to begin with, but I remember it contained some useful information about how the library worked. If you don't use EWQLSO, you can disregard this, but the "Creating an soundscape" and "Volume, velocity and expression" give some very general advice and vocabulary that can be used with any other library.

On a more general basis, you could also keep in mind that an orchestra will never play a piece perfectly. Part of making an orchestra sound realistic is to reflect these imperfections in the way you "program" your MIDI tracks - something that can't be done easily in a notation software.

Don't be afraid to spent a lot of time reading on the subject of MIDI programming or sound engineering, you'll end up learning a lot. I also recommend looking at how other composers work. You could look at Blakus' Template Walkthroughs or Behind The Scenes videos for example : Watch the beginning of his video on the Hobbit 3 trailer music, and look at his tracks, how he uses the MIDI Control Changes, how the notes don't start exactly in time, how the staccato/spiccato notes aren't all at the same velocity, how each note of a chord don't start exactly at the same time. It's the sum of all these imperfections that makes an orchestral mockup sound realistic.
...well, there's other things, but this is what you need to work on for now, I think.

I truly hope you'll take the time to improve on these points, to give your music the sound it deserves.