Contributing to the aesthetic in no small way is Amon Tobin’s soundtrack – layered samples floating in and out as the action demands. Although dynamic scores are no longer quite the novelty they were in 2005, the elegance with which Tobin’s music spirals up or down tempo has rarely been matched: rather than hurriedly fading in some racing beats as gunshots are exchanged, the composition lurches from one movement to another, never losing cohesion, before settling back into an uneasy lull as relative peace is restored. Informed by the smoky sounds of noir thrillers, the paranoia and tension of spy drama and more than a little future-industrial bleakness, Chaos Theory’s soundtrack is almost half the game – a fact which didn’t necessarily sit easily with the creators of the other half. When we dropped by Ubisoft Montreal to see the since-delayed Splinter Cell: Conviction, Chaos Theory’s technical director Dany Lepage wondered if Tobin’s soundtrack was too intrusive, smothering the action. And it might be – but considered as a synaesthetic expression of your behaviour onscreen in the vein of more clearly musical games like Rez, it is a triumph which few thirdperson shooters can claim, certainly setting it apart from the other games in the series. -Time Extend: Tom Clancy’s Splinter Cell: Chaos Theory | Features | Edge Online

In this excellent New Statesman piece, Ian Steadman picks apart the many arguments raised by Sarkeesian’s critics, painstakingly explaining the many ways in which they have (seemingly willfully) entirely missed the point:

There’s a common trope of framing Sarkeesian’s work as “cherry-picked”, as she takes isolated examples from many games and presents them as a stream of misogyny in order to create the illusion that all of these games are entirely misogynist, the entire way through. That’s a fundamental misunderstanding of what it is Sarkeesian is doing with TvsWVG, and what cultural criticism in general is. These are tropes - they’re fragments of a whole. By definition they don’t make up the entirety of a work of art by themselves, but are instead definable cultural touchstones which artists, writers, developers etc, can use when creating a fictional reality.

In other words, Anita Sarkeesian only presents sections of games as sexist because she’s only talking about the sexist bits of games, and how, of the tropes developers choose to put in their games when designing for female characters, they frequently fall back on sexist ones. Seriously, she couldn’t be clearer about this - in the introduction to the very first video she says:

-Comprehensively addressing the stupid, intellectually dishonest critique of Anita Sarkeesian - Boing Boing
A reasonable human can disagree with Anita Sarkeesian’s arguments or not find her videos compelling. But the people feverishly looking for evidence that she’s some kind of fifth columnist sent to destroy video games are doing more damage to my favorite genres than she ever will. If you want nuanced, serious, realistic games, you should want to get rid of lazy, misogynist stereotypes. If you want games to be pulpy escapes from reality, you should want to get rid of lazy, misogynist stereotypes even more. -Stop ruining my escapist fantasies, Sarkeesian haters | The Verge
To date, GoldenEye has sold more than 8 million units. In the US it is the best selling N64 game ever. Ahead of Mario Kart in second place. Ahead of Super Mario 64 in third place. Ahead of Ocarina of Time in fourth place. I consider Mario 64 and Ocarina to be vastly superior to GoldenEye. And both have a better franchise for gaming. People expect Mario and Zelda games to be good. They expect movie licenses to be rubbish. Why did GoldenEye sell better? Why did it sell better than Ocarina? Why did it sell better than Perfect Dark? Why did it sell better than all those other Bond games? Why did it sell better than Doom? And Quake? -Zoonami - The Making of GoldenEye 007
If you’re an author, writing down what you see is harder than riffing off things other people have already made, and even what we see is filtered through our preconceptions — in one of the best essays about writing I’ve ever read, author Kameron Hurley explains this idea with an extended metaphor involving llamas. If you’re playing a game, you’ll usually judge the story more by what you’ve seen in other media than by any real-life point of comparison. After a while, it becomes easy to say that something is unrealistic because you’ve seen it written differently elsewhere. Women in video games should be damsels and whores because damsels and whores are what women are in video games. There can’t be female player characters in GTA because the movies GTA is aping didn’t have female protagonists. It’s a lazy, conservative, and boring way to think, no matter how much you dress it up by saying you’re writing about “the concept of being masculine.” -Stop ruining my escapist fantasies, Sarkeesian haters | The Verge