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Entries in Games (51)


Sound Unlocked: Five Fantastic Women who have Composed Gaming Greatness

March is Women's History Month, and I would like to share some of the amazing musical work women have contributed to the video gaming world. I've selected five songs from five women that I feel have made a huge impact, and I'll briefly detail their careers and other musical highlights for you to consider.


Kinuyo Yamashita (alias "James Banana") began her short career at Konami composing the tunes to Castlevania, including the iconic "Vampire Killer." While I personally am a bigger fan of "Wicked Child," it's difficult to argue against the incredible hooks and melody of the series's trademark song.

Yamashita did some other work for Konami in the 1980s, but the majority of her compositions were for Japan-only releases. She left Konami to do freelance work in the late 1980s, composing several titles for Natsume (including the sensational Power Blade/Blazer), doing the SNES soundtrack of Mega Man X3, and several other Japan-only titles.


Michiru Yamane is also tied to Castlevania, beginning with the Genesis's Bloodlines and composing many of the franchise's titles until her departure in 2008. Arguably the most notable tune she composed for the franchise was the stunning "Dracula's Castle" for Symphony of the Night, although I have a very big soft spot for Portrait of Ruin's "Jail of Jewel."

Beyond Castlevania, Yamane helped compose music for several other Konami franchises, including their Pro Evolution Soccer series, Rocket Knight, Contra, Suikoden, and Twinbee. After leaving Konami, she has been connected to the 2D fighter Skullgirls and arranged two tracks for Super Smash Bros. Wii U.


Shimomura is one of gaming's most talented and notable musicians, with an incredibly broad range of games to her credit. Kingdom Hearts and its subsequent sequels are probably her biggest claim to fame, but Shimomura has many other incredible credits to her name, including Street Fighter II, Super Mario RPG, Parasite Eve, Xenoblade Chronicles, Super Smash Bros. Brawl and Wii U/3DS, Legend of Mana, and the upcoming Final Fantasy XV.

My personal favorite may be from Atlus' Radiant Historia, "Mechanical Kingdom."


Tsujiyoko is one of Intelligent Systems's key composers, and has worked on their most influencial franchise, Fire Emblem, from its inception to the present day (although she has taken breaks; Sacred Stones and Awakening were supervised by her instead of featuring her compositions). The video above shares the memorable main theme of the series as it has evolved throughout the years. My personal favorite comes from Fire Emblem for the GBA: "Wind Across the Plains."

Tsujiyoko has also worked on the Paper Mario series, the two Battleclash games for the SNES, and arranged remixes for Super Smash Bros. Brawl and Wii U/3DS. She has created one of Japan's most endearing anthems through the main theme of Fire Emblem and it's only fairly recently Western gamers have had the chance to discover her talents.


Naruke got her start composing for Telenet Japan, where she co-composed titles like Valis III and Legion. She joined a mass exodus of the company however and wound up at Media Factory, where she became one of Japan's more unique composers as she tackled the West West-esque RPG series Wild ARMs. She composed all of the songs for every single title in the franchise save Wild ARMs 4, where an illness kept her from being able to do it all herself, and some other musicians assisted her.

Beyond that series, Naruke's individual style can be heard in Super Smash Bros. Brawl and Wii U/3DS ("Full Steam Ahead" is by far my favorite of hers), The Wizard of Oz: Beyond the Yellow Brick Road, and Half Minute Hero: The Second Coming.

Have a favorite I didn't mention here? Feel free to add your thoughts in the comments!


Smash Up - A Beginner's Primer

Sometime in 2012, my sister-in-law introduced my wife and I to a new card game. Now, we had never been all that into card-based games before, but she insisted that this one was awesome. She brought it over one night and my wife and I tried it out...and it turns out that she was right. This game was awesome, and I'd like to share that discovery with our Game on Girl readership in a series of articles discussing Alderac Entertainment Group's excellent Smash Up.

Smash Up is the brainchild of Paul Peterson, and utilizes three types of cards in the Core set: Minions, Actions, and Bases. Minions and Actions are the cards the player gets to utilize as they play, and Bases are the cards the player tries to win. The core game has 8 factions (with several expansions adding to the mix, but I'll discuss those in later posts). Each player gets to smash together two factions in order to win the game.

But first, let me break down each type of card in more detail:

MINIONS - Minions are essentially the soldiers in your army. They are the ones which get played on bases in order to score them. Minions have power rankings printed on each card; for example, the header image features three types of minions from three factions, and each has its own number of power. The higher the number, the stronger (and rarer in your deck) it is. Minions also have abilities that can be used when played, and these vary by faction. One minion is played per turn (unless you play a card that lets you play more than one!).

ACTIONS - Actions can also be played once per turn, barring cards that let you do more, and these are oftentimes cards that either boost your team's effectiveness or cripple an opponent's. These too vary by faction.

BASES - Base cards are shuffled and laid out on the table before play begins, and the goal of the game is to score these for Victory Points (VP). Each base has a breaking point, which the cumulative total of the minion cards played there must reach or exceed to score. Bases also have abilities that tend to favor the faction it is derived from. Bases have three tiers of VP that can be rewarded based on each player's total: first place typically gets the most VP, but there are exceptions. Three bases are in play for two players, with the addition of one base per extra player. (Personally, when we play with my sister-in-law, we keep it at three.)

So, the ultimate goal is to combine two factions together that will carry your team over the others, and earn VP scoring bases as effectively as possible. Once a player reaches or surpasses 15 VP, they are the winner!

Click to read more ...


My 2014 Game of the Year: Shovel Knight

2014 has been a relatively good year in terms of gaming for me. I did pick up a few releases that came out this year — I typically pick things up later on, as they tend to be a lot cheaper  and one of those was Yacht Club Games' wondrous Shovel Knight.

If my euphoric adjective wasn't indication enough, I loved this game, and I'd like to take some time to share why.

Shovel Knight does three things beautifully: the game looks, sounds and plays like the classic NES games of yore, but subtly is a vast improvement on many of those titles; the game's plot subverts the trope of a damsel in distress in a rather remarkable way; and the gameplay treads the perfect degree of challenge that rarely frustrates. Let's break that down.

Shovel Knight, as evidenced by the screenshot above, mimics the style of the glory days of the NES. Pixels rule the day visually, with amazing animation and charming designs pouring over the eyes. Jake "virt" Kaufman (frequent Wayforward musician) and Manami Matsumae (composer of the original Mega Man) combine their talents to create one of the most amazing tributes to the sounds of the 80s video game. And Yacht Club borrowed elements from several games of that era, namely Ducktales' nifty pogo mechanic, to power the gameplay to glorious effect. This is a labor of love, and every minute detail drips with that love.

Secondly, Shovel Knight twists the oft-used damsel motif into something novel. USGamer's Kat Bailey noticed this herself in her article on the game's plot (massive spoilers at the link!), and in her discussion with Yacht Club Games' David D'Angelo, the developer confirmed that the company decided to avoid lumping the female lead, Shield Knight, into the same kind of trope as "Roll, Peach, Zelda, and other Damsel in Distress models from the NES era."

Moving away from that notion, the team

"started discussing how we could modernize and improve the model for today. We saw the idea of seeking out a loved one a worthwhile theme, but we felt in doing so, we needed to make Shield Knight just as strong a hero as Shovel Knight. In that way, we felt the connection between the player and Shield Knight would be even more powerful, as Shield Knight wouldn't be just an object—Shield Knight would be as meaningful as a loved one."

The beautiful thing about this statement is that they succeeded in that mission. Shield Knight is a central narrative tool — the means for Shovel Knight's motivation to quest — but there's an actual relationship between the two that the game expertly builds as you progress through the game, culminating in the game's final moments. I won't reveal that to you here, as I think experiencing it yourself is more worthwhile. But the careful, thoughtful crafting of the game's narrative focus turned the game away from "yet another princess to rescue" story into one that shows the genuine force of a strong, equal relationship.

The last reason I adored Shovel Knight was that it was perfectly paced. The game starts you off with a solid tutorial level, and provides plenty of incentives to make the game easier or harder for the player. Checkpoints litter the landscape, but they can be destroyed to earn more treasure. Once broken, they won't be checkpoints anymore, making the risk vs. reward model a very real, crucial gameplay element. Life and magic powerups can be optionally gained. Potions to refill your life meter can be quaffed. If the player fails, a Demon's/Dark Souls "lose some of your experience" concept is put into play in the form of losing treasure which can be regained if the player can return to that spot. There are no extra lives to fret about. The game's levels are rife with hidden secrets, passages and treasure nooks. The bosses are all unique, challenging and engaging to battle. And the game increases its difficulty in a moderate fashion, steadily raising the enemy and environmental threats with each map reveal. There's ample opportunity to gain treasure to beef up Shovel Knight through optional levels and replaying old ones, too.

Hopefully I have explained why Shovel Knight is the ideal game for me, and why I feel it's the finest of 2014.

Its retro decadence, the compelling narrative that gives a woman equal status to its male lead, and a difficulty that straddles the sweet spot all the way through combine for one of the greatest games I've had the pleasure of playing in any year.

If you haven't given Shovel Knight a shot yet, you really ought to consider it!


episode 138 - Holiday Playlist

In anticipation of the quickly approaching Holidaze, Rhonda and I invite fearless intern, Isabela, to join us for our holiday playlist episode. Starting an annual tradition, we make suggestions to help pass the time traveling to visit family and friends this year using your favorite electronic device or your favorite old fashioned device like a paperback book. Let us know your recommendations to pass the time this traveling season in the comments!

Until next time, game on!
Regina, Rhonda, and Isabela  


"A Christmas Carol" read by Jim Dale
"A Vision of Fire" read by author, Gillian Anderson
"Born Standing Up" read by author, Steve Martin
"Partials" by Dan Wells, read by Julia Whelan, first book in Partials series


"A Christmas Carol", Charles Dickens, free digital download
"The Secret History of Wonder Woman" by Jill Lepore
"Vixens, Vampls, & Vipers" by Mike Madrid
"Divas, Dames, & Daredevils" by Mike Madrid
"The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines" by Mike Madrid
"The Stepsister Scheme" by Jim C. Hines, first in the Princess Series


"Supreme Blue Rose", Image Comics, Warren Ellis (writer), Tula Lotay (artist)
"Outcast", Image Comics, Robert Kirkman (writer/creator), Paul Azaceta (artist)


"The Simpsons: Tapped Out", EA, Amazon, Apple, Google Play
"Dungeon Keeper", EA, Amazon, Android, Apple
"Daddy Long Legs", Set Snail, Amazon/Android
"Can You Escape", MobiGrow, Amazon/Android
"Puzzix", Oz Machine, Apple, Android, Google Play


"Anomia", party edition, card game
"The Resistance", Indie Boards and Cards
Cards Against Humanity


"Chef", 2014, rated R, Aldamisa Entertainment, Amazon, Google Play
"The Lord of the Rings" trilogy


"Letter to Laredo", Joe Ely, CD
"That's Christmas to Me", Pentatonix
The Black Keys


CockTales, Don Diego, Podbean, iTunes
"Welcome to Night Vale"


"The Gilmore Girls", Netflix
"The Bletchley Circle", PBS, Netflix, Amazon, Google Play
"Miss Fisher's Murder Mysteries"


"Wonder Woman" with Linda Carter



Percy: Where are we?
Inez: This is Little Havana.
Like in Grand Theft Auto?

"Chef", 2014, rated R, Aldamisa Entertainment 

Episode 138


Misogyny Missive: Red Dead Sexism

rdrA couple of weeks ago saw the release of Anita Sarkeesian's latest Tropes vs. Women in Video Games, which tackled the complicated issue of women serving the role as "background decoration" in modern AAA games. I haven't played the majority of the titles Anita covered in the episode, but I have played a few: Bioshock and Red Dead Redemption.

I happen to like both of these games quite a bit, but seeing the depraved acts male NPCs delivered to nondescript women hit me really, really hard. Having played through all of Bioshock and most of Red Dead Redemption, I can now see a major issue that somehow blurred by me before. And that bothers me a great deal. I'm going to focus on the latter for this piece, and may return to Bioshock later on.

In many ways, Red Dead Redemption fixed the issues I preciously held with Grand Theft Auto. The controls were better, the open world was more believable, and the protagonist was likeable. As I wandered through New Austin, I encountered situations like Anita describes in her video below:

Returning to Rockstar’s Red Dead Redemption, in most settlement areas players are treated to randomly triggered events in which female prostitutes are assaulted and murdered by johns amid a torrent of misogynistic slurs. Players are presented with the choice to either intervene and save the woman for a small cash reward or simply watch the attack play out in front of them as part of the entertainment.
CLIP: Red Dead Redemption “Help! Someone.”
“Stickin’ whore! I’m gonna cut you a new hole! You think I’m a joke? Go on then, laugh, bitch, LAUGH!”

At the time, I didn't think about the ramifications of this heinous crime; I merely acted. I saved the woman, feeling that the character John Marston would do that given how I was playing him. I tend to role play as the character when I play, trying to make decisions that fit both my ideals and the parts of the character I bond to in unison. I knew that this was a scripted event that would repeat itself, but I performed the good deed and moved on, thinking little of the overall effect this random event conveyed. But, as Anita notes:

The audience is meant to briefly gasp at these acts of brutality before their attention is directed elsewhere, towards the next event or set of enemies to be dispatched. Regardless of the player’s actions in these types of situations, the result always paints women in a regressive light, as they will end up as either “helpless damsels” or “dead victims.”

This is the kicker right here. These moments of violence against women are distractions from the main game — a minor roadblock meant to add a sense of "realism" to the world. However, women are never truly empowered in Red Dead Redemption. My experience with the game was positive when I first went through most of it (although I will admit that I didn't critically analyze these topics when I was playing it back in 2011), but I lost my save file due to an accidental save-over. I had accomplished 98% of the game by that point (including the side missions), so I just haven't had the gumption to commit to redoing all of that all over again. I put it on my Favorite list regardless, and figured I'd be game for another run sometime in the future.

Recently, before Anita's latest video, I was wondering if there was perhaps another reason I didn't feel like replaying the game. I then remembered that the women who were major players in the plot suffered terrible brutalities as well.

Bonnie MacFarlane, a quite capable woman from first impressions, is reduced to a victimized damsel to move the game's plot forward towards the end of the first third of the game. She is beaten, likely raped, and in the process of being hanged as the player works their way through the map to rescue her. Lucia Fortuna, a rebel fighting the Mexican government, is a strong-willed and significant factor in the rebellion, but is quickly tossed into the endgame of the Mexico segment of the game as a mere pawn. Wielding a knife to a gunfight, she is quickly shot down as she tries to free Abraham Reyes, leader of the uprising, leading the player towards a redemptive strike against the perpetrators for her martyrdom.

And John's wife, Abigail, is literally a damsel in distress for most of the game, serving as John's central motivation for doing all of this to the very end, where a stable life with his family is promised and then yanked away by the vindictive Edgar Ross (and the game's writers). John is gunned down by Ross' men, and Abigail is forced to watch. When Jack Marston, John's son, takes over the post-game narrative, Abigail has died from a long illness, making every single prominent woman in the game the equivalent of damaged goods...which is fitting, given how all of the women are essentially objects in the overall scheme of the game... one way or another.

So, Anita's video reminded me of all this misogyny lurking within RDR, and now makes me wonder if I really should replay it. Thus the difficulty of criticism. I liked the game, but I am repulsed by its use of women as narrative objects instead of being, you know, human beings. As Anita states in her video:

These women and their bodies are sacrificed in the name of infusing “mature themes” into gaming stories. But there is nothing mature about flippantly evoking shades of female trauma. It ends up sensationalizing an issue which is painfully familiar to a large percentage of women on this planet while also normalizing and trivializing their experiences.

It's not edgy just to throw women under the proverbial bus. It would truly be mature to not swipe from Hollywood's "adult-oriented" bag of tricks, and instead question or critique our society's standards of gender in less "shocking" ways.

I'm still trying to untangle the implications of Anita's video towards my enjoyment of video games, but I am feeling fairly confident that Red Dead Redemption, for everything it does right, made some very poor narrative decisions that will haunt my desire to ever replay it to completion again. I will still likely enjoy its excellent gameplay and exploring its open-world spin on the American West, but I will definitely not relish its disappointing, cliched portrayal of women that plagues our industry.