#snes style music

[dr-whomsoever]

Doctor Who - The Shepherd's Boy - SNES Soundfont Cover

[thumpypuppy]

oo! your last ask was really interesting! do you have anything to say on the relation between the various Loop related tracks?

it’s very cool that you’re talking about your music in such a way, thank you for engaging with this community!

So Loop's theme is just kinda silly weird mysterious. There's a chromatic walkup at the beginning of the melody because weird and silly.

Loop's hangout is one of the few tracks written by Alice Liston, who is no longer with the studio, but she's an incredibly talented composer who took a lot of the fundamental aspects of the original song and turned it into something dreamy, which I emphasized with some unique instrumentation.

Spoilers ahead:

The Loop fight is yet another one of my MEGA BATTLE compositions where I go ham because it's a fight song and I have to do way too much.

We start with that chromatic walk up in our classic title theme synth and immediately launch into Sandra's intense drums backed with Spitfire Audio's Albion ONE strings to fill out some space.

There are a couple of wild synth solos here written again by Alice Liston, and the drums move into a standard time with a staggered syncopation before jumping back into double time on the riff. Toward the end we build into a kind of combination prog rock EDM drop, and then…

Lo-fi! We take everything down here to a more sonically simplified version using some synth guitar designed in MASSIVE, a couple of simple wave forms, and some bit-crushed drums. We also introduce a new simple counter-melody here with a fairly straightforward motif we repeat while the exact notes change depending on the chord. We're still riffing on Loop's theme at this point, but we're adding some more context.

(Side-note: If you're interested in emulating vintage consoles of a particular era, one of the most important things to look up is the system's sample rate and bit depth! I'm 37 so "vintage" in this case is like… Commodore 64, NES, SNES, PS1, Sega Genesis, Neo-Geo, etc. It's also important to look up for something like the N64 where a lot of the sound design came from, like a lot of DX7 presets.)

Now with a powerful fill from the live kit we come back to our normal instrumentation, restating our previous section. Toward the end of this section we slowly build in our strings ramping up to a half-time breakdown that will lead into a totally new part.

The strings build intensity while also taking the responsibility of playing our main Loop melody, and we throw in a Dormont-style counter-melody to add to a sense of nostalgia as we ramp up our heart-string tugging.

Next, we bring in lead guitar-style synth to double our Loop melody that's playing in the strings to add an extra helping of epicness because come on, an electric guitar playing over the soprano part of a string section is like pique epic/dramatic.

Meanwhile the drums are still going in half-time to give it a breakdown feel (especially leaning on that china cymbal to give it a classic death metal breakdown feel), but at this point we're starting to get more embellishments and double kicks to make use of the space left to build further intensity until we hit that 80s metal crash mute and pause for emphasis, and then tom roll into our next section.

With the break into a new section we're saying NO MORE! We're getting serious now! We have a lovely riff written by Sadie Greyduck, which has a really uncomfortable and tense progression built into it that's emphasized by the strings that have moved to the very high soprano range to keep tension.

Then on our next repeat we jump into yet another solo! This one was partially written by Alice Liston, but ultimately I ended up fitting it into context and completing it. One thing you'll notice here is that there are a lot of passing tones and chromatic walk-ups to emphasize the Loop-ness of the situation.

Now we're jumping into yet another me(n)tal breakdown! This is more riffing on the Loop melody, but then we hear that brass section jump in! We're moving forward and doing a little more light riffing while the rest of the band takes us home in a slightly stronger and more triumphant fashion.

Finally we pick up the pace and we're back to our old classic, the title theme, but it's add odds with the context it exists in and starts to move in a spacier direction, eventually morphing back into Loop's theme.

For the album version we put a cap on it with a piano restatement of the beginning of the song!

(Also I finally looked it up and the other piano I used besides Spitfire Labs "Soft Piano" is Native Instruments "The Gentleman".)

Honestly I love fight/boss themes so much and they're always so fun to work on because I can go ham and the people I work with can do some of their more extreme work, plus it's always an excuse for Sandra to go nuts on the drums.

Thank you so much for sending in your ask! We're always so happy to get these and to hear how much our work has affected so many people! 🐶💙

[dynamite-derek]

Sea of Stars: The best game you played as a child that released in 2023

When I was in middle school, I have vivid memories of playing Chrono Trigger. I rented it from my local video store, a poor man's family video. It even had a tanning bed, as was the style at the time. I sat in front of my grandmother's mid-size CRT television and was amazed at just about everything I saw. The beautiful pixel art, the various set pieces, the story, the music. Everything. My inner monologue for about a month after experiencing Chrono Trigger for the first time was using "thees" and "thous" a lot like Frog did in that localization. He was the best character so the way he spoke was the best way to speak. Simple as that.

Often times games try to ape Chrono Trigger because my experience with it is hardly a unique one. Most of the time, I feel these games miss the mark or fall short of it. They tease you with the "Chrono Trigger" but it more hits on some highlights that Chrono Trigger had instead of making an actual good game that can stand on its own merits. The example that comes most prominently to mind is "I Am Setsuna," a game I once wrote about on this blog. It's a game that mindlessly tries to take what makes Chrono Trigger a good game and slaps it onto something else. A soulless product developed by a company with a soulless name (Tokyo RPG Factory.)

My brother has been pestering me to play Sea of Stars for months now. Yet the specter of products like "I Am Setsuna" prevented me from making the jump for a long time. Yes, aesthetically, it played the part...but if I were to go back in time and rent this game from the fake Hollywood Video and play this on the mid-size CRT at my grandmother's house, would it capture my imagination? Would it stand on its own?

Yes.

On the surface, Sea of Stars looks like it's trying to be Chrono Trigger. They have the combo attacks, they have the wacky cast of characters from a variety of different backgrounds, the overworld and spritework looks pretty close and the music...well, the music can often feel like it was lifted straight from that very SNES game. But there's more to it than that. Quite literally. Sea of Stars doesn't just try to mimic the style of one beloved RPG, it lifts from several and becomes something of a Jack of all retro turn based trades.

The combat uses timed hits like Super Mario RPG - a system that's extremely easy to wrap your mind around but is extremely adept at keeping the player's attention. You can't just take your mind off of the game once you hit 'attack.' It also has the ability to change your characters in combat, which gives the game something of a Final Fantasy X (it's odd that a 20+ year old game is the 'newest' thing mentioned here) feeling. Sometimes a spot will call for a poison user, sometimes it will call for your warrior cook, sometimes it will call for your moon user. It's simple, but it makes each encounter feel unique and engaging. It also uses something akin to a limit break system, as seen in various Final Fantasy titles. Everybody gets an elaborate ultimate attack. When is the right time to use it? Even more variables tossed into a fairly easy-to-use system.

It's not just in the gameplay either. One of the big mistakes video game companies make when making 'new' retro games is that they cram too much story into the game. Don't get me wrong, stuff like Final Fantasy IV, Lunar Silver Star Story and Chrono Trigger have plenty of story, but go back and play those games and then go play Final Fantasy VII. The amount of dialogue and dedication to storytelling is next level compared to what you get in SNES games. Older RPGs have a smattering of world building and story but that is bolstered by the gameplay. Sea of Stars is similar in this regard. It does not have 'too much' story, it has about as much as you would see in an SNES RPG. It leaves something to the imagination. Not every last detail of the world is explained, you're left with a sense of wonder.

When I first heard the term 'solstice warrior,' I grimaced. It sounded so lame, like something out of a kid's cartoon. And yet, it is tackled with sincerity. They don't go out of their way to tell you every aspect of what goes into making these warriors, they keep things very simple and straight forward. It just feels authentic. By the end of the game I wanted to learn more about this world and these characters, I did not feel like everything had been spelled out in game and there was something left to discover. Even a post-game twist felt like something a kid would tell you at school and you'd just roll your eyes and say 'yeah fucking right Ned, I'm sure collecting all 60 conch shells will do that.'

My discovery with this game is that in order to create a 'love letter' to a genre, you need to focus on more than one game. It needs to just focus on lots of things. I am Setsuna feels like a shallow clone of Chrono Trigger. Sea of Stars feels like a game that saw great elements from a lot of other great games and came to its own conclusions by throwing those things together. I fully believe a middle school aged Derek would have been glued to his Grandma's CRT for a month straight playing this game. It's the highest compliment that I can pay this game. It's not better than Chrono Trigger, Final Fantasy VI or Earthbound. But it still stands on its own and it is fantastic.

[masquayla-the-splendid]

Things I noticed about the music-realm of the fnaf fandom as of recently.

[From the person who did Paranormal Powerhouse]

My brain just fired an interesting set of neurons. I was thinking about how JT Music "remastered" some of his older fnaf songs, like Join us for a Bite, and Five Long Nights. Usually, JT Music never misses with his songs. Except for when he redoes them. Normally, I would describe the remakes of feeling too processed and the OGs more organic, but that's too vague for my point to get across.

I got a Reel on my feed the other day about the new Beetlejuice movie that showed images of behind the scenes pictures from the original movie, and the new one. One of the comments said that although the new movie was good, Beetlejuice's outfit from the original felt more authentic, and the new one felt too much like it was a costume. (I can see it in the hair most, imo.)

That's how I would describe this situation with JT Music. Heck, even just current Fnaf Fan songs in general.

I haven't heard any new fnaf songs that stuck out to me in a while. To me, the new ones just sound like someone just picked a cool synth and played 4 chords and went "OOG THE BEAR IS APPROACHING~" lmao.

Idk they just sound less...from the heart. Compare the "You might look at me-" "-you're not alone, Baby" part of the original Join us For a Bite, and the remake. They got rid of the huge chords the vocals did on "crazy," and the delivery doesn't sound like she's about to lose it. She just sings it and the autotune does the rest.

A number of other songwriters that made pretty good songs back then have fallen off too, I noticed.

Idk if it's because this is how these artists are making a living, so they gotta pump out content all the time. Tryhardninja has been uploading multiple music videos for songs from like, 2016. (They're good animations though.) It's all in the matter of taste though, I guess.

But it's a shame, because all the older songs that were fire, the writers ended being creeps, or have just been absent from the internet or the fandom for a while. Mandopony's songs felt like they came straight out of a musical. They made great use of harmonization, and painting a scene in your head. [I've never come across a song made by a brony that was mid.] That kind of style has yet to be replicated, because I don't want him returning anytime soon.

Idk what happened to Groundbreaking, other than he stopped making fnaf music specifically, but he was really good at writing character, and catchy instrumental breaks. The sounds he chose for each character song fit them very well. His style was very electronic and industrial.

Similar notes for Griffinilla, with the added bonus of the scenes in Stay Calm. Then he turned into Fandroid. His Freddy song is pretty good too. The lyrics are pretty generic, but I like the wacky instruments used. Not a fan of the Ballora song. I did recently hear about him being a groomer though. Can't have nothin in Hurricane.

Shameless plugin, that's why when I wrote Paranormal Powerhouse, (and Bolts4Brains) I was taking those aspects into account. I never hear vocals harmonize anymore, or singing in character, or silly voices in general. Those add texture, imo. The instruments I chose were very specific. I wanted it to sound mechanical and haunting, while keeping the overall lighthearted campy nature these games have, thus, the title of the song. (Totally has nothing to do with the level "Lava Powerhouse" from Sonic Spinball.) Even the drums are meant sound like clunky robotic movement.

The Genesis is capable of very harsh and edgy sounds, which would be perfect for the industrial side. It's capable of atmospheric sounds as well, ex. Ecco the Dolphin. It also shares a soundchip with arcade cabinets from at least mid 80s, so I tried to replicate instruments from certain arcade games, because FFP has an arcade. The Snes plugin was used for softer sounds the Genesis couldn't achieve the way I wanted, like the wonky piano.

I did add a sort of autotune to my vocals, but a real quality autotune plugin costs money, so I used Reaper's built in manual pitch correction. On top of that, I added a light chorus effect for the main melody, and a bit crush at that part where Phone Guy starts to break it down, and the animatronics provide a counter melody, leading up to Chica's solo.

Idk maybe I'm just not in the loop with the current music scape, and when I am, I just get really unlucky. It's hard to tell, because I hardly ever come across a fnaf fan that's also a music nerd. Like I'm just finding videos talking about the Watch Your 6 motif. Did we all like subconsciously know this and just decide to talk about it, or did the right people just start noticing it at the right time?

[felixcloud6288]

PMMM Episodes 1-4 recap

Before I continue watching Puella Magi Madoka Magica, I want to gather my thoughts so far.

I think it's worth pointing out that I knew the basic premise going into the story and I know it's a deconstruction of the Magical Girl genre. I also know Kyubey is not a benevolent being. But I don't really know anything else.

I've seen a lot of fanart of Madoka in her magical girl attire so I'm genuinely surprised the series isn't her taking the deal on day 1 and going on magical adventures. Instead, the conflict seems to be Kyubey trying to get Madoka to become a Magical Girl while Homura tries to stop her from doing so.

The song that was playing during the cold opening in episode 1 is also the second ending theme, so I'm expecting that scene is near the end of the series and Madoka still hadn't become a magical girl.

I kind of think Kyubey is full of shit when he talks about granting wishes. He made his offer to Mami when she was about to die in a car crash and tried to get Sayaka and Madoka to make a contract when Mami was killed by a witch. These were situations where they had nothing to gain but everything to lose if they didn't accept his contract (By the way, the technical term for this is a Leonine contract).

He does have magical abilities as proven when he healed Kyosuke's arm but he seems to try putting his targets in situations where he effectively doesn't have to do anything for them.

I'm also curious about those soul gems. Anything called a soul gem is obviously bad. And magical girls need to constantly recharge them using grief seeds. So do they have their souls placed in those gems and they die if they run out of magic? Also, the animation when Mami used the grief seed showed something flowing OUT of the soul gem. So does using magic cause some sort of negative buildup in their souls?

I'm kind of curious what those witch runes all say. At the very least, the witches are all using the same alphabet though they're all using different fonts. The witch in episode 4 is exceedingly chatty compared to the previous ones since there's tons of writing during its scene.

But since I don't know what language everything is supposed to be in, it would be hard to transcribe everything. For all I know, everything is in German.

And speaking of the witches, each of them has a different theme about their domains, personalities, etc. But they all seem to have an obsession over something.

The one from episode 2 seems obsessed with flowers and gardening. It got really upset when Mami damaged the flowers.

The one from episode 3 is obsessed with food, especially desserts. Strangely, its familiars look like mice. Not really sure how they tie into the food theme.

The one from episode 4 has the least cohesive theme but I want to say they have an obsession with dolls and games. The gameboy directional pad is a recurring pattern in their domain and several background elements had an NES/SNES sprite design to them.

I guess my last thoughts so far are going to be toward the art and music. PMMM has a very distinct art style. If you know what PMMM is, you'd definitely recognize any screenshots or fanarts that it is PMMM.

Most of the budget probably went into the witches. The animation tends to be a little off-model from time to time. But the animation team knew where to put their focus because motion is wonderfully fluid.

A few weeks ago, I mentioned rewatching .hack//SIGN and realizing that that anime was very formative in the kind of media I like, and this show is hitting the same brain chemicals. If I were ten years younger, I can imagine watching this show and it being what forms the basis of what I like in story-telling media. I love the music (Yuki Kajiura made the music for this and .hack//SIGN), I love the disorienting animation style with the witches, and I love how there's clearly so much more to this story and it would require a second rewatch to fully understand everything.

I get why this is such an iconic anime despite it being so short.

back

[sethan-obsession]

What are some good new RPG maker games?

I played some ages ago, but the websites have now all been nuked because they were full of ripped assets from SNES games.

ooh i can answer this

for ones with no real combat that've been around for a while, yume nikki is good, but i've mainly played .Flow, a fangame of it, which has a darker tone and atmosphere with more understandable "goals", so i attached to it much more

Ib (eye, bee, as letters) is an interesting art game that appeals to emo/scene aesthetics that i like more, it has no combat but many puzzles and an incredibly interesting setting, to me

OFF is a french-translated RPG which is kinda the best in the business, the art & music are top notch and the gameplay is accessible, if seeing pictures of it or hearing music from it intrigues you, i think everyone should give it a shot.

almost all of these are real battle sprites. you play as a baseball player (The Batter) and purify ghosts as you come into existence. the fandom came & went in 2012-2014 or so, but the game's worth experiencing, very much. more games under the cut below the image

LISA: The Painful is an excellent game that has a post-apocalyptic setting and a weird axis/style for an rpgmaker game (being a sidescroller), the setting involves you playing as a very traumatized man living in a world where all women have gone extinct and people are fighting over nothing before the world ends, the feeling of it is pretty immaculate and the soundtrack is great but strange, it cultivated my interests at a developmental period

most of the aes can be described through this trailer

LISA also has a sequel (The Joyful) which takes place after the first to tie up the story, but most importantly is that the very interesting setting & vibe set up a slew of fangames, the strongest to start out with which are

LISA: The Pointless, where you play as a very washed up martial artist who gets dug out of a trash pile by a new friend he made; a gunslinger with a bolt-action pistol that only has one bullet, and thus he can never shoot it: only threaten enemies & fake out the fact that he MIGHT shoot them, to debuff them - this game also tightens up the RPG aspects of LISA significantly, and has an IMMACULATE vibe & unique feel, it's one of the most important games to me ever

and LISA: The Hopeful, which retains more of the aesthetic of the original as well as the goofy charm while telling a very compelling grounded story.

i also contractually need to mention Fear & Hunger, it's incredibly unfair and by most metrics fails at game design but if you're interested in body horror, cosmic horror & can stomach depicted (but very much so not portrayed positively) sexual violence, it's very good art

and finally, Hylics is an incredibly artsy game that's obtuse and strange but very beautiful. it's entirely sculpted and animated with clay, but i think (as someone interested in other claymation projects, but weaned off of them after a while) the aesthetic is notably better for hylics, it doesn't feel "gross" with its humor or too, "self-referential" i'd call it maybe?

the sequel, Hylics 2, is instead fully *animated* claymation that was then ported to blender, frame by frame. there's no other project on earth that really looks like Hylics 2.

i would highly recommend playing both if you gel with them at all or think they look cool, they're both pretty cheap on steam and are accessible for an RPG (if you can figure out its silly namings and mechanic equivalents for things like health & levelling up).

none of the games mentioned here have level grinding or random encounters, either (besides some parts of OFF)! i hate that! i only like good ones, i promise!

that's all, hope this helps lol

[7grandmel]

Todays rip: 28/04/2024

SNES Mini Circulation

Season 2 Featured on: Now That's What I Call Quality!

Ripped by livvy94

With all the chaos and layers SiIvaGunner rips can often be under, its nice to cover something relatively "normal" for a change. There's all kinds of rips on the channel for all kinds of people, but universal appeal is not to be dismissed - SNES Mini Circulation is the kind of tribute that any fan of video games is bound to appreciate.

Well, I say that, but there is of course the elephant in the room - I'm sure not everybody you send this rip to will be aware of what Renai Circulation even is. And its honestly a bit of a shame its taken me this long to feature the song on the blog - like what I wrote about All Star in Shrek Days -Onions Ver.-, Renai Circulation is one of the big titans of mashups, perhaps not to the same mainstream extent as All Star has been, yet prominently althesame. I'm not sure if there's a proper meme-rooted reason for said frequency in use, other than it being a genuinely excellent song debuting as NicoNico Douga was steadily growing in popularity. Moreso than even YouTube, the platform lives and thrives on creativity and remixing, and I can only presume that the explosive popularity of said remixes bled over into YouTube - the end result, thus, being mashup videos like Everybody's Circulation sitting at 30 million views on the platform.

Truthfully, I don't know where this "everybody's" titling came from, but it too has been a part of the online mashup culture that SiIvaGunner took on, seen mainly in Season 1 rips like Everybody's Special Course - the "meme medleys", using a big party of sources to the tune of a recognizable core song. In that sense, then, SNES Mini Circulation is like a love letter in two different ways - a tribute to a huge pillar to the very mashup community SiIvaGunner owes its foundation to, and of course, to the part of the rip that's right there on the tin - The Super Nintendo, and SNES Mini console!

Livvy94 is one of those rippers that's been active since near the channel's beginnings, from midway through Season 1 to today - and both off the channel and on her own time, she specializes in Super Nintendo music in particular. I can only imagine how exciting the SNES Mini's release must've been for her as someone who's focused so specifically on the console for long beforehand - I can absolutely see where the wish to celebrate it would've come from! And really, beyond the fun Renai Circulation tribute, that is what SNES Mini Circulation is here to do - to celebrate the Super Nintendo, and in turn the vast variety of soundscapes under its roof. We don't get every game on the SNES Mini represented here, sure, but Renai Circulation also isn't an endless song - and I'm glad Livvy94 chose to ration out the per-game segments more deliberately rather than trying to cram in each game possible in it. Well, I say that, but we do also get a fun bonus appearance of Chrono Trigger at 2:26, whose bizarre absence from the mini console was a big talking point back before release.

But that leads into what's probably the main reason I love SNES Mini Circulation so much, all these years later - its just plain fun! That Chrono Trigger gag is placed right after where Renai Circulation uses a rewinding sound effect, playing off of Chrono Trigger using time travel, and the section itself pokes fun at Nintendo "forgetting" to include the game. Right before this, the rip is using the soundscape of Kirby Super Star, althewhile using footage from yet another historical relic of YouTube - the very first episode of Game Grumps, wherein the grumps played that very game. Little gags like that are pretty easy to spot, of course, I love when rip visuals are played with for comedic effect a la Goodbye to Love - but even with that aside, the energy the whole rip has is just downright FUN. Livvy94 displays proficiency with so many different styles of SNES arranging, from the Mega Man X sound I gushed about back in Guardian of the Ride Chasers to the more mellow sounds that made me fall in love with rips like Sog-Gee Ambiance, yet the rip transitions in and out of each section absolutely effortlessly.

Like, I find these "one-person fusion collabs" a la Staff Roll (SM64) Fusion to be incredibly impressive already, but SNES Mini Circulation just at once feels like it has so much fun and has so much confidence. For instance, near the end of the rip, EarthBound is revisited for a short Runaway Five performance, after the game had already being featured at the start of the rip, but its placed so perfectly to build up to the fast-paced ending, again a tribute to Everybody's Circulation, that it never stuck out as odd or noteworthy to me until the very moment I started writing this paragraph. Livvy94 pulls the whole thing off with such finesse, all just to celebrate her favorite little grey box.

And yeah - I love that she was actually able to release SNES Mini Circulation day-and-date with the mini console releasing! As someone who followed its reveal and release way back in the day, it was a great cherry-on-top surprise to see. Livvy94's passion for the SNES is felt in every inch of this rip, and it makes for the best launch-day present the console could've ever asked for.

[nicole-the-hololynx]

what old game do you think made the most or best use of its hardware?

I've been thinking over this one for a bit, and in the end I can't think of a game that punches above its weight more than Castlevania: Rondo of Blood for the PC Engine CD + Super System

Rondo of Blood is really one of the best games of its era. It's got some incredibly tight gameplay that I feel no other game of its style has quite managed to capture, it has some amazing music, and it's an absolute FEAST on the eyes with how it's filled with vibrant graphics and silky smooth pixel animations.

While Rondo stands as a great game on its own, when we look into the hardware it's running on we can really tell how much the game is pushing this console. Many people I've met whose only exposure to the PC Engine comes from Rondo think the console is some sort of "powerhouse", that it's very good at pushing these gorgeous 2D visuals in a way at least comparable to other consoles of its time, like the SNES or Genesis. This couldn't be farther from the truth.

The base PC Engine console was a budget system, meant to be a 16-bit upgrade for people who couldn't afford or couldn't wait for the bigger consoles. Internally tho, while its graphics might seem 16-bit enough, the console is actually not too different from the old NES, just with a tiny bit more juice. The CD-ROM² expansion lets it read data off discs. And finally the Super System Card is an expansion to the CD expansion that gives it a bit more RAM to play around it. That's it, that's what Rondo runs on. Just an NES with a CD drive and some extra RAM.

Rondo largely manages to look as good as it does by just knowing very well how to use the hardware. How to split the screen into strips to give the illusion of perspective or background layers. How to add sprites every now and then to make the background's strips blend in. It also helps that for a console like this a CD is practically infinite storage space, making RAM the only real concern in that regard. Really the only aspect of the PC Engine that goes underutilized is the audio chip, and that's because of the music all being streamed.

Rondo is a game I could gush about for hours, so I think I'll cut it short here. As a fun anecdote, before settling on Rondo I asked my partner for their thoughts on this, to which they replied "probably something like The Last of Us or the Wii Sports game" which uh. Isn't wrong! But still filled me with an indescribable dread...

[megaman-r]

It's been quiet! So, what's gotten done lately?

Well, first of all I keep writing really complicated novel-length MMX fic instead...which isn't making my other hobbies go any faster...sweats profusely.

But anyway!

Roll can die from taking damage.

Of course, this makes her lose a life.

She'll respawn at the start of a stage...

...Unless she's hit a checkpoint, in which case, she'll respawn from there instead.

And if Roll runs out of lives, you go to the game over screen.

From there you can choose to continue from the start of the same stage...

Or you can go back to the stage select.

(Or, technically, you can quit to desktop.)

So yeah, basic expected gameplay loop functionality, more or less. Doing all this from scratch is a lot more involved than it sounds like, though. There's a perfectly good Game Maker setup for making Mega Man fan games, aaaaand I'm not using that engine so it's basically useless to me and I started from quite literally nothing instead. Figuring it all out by myself instead took a long time and a lot of rubber ducking.

On top of that, Pixel Game Maker MV is, as I've learned the hard way, very tetchy about handling load/save operations, and I couldn't figure out why it was refusing to save checkpoints properly until I figured it out: the version I'm using for my dev environment will only succeed at a single file operation per runtime action. Any others in the same runtime action will silently fail. That was hours of trial and error to figure out why it was failing to write save files, but only about half of them, for no apparent reason. But it's been troubleshooted! Troubleshot? Whichever. It works now! It's actually been a huge hurdle.

All the Robot Master boss music exists, too, which is pretty cool. The first iteration accidentally sounded like John Cena's theme, which was, uh. Funny as heck, but not intended. So I went back and made that not be the case, though that means that the SiIvaGunner joke of remixing tracks to be John Cena's theme and saying they're an alpha version is not even a joke here, it's literal. That is a real thing that happened and I didn't even realize it until someone in the dev Discord pointed it out.

Next on the roadmap is getting individual file save slots functional. Checkpoints and level start actually use save files as well; they're just temporary, and the engine deletes and recreates them pretty frequently to avoid buggy shenanigans. I'd like to be able to display at least basic save file information on each save slot, so I'll need to figure out how that works and what that screen should look like. Games will autosave on the stage select screen, though you can always clear a slot manually to start a new game. Very SNES kind of system.

After that's all implemented and debugged, I can probably start thinking about actual playable content, since that wraps up the vast majority of the UI. Good thing, too, because I actually kind of hate working on UI. 🥲 It's a necessary evil, though, and I think it'll be a pretty alright UI when it's finished. Nothing groundbreaking, but does a classic-style Mega Man game need a groundbreaking menu? I think probably it doesn't, and I can save my energy for the gameplay.

[majestic-ruiqing]

Hermits as Songs from the Mario Kart Wii OST

(yes specifically Wii, not mariokart 8. Their rendition of moo moo meadows is bad)

Bdubs- Maple Treeway (pretty song for the man with pretty builds. who am I kidding, all their builds are pretty lol. still think this one is vibey and suits him)

Beef- Moo Moo Meadows (yes, I think the chill vibes fit him, it's not just because there are cows. It's maybe a little bit just because there are cows)

Cleo- Luigi Circuit and Mario Circuit (first off, can't believe they used the same song for two courses. second off, nice song with interesting stuff going on throughout. she can have two courses, as a treat)

Cub- GBA Battle Course 3 (funky beat with higher energy and also just plain fun)

Doc- Grumble Volcano (spooky ominous song for the man who insists on playing a villain lol, but there's still more to it to make the song interesting)

Etho- N64 DK's Jungle Parkway (can't believe this man always builds in a jungle. same tune all the way through reflects his consistency in content [I mean this in a good way lol, his videos are great])

False- Rainbow Road (pretty song, gives me the sort of grand feeling that reminds me of her s9 base)

Grian- Chain Chomp Roulette (I don't know how to explain it but half the tune sounds like it's a satire of the funky chicken dance. Kinda baffling but still a good time)

Gem- Coconut Mall (a lot of fun but not overwhelmingly chaotic, iconic)

Hypno- SNES Battle Course 4 (look man idk, it's literally past midnight and this is what I'm doing. it fits his vibe I think)

Impulse- DS Delphino Square (good song with a lot going on, but balances it all very well)

Iskall- GCN Mario Circuit (great song with just the right amount of funk to it to keep things interesting)

Jevin- GBA Shy Guy Beach (got me boppin my head man, very pleasant tunes)

Joe- SNES Ghost Valley 2 (less a song and more like two minutes of spooky noises being strung together, which sounds like the kind of bit he'd commit to. Beetlejhost)

Joel- Moonview Highway (high energy, kinda crazy, lots of fun and great vibes)

Keralis- GCN Peach Beach (matches his tropical vibe this season)

Mumbo- Koopa Cape (kinda weird. kinda funky. half of it sounds like it's underwater, who comes up with this stuff)

Pearl- Mushroom Gorge (bouncy, lots of personality, lots of layers to the music and lots of layers to the detailing in her builds)

Ren- Aqua Resort (a banger, keeps things insteresting all the way through, a lot of fun)

Scar- GCN Cookie Land (not just because of the cookie shop lol. bouncy tune, a good time for Mr. Goodtimes)

Skizz- Finished Race [First Place] Results (not a course related song but still a banger, giving it to him because he deserves first place, and because I've only got good memories associated with it)

Stress- Daisy Circuit (pretty song, fairly chill with just a bit of a kick to it, reminds me of her brand of chaos)

Tango- Toads Factory (very industrial, fits his base this season. I was tempted to give it to Doc though)

TFC- Wario's Gold Mine (while a chiller track would probably fit him better, we're settling for the Mine One. Still a good song though)

Wels- N64 Mario Raceway (a bit calmer as far as some of these songs go, but no less interesting and fun for it)

xB- DK Snowboard Cross (calm. vibey. could have half his house blown up in demise and still be cool about it)

Xisuma- Block Plaza (fun, and the blocky noise reminds me of tech-related kinda stuff. not exactly reflective of his more naturey build style, but does relate a bit to his minecraft update videos or redstone work)

Zed- Dry Dry Ruins (much like this song randomly switching to a completely different song halfway through, I never know what he'll be doing next)

Playlist of the songs if anyone cares enough to listen to it and tell me why I'm wrong lol, but given I spent several hours on this and most people don't listen to the mario kart wii soundtrack for fun, I'm willing to assume I'm in safe waters

[auntiealiasing]

SNES-style sequenced music on disc-based systems is so cool to me

[e3khatena]

What're your top 4 favourite games of all time?

I actually pretty recently went through my Top 25 on Twitter but that's mostly a contextless image with no words to it, so I do wanna spend a little more time to highlight my four favorite games (1024 words):

4. Earthbound (SNES, 1995)

Earthbound is a truly superb JRPG, with a kitsch and a camp to it that feels simultaneously cheesily-dated and timeless to boot, with a charisma and world that's ripe for exploration, from a guy who is a master craftsman of compelling stories. This is by far my favorite game to actually play in the SNES' library.

3. Hypnospace Outlaw (PC/XBO/PS4/Switch, 2019)

Back-to-back 90s-flavored games with phenomenal storytelling, Hypnospace Outlaw is a game about playing the moderator of an alternate timeline's niche corner of the Internet. Users on Hypnospace create webpages with their mind so they can hang out and be productive while asleep, and the characters are deeply nuanced with tons of personal details and secrets in tow. It's fun to be an enforcer and track down cases, but it's just as fun to go down the rabbit hole and follow links, and your curious nature is handily rewarded with shortcuts, hacks to be a better enforcer, fun Angelfire/Geocities webpages with MIDIs or ripped MP3s for backing music, and an utterly stellar story of corporate mismanagement, cover-ups, and an attempt to pin this universe's Y2k bug on an innocent kid that makes up the game's final act, a retrospective as you work to archive Hypnospace for modern audiences and tie up any loose ends. Jay Tholen's world is eclectic, surreal, and so oppressively 90s that you *will* listen to their fake Linkin Park on its own long after you play this.

2. Hot Dogs, Horseshoes, & Hand Grenades (PCVR, 2016-)

Rust LTD's range simulator/physics sandbox stands out as one of the defining games in PCVR spaces. Being the brainchild of developer Anton Hand and having been in incredibly active development for eight years, H3VR's dedication to the craft of firearm simulation is matched with a quirky, lighthearted sense of humor that extends into the enemies; sosigs bleed mustard* and say cheesy one-liners or compliment the player before exploding into meat, and Anton's strict adherence to not including real-world human enemies or gore extends to the lore explanation of the seemingly endless number of enemies being a giant meat grinder and casing stuffer that brings units to life. This has pissed off *tons* of fans of other VR FPSes, but I've been long enamored with Anton's realization that what people want from gore (satisfying particles and deformation, cathartic violence) can be done super cheaply and in an approachable manner for all-ages while still maintaining a very strong network of AI pathing and handling systems.

Even if you aren't fighting the enemies, the game's core simulations are still fun to engage with, with lovingly rendered guns that let you see their specific oddities, effectively digitally preserving over 500 firearms, both real and fictional (including a handful of pop cultural pieces like the guns from Robocop, Blade Runner, and Team Fortress 2 in an official collab with Valve) and their inner workings while giving you an expansive sandbox for building scenarios, be they IPSC-style accuracy trials or a simple bed of targets to plink at. Anton still updates this game weekly, working on things like night vision goggles/scopes, thermal cameras, and a Hitman-inspired ImSim mode. Despite this, Anton still does not see the game as a 1.0 finished build, and has plans to continue updating the game for a long while to come.

Cruelty Squad (PC, 2021)

There is no other game like Cruelty Squad, man. Its roots lie in underground artist Ville Kallio, a Finnish creator of the strange, surreal, and visceral. So much of Kallio's art centered around video games and they way they depict and discuss violence, and he took his work to its logical conclusion with an Immersive Sim unlike any other. The visuals are garish, the music is shoddy, the maps are nonsensical with a bizarre fetishization of ad-soaked dystopia, and does a great job of putting you into the headspace of the depressed former Death Squad member Empty Fuck, who finds himself becoming a gig economy worker settling petty corporate disputes for his former boss with the aid of a slew of lethal, stupid weaponry.

For your trouble, you're paid out a pittance, so most of your income has to come from side hustles. Gibbing enemies lets you harvest their organs, which is fantastic for you as modern medicine has made death a thing of the past, stitching cadavers back to life and saddling them with medical debt. If you're not fishing or playing the incredibly volatile stock market that experiences a short squeeze that reaches MOASS levels, you're organ harvesting, which also nets you an opportunity to steal a fallen foe's weapons after you scoop up his liver and kidneys, as you can only get new guns by carrying them out with you on a successful hit. The game takes you to cultist lairs, cushy offices with armed guards, a bombed out nightclub in Helsinki created in the aftermath of a chemical weapons attack to blockbust the district, and straight up to Cruelty Squad HQ to confront the balance of life and death in the world.

Cruelty Squad is truly so beautiful in its unabashed ugliness. The NPCs complain about their life and financial woes while their bosses gamble the extracted value of their labor on buying new yachts, advertisements for the game's brands are everywhere, and though the wealthy bourgeois are free to flaunt their wealth and perversion, the common prole finds themselves in a constant loop of being caught in the crossfire of mass shootings and waking up an instant later with discharge paperwork and a hospital bill. Kallio has made a truly chaotic, bitter, visceral world mirroring our own frustrations with the modern technology and finance sectors, and displays an incredible understanding of game design through all of the design decisions clearly meant to draw the most ire and frustration. It's not an easy game to enjoy, Cruelty Squad. It's difficult with an unfair difficulty curve and some decently bad levels, but my GOD its marriage of Deus Ex and Hitman ImSim sensibilities and a passionate disdain for late-stage Capitalism make it an easy choice for my favorite game of all time.

[thumpypuppy]

hey can you talk about I WON’T LET YOU GO HOME from ISAT and how you went about making it? It is so good. me and friends really like it. thank you in advance if so! the game is so good and your soundtrack has played a key role in making it literally life changing.

Lindar here!

Thank you SO MUCH for the kind words.

Firstly, I have to give credit to InsertDisc5 who gave incredible direction and has been to date one of the best people I've worked with.

So let's start from the beginning: We establish a specific instrumental tone with the pseudo-chiptune synth we've heard a lot, especially in the title theme. This was created using NI Massive, which was one of the most heavily used synths in the OST. We're doing kind of a basic heavy metal riff here, but making it chiptune-y.

Next we fade in for the first and only time in the soundtrack a SNES strings pad to fill out the chord structure and provide additional melodic content.

Then of course for our more intense moments we roll out Toontrack Superior Drummer 2 + Metal Foundry, featuring the amazing drumming styles of the one and only Sandra Baker. I think she went absolutely ham to contrast with how simple the first section is.

So next we hit our stride and establish what the piece is really saying. The drums simplify a bit to leave room for the melody, and then we hit a "drop" of sorts into the next section.

Now we're rocking to a reprise of the title theme in a more major tone, but it's feeling less hopeful and more like a longing attachment to memories of the past.

In the second half of the title theme we run a reprise of the death/loss theme as a counter-melody while also introducing a new little motif stab underneath. We hear it in the strings as sort of the response to a call that hasn't actually been made, and then it's repeated in the bass, and finally the whole band states it all at once as we move into the next section.

Again we're stating the title theme, but this time in a different mode with a gliding, reverby, monophonic lead that feels like it's floating. Each phrase keeps rising in intensity, desperately reaching for that memory.

Finally after all of that wildly changing energy and anxiety ramping up we hit a breakdown featuring probably some of the best orchestral composition I've managed thus far (not to toot my own horn). I was really shooting for "pained" as the sound of this section. Half-time feel drums where we're so incredibly out of energy, but no! The drums pick up into double-time as we desperately reach out for comfort!

I gotta say Sandra went absolutely wild with the blastbeat snare while still doing a half-time feel. Like it feels like there's so much tension even while we're winding down to the end of the piece, floating in a place where we keep moving towards hope but always resolving on the minor. We have a lot of movement here through different keys and modes that continually give us a feeling of moving forward while always returning to the feeling of loss.

Finally, for the album version, we cap the ending with a slow restatement of the beginning of the piece for piano and violin (I don't remember the specific piano I used here but it wasn't the Spitfire Labs muted piano for once, and the violin is from Spitfire's Sacconi Quartet).

As far as an in-depth musical analysis goes, I'd have to open the session again to get really specific with what I did on a theory level because it's been like a year or more since I wrote it, and my computer's primary hard drive died (luckily I have all my sessions on a different drive), so I'm spending the weekend reinstalling everything.

I think the crux of this piece in particular is that, while there is new melodic content that explains the emotional context of the scene, we still rely on the recontextualization of leitmotifs for added effect. I'm not sure if it makes me lazy or a genius, but it's something I leaned into heavily.

It's like…

Step 1: Someone is crying. Their friend tries to cheer them up. Play something kinda sad and a little bittersweet.

Step 2: Play that same melody in a different situation but slightly different to be totally appropriate while also calling back to the original event.

Step 3: Make it into a major-key power metal song because you're winning with the power of your friends caring about your feelings.

Humans are pattern-recognition machines. It works with motifs, it works with specific instrumentation, it works with pretty much anything. Make an aesthetic choice about your instrumentation, utilize it, and punch people in the feels.

As soon as the studio is back up and running I'll see if I can't add on to this with an actual theory analysis, and meanwhile I'm gearing up to start doing classes on mixing and sound design, so look out for that as well!

Thank you again for your ask!

[demonfox38]

Completed - Wild Guns Reloaded

What do you mean, you can't use a single screenshot from a video game as both your feminist philosophy and gender identity?

How about two? Would two work?

Man, so many things confuse me about Natsume as a company. Like, its history, for one. Splitting to form two different companies, both of which use Natsume in the name (Natsume Co. vs. Natsumi Atari, which no, is also not the Atari you are thinking of.) Then, of all products for Natsume-associated games to become popular, it's "Harvest Moon." Like. What? Why? I'm not saying the library of Natsume works is the most creative set, but they're all excellent zeitgeist encapsulations. Like, you want hard platforms with ninjas and bullet hell adjacent shooters with snappy music? Man, Natsume has you covered. But apparently, it's the dating/farming sims that the masses are all about. I just don't get it.

Look, man. I live in Iowa. If I wanted to do "Harvest Moon" shit, I would have done it in real life. Ya know. Joined 4-H. Picked rocks on my grandparents' farm. Showed animals at a county fair or two. Get knocked up in high school. Worked in an industrial slaughterhouse for Tyson. The kind of stuff that I have deliberately avoided.

Shooting robots in petticoats ain't something I can get in real life, so that's the game from the Natsume library I'm playin'. Living that sweet South Dakota lifestyle, I guess!

"Wild Guns Reloaded" (not to be confused with "Wild Arms," despite me doing that multiple times) is a 2016 remaster of Natsume’s SNES title "Wild Guns." Set in a vague futuristic depiction of the American West, you are charged with blasting the notorious Kid gang's faces cranially inward through a series of bullet-riddled levels. Do you have the structural integrity of a paper plate? Yes. But you also have access to several gun styles, bombs, electric lassos, grenades, and a drone being led around by a little long-haired dachshund. You'd be surprised what you can do with such an arsenal.

Look man, you're not playing this game for plot. You're doing it for the challenge and the sweet, sweet aesthetics.

Like, God. The original "Wild Guns" was already a stunner with its large, detailed sprite work and bombastic music. "Wild Guns Reloaded" has doubled-down on that, smoothing out its animations while keeping its bright sprites, broadening the play field, remixing its score with higher-fidelity instruments, adding two new stages, and throwing in two new characters with unique playstyles into the mix. And man, what a choice they made there, too! Getting a cute little doggie? Adorable. Getting a gigantic gal with legs like a Ninja Turtle action figure and the ability to pitch grenades in heaps at will? Outstanding!

Could there have been more logical character archetypes to pull? Sure. An Indigenous American, Latino, or Chinese immigrant character could have made sense, if care was taken into their implementation. But, man! I appreciate the stones of a game to toss a second Big Bertha into the mix. I'm not gonna be the bitch to argue against a dog, either. Excellent choices! Very creative! Bark bark bark!

As cool as it is, "Wild Guns Reloaded" is an unyielding steel wall in terms of difficulty. Like, yeah. I'm used to getting my teeth kicked in with certain games, so I wasn't surprised when even the first screen of the first stage was enough to push me back on my first try. What did surprise me is how few people on Steam have been able to drive through that first barrier. We're talking a 46.7% achievement rate for people able to beat the first boss. Next boss? 22.1%. Like, holy crap. Are we as a community that weak willed in spirit?

Having said that, I don't think it's actually very well communicated how to even play this game. Like, yeah, there's a manual. A whole whopping three pages long! But, that doesn't even remotely get into the logic behind the game. Or, hell. Even how to properly shoot.

So, I want to take a good chunk of this evaluation to do just that! Because damn it, this game is too fucking cool to not help other people get into it.

At heart, "Wild Guns Reloaded" is an arcade-style shooting gallery. In some sense, it could even be seen as an extreme variant of Treasure's "Sin and Punishment" series, or perhaps a game akin to "Galaga" or "Gradius." To survive, you need to not only dodge shots, but turn the tables on your enemies, using reflexes and memorization to hold waves back and smack bosses around for daring to try the same trick twice on you.

You have two planes of action to monitor:

The red space is your general field of play (where you are expected to shoot down.) The green space is the area that you occupy. Aiming and walking are tied to the same controls, so you will move around a little bit when you are drawing a shot.

If you are in danger of getting hit, the game will let you know with a little "Look Out!" message.

You can also watch the trajectory of an enemy's fire through this flashing cursor on screen:

Missiles will have a subtle shadow effect on your territory as well, so keep an eye out for them:

Your evasion options are either:

Walk with the control stick/directional keys (not generally advised unless you are playing the dog)

Jump using a dedicated Jump button (gets above obstacles)

Dodge by hitting the Jump button and your directional controls left or right while keeping the Fire button held (keeps your character on the ground; allows for faster recovery)

If the enemy lobs a stick of dynamite at you, you don't necessarily have to run. Stop firing, pick the dynamite up using the Fire button, and toss it back at your foes for a little extra damage! Whatever you decide to do, commit to it ASAP. You do not want to be around with that goes off.

Generally speaking, it's to your benefit to plant your heels in the center of the screen and only move out of it when you are about to take a hit. (If you had a buddy, perhaps you could split the screen. But, good luck with that…) The game tends to punish you for hanging out in the corners of the screen, often deliberately planting sentries at the edges to rebuff you. Camping in the corners also reduces your space to evade, so it's better to keep your options open for evasion by owning the center.

Your offensive options differ depending on the character you play. For the original characters (Clint and Annie), the standard style is:

Hold the Fire button to shoot an uninterrupted stream of bullets

Tap the Fire button repeatedly and release to shoot out an electric lasso that stuns your target (allowing you to return to regular file and blast the crap out of them for a few seconds)

Whack the Fire button when an enemy is in your territory (sending them flying back)

FYI—you should notice a brief change in your character's stance when you can whack an enemy.

Normal:

Whacking:

Doris' play style is based on building up power to unleash barrages of grenades at a target. Unlike Clint and Annie, she's waiting for a perfect opportunity to strike once and as hard as possible. Hold the Fire button to charge up her attack, then release it for her to unleash it. You can charge Doris' grenades up to an x7 multiplier, but most situations can be handled with at least a x3. Also, you can preserve her multiplier through dodges, so prioritize dodging on the ground to jumps where possible.

Bullet's style separates his hit box into two separate entities (the drone and the doggie.) The drone can be activated by pressing the Fire button. It will continuously attack anything that comes into its aiming reticle, but it will have to be released and reset for new targets outside of its range. Bullet can't defend himself, but he can wiggle around much quicker than other characters, so it makes it easy for him to avoid getting hit while his robot buddy provides a steady stream of damage.

You will have to disengage the robot to whack people back on the playing field, so make sure to keep Bullet by his buddy when someone comes creeping along the bottom of the stage. It is important to note that the robot can also be stunned, so you should try to keep it out of enemy fire when possible. It's just not a run ender necessarily if it takes a hit.

All characters have a bomb ability to clear the room when necessary to keep the screen from getting too busy. These are limited, so use them with discretion.

Be sure to pick them up any time you see them on screen! You can usually find them either by killing specific enemies or blowing up chunks of the terrain.

Clint, Annie, and Bullet can get limited-time modifiers for their weaponry. This can include a machine gun for faster damage, a shotgun for a broader range of damage, a grenade launcher for big and heavy damage, a laser gun for some precise spicy damage, and a harmless pop gun designed just to screw with you. All have a limited ammo account (around 50 for everything), so use (or deplete) wisely!

The machine gun, shotgun, grenade launcher, and laser gun will all appear on screen as an icon with a single letter for their ammo type (M, S, G, and L, respectively.) A randomized weapon (including potentially the pop gun!) comes out of these:

Everyone has a green meter on their HUD.

This builds up as they hit and kill enemies. When it maxes out, this triggers the Vulcan Cannon. This weapon not only deals massive damage on hit, but it also makes your character invulnerable. It will run out of steam within a few seconds, so don't be too reliant on that status. But, it can help in a pinch.

Everything past that? It's standard video game stuff, ya know? Memorize waves. Endure a minute or so of gunplay to get to the next boss. Learn their special moves. Find the glowing weak point. Crack it open. Regular Peppy Hare behavior.

Honestly, getting a handle on your offense style and movement capabilities is most of the challenge. The weird little movement ticks were what caught me off guard. I would be studying what few YouTube videos I could pull up for this game, stop, then go "Wait, what? I can do that?" before booting the game up and doing exactly what I saw. Like, I didn't even know how to fire my goddamn gun right. I didn't even think about holding my Fire button! I just went into rapid tapping! That's how far behind I was in all of this!

Having said that, you may want to remap your controller to something like this:

(Buttons pictured correspond to an Xbox 360 controller.)

It'll allow you to keep spraying bullets with the back of your thumb joint, then kick in jumps or dodges as needed with the front of thumb.

As far as other issues go? I would have liked having some kind of screen select or boss rush for practicing. (I suppose just playing the game is practice enough. Still, I would have liked to focus on a few trouble spots at my leisure.) I know some people in the forums for this game on Steam were disappointed that the multiplayer function was local co-op only, but man, I can't imagine what a mess the net code and rollback situation for this kind of game would have been like. Especially, when you live in the middle of Fuckoff, Iowa and the really cool players are out in South Korea. I guess people out here do okay with whatever flavor of "Call of Duty" is available, but those games are also far more forgiving when it comes to injury and death. It's hard to get people recruited for this kind of abuse.

Although, I could see my dad playing this. Maybe just once!

Look, this game isn't for everybody. I get it. It’s a tough cookie. But, I think "Wild Guns Reloaded" deserves more than for half of its players to give up on it within 0.3 seconds of their first death. It's a wonderfully constructed game, and there's a lot of logic underpinning its challenges. It does require some gumption, analytical skills, and reflexes to push past the worst the game throws at you, but it's not insurmountable! Hell, the game gives you infinite continues! You just gotta grit your teeth and get in there!

Hell, I got my first game clear in under four hours of playing! It can be done, and maybe even in a reasonable amount of time! (Though, maybe keep your playing sessions under an hour and a half to give your hands a break.)

If you feel like you could use a waltz with a Winchester, "Wild Guns Reloaded" is currently available on Steam for $14.99. You may want to wait for a sale, if you're feeling iffy on it. Fine. Reasonable. Definitely more so than the average going price of ~$250.00 for the original SNES game. I might be a sucker for the retro market, but damn it. Even I've got to put my foot down every once in a while. Especially, when an affordable upgrade is available!

Life is hard. Sometimes, people just want to work on their cutesy little gardens and snuggle with their video game spouses. Get through the sadness softly. There's room for that in this world. Hell, there should be more room for it, if we're being honest.

But, uh…I prefer having a hearty digital ass-kicking instead. Even when neither the computer nor I know whose ass is going to get kicked.

[womenofnoise]

Metro Complex is my new song in the oldskool techno style. It is created with an ambiance and sound of the games Doom and Metroid that can come close to industrial, listen for free on YouTube at the link below. Metro Complex Youtube Link: https://youtu.be/ZPOjcrbbXl8?si=JHr_kwdrlVITYnWG

All My Links And Social Média: https://linktr.ee/darcksama

Help me by supporting me by buying some of my albums on Bandcamp and help me bring you more free music, My Bandcamp Link: https://darcksamamusic.bandcamp.com/

#metroid #samus #doom #techno #technomusic #oldskool #oldschool #electronicmusic #dj #bandcamp #soundcloud #music #industrial #rave #acid #acidtechno #spotify #snes #game 

[nekropsii]

Hello. I was curious about how the Sovereignstuck team made the music for it. I listened to "Fell Prince" again recently, and I stay astounded by how good it is.

Oooh, I get to gush!! Hell yes!! The music for Sovereignstuck is composed by our very talented Music Lead, @scalematez!! She never fails to impress with her work, especially considering how new she is to music as an art form!!

If you're asking what the actual set up is, she uses LMMS to work her magic!! If you're asking about Fell Prince specifically, Scales once again did, like, 99% of the work, but I did compose the main melody of that song myself actually. Everything else was all her!! My main contribution to the OST is just naming the songs and moral support!! All the rest of the credit goes directly to Scales!! If you're asking about the internal creative philosophy behind it, as in what the idea behind the specific sound of Sovereignstuck is, it's very heavily inspired by games from our childhoods, and the era/style of games Sovereignstuck is based on!! I don't quite remember who came up with the idea for this- I think it was both Scales and I in equal parts, honestly- but the instruments are very much so limited to the sound chips of older consoles- like the DS, PS2, SNES, GameBoy, et cetera. Basically, the soundtrack is composed around the idea of this being a game set in the exact era on the exact kinds of consoles you'd expect it to be on. Everything is very 90's and very, very 2000's.

Scales deserves all the praise ever for her work on the soundtrack. She's got really good work, and is really passionate behind the philosophy behind it all and the project itself!! It's so delightful. Peace and love on Planet Autism. <>