Also, a note : the only thing that “ruined” Metroid, which is a super feminist series of games, is a bunch of dudes working on it that don’t understand how women work, that we also have to thank for Dead or Alive : Extreme Beach Volleyball. They killed it so hard we haven’t seen a sequel since then. So, uh, thanks I guess?
"IT HASN’T YET THANK GOD" - I promise you that feminist themes are present in many games that have been successful on both critical and conumer levels (Tomb Raider, Mass Effect, Portal)
"VALIS 4" - how did feminism ruin Valis 4 it’s kind of like the best Valis game in the series, also an attempt to tie it into "oversexualization" and "tentacle rape" means I’m pretty sure you confused Valis 4 with Valis X
In no fewer than 500 words, please describe ways in which feminism has ruined a game that you like. Please cite examples and be descriptive. Provide evidence that feminism was directly to blame for the negative impact that it has had on this game. I prefer MLA-style citations. Please do this for no fewer than (3) games that have been negatively affected by said feminism.
Ancient history - Game Sound Fusion. I came across this audio file while gathering up items for my video game radio station (which has seen some setbacks but will happen!) Apart from a single listen by my wife some years ago, the track has never been heard by anyone. Here is its story, which you may want to read before judging the questionable sound on display here.
In the late 90s, before MySpace existed, much less Tumblr, I was still trying to figure out my place in the larger world of gaming (as if I have now.) I was heavily invested in game music, and had designs on creating chiptune music (though the term hadn’t reached widespread use yet), before discovering just how difficult it was to get the music I could compose in my head into actual usage. The frustration, especially given the tools of the time, overrode any creative potential.
Instead, I considered another approach. What if I made video game arrangements? I’d heard some decent ones here and there, as well as some truly awful ones that destroyed the spirit of the originals (I’m looking at you, elevator music Rockman X Alph-Lyra), but I couldn’t play any music instruments. Then I considered remixing. That wouldn’t require me to have traditional “musical” ability but I could use the skills I’d developed in recording and editing video game soundtracks. I would take various official versions of game music and mix parts of them together. In theory, this would allow me to take the best sound portions and most notable voices from the arcade and various consoles and bring them together like some sort of hodgepodge orchestra. I needed a flashy, ridiculous name for it because that’s what the Japanese creators of soundtracks did for their productions as well. So, I called the idea “Game Sound Fusion.”
The first and only track I ever put together was this, the opening stage of Dragon Spirit. I used music from the arcade version of Dragon Saber (which includes Dragon Spirit musical tracks as a cheat code but unlike the original game’s hardware, splits the music into distinct channels which I could access in MAME instead of a single mono feed where everything bled together) as well as the Turbografx-16 version of the game and even a tiny, almost imperceptible hint of the NES port. I wanted to use the bright, vibrating C64 version as well, but at the time there was no PC playback software I knew of that would allow individual channels from the SID chip.
The process was lengthy. It took days and gave me huge respect for DJs and other music remixers, because it’s hard work. The result was not as nice as I expected. Although it’s a new way to listen to the great first stage music of the game, trying to sync up the instruments and beats of different releases, which could be off by just fractions of a second, was a trying experience. I eventually gave in and accepted a slight echo effect throughout the entirety. I also found myself without quite the breadth of musical sources I wanted which made adding to the arcade channels of the first half difficult. The second half of the piece, in which the lead voice of the Turbografx kicks in, is harsh and discordant (which is a sound I personally dig), but was the best I could do with TG-16 emulation at the time. I prefer the second half though because it does feel more like an ensemble piece, with percussion and background strings from the arcade, lead from the TG-16 and even a couple of bass selections from the NES.
I conceived of a whole album of tracks like this from games with sufficiently lengthy and memorable themes and which were ported to many systems—Space Harrier, Double Dragon, Final Fight, and so on. Will I ever get around to it now that emulation and computer technology has improved? Who knows.