japanese game dev in the 90s: hey dude can you make some music for our game about anime girls getting fucked sloppy style
guy who’s about to push the PC-98 sound card to its absolute limit and create the most heartachingly beautiful music you’ve ever heard: Yeah okay
Look, I know it’s funny to say the PC-98 eroge had a stellar soundtrack for ‘just an eroge’.
But that is extremely dismissive of what YU-NO is and how it shaped the landscape of future releases in the era.
Like we’re talking about a game with time travel that lets you set down checkpoints in time, so you can collect items across multiple timelines and solve a series of mysteries. It’s a story so long and complicated, it had been in Kanno’s mind and developing for over a decade. It’s a story that doesn’t even properly work as a show or movie, it has to be a game.
This title was extremely influential to how the sci-fi genre evolved in the adventure game medium of this era in japan. Titles like Steins;Gate wouldn’t exist in nearly the same fashion, KEY works would be entirely different, other adventure game producing companies started trying to push themselves to match YU-NO’s high production values.
I’m sorry but you can be funny without being dismissive of something that had a huge cultural impact on a medium of storytelling.
the composer Ryu Umemoto left his well-paying job scoring licensed games at FamilySoft to work in the pc-98 eroge scene because of the creative freedom it allowed him. he and the writer Hiroyuki Kanno worked together on several ambitious games for various small erotic games companies. there’s a great obituary that talks about his life, here: click.
all of you hating on the clown arent aware that this is a historic moment. this is actually the least obnoxious way you can recommend someone read one piece
unexplainably funny occurrence while approaching the library where the automatic doors opened revealing someone holding a baby which immediately let out a single mild wail as if to simply punctuate the moment
