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In trackers I tend to think of the tracks as individual parts that need to fit together, so I'm more prone to counterpoint than laying out chords, while piano rolls seem to evoke a more uniform approach (chords are more clearly visualized etc.) to the individual sound channels. They're different, but I don't think that one is harder than the other when you get used to them.

I learned it by playing around with it for a while. Just experiment and try to figure out what effect the different settings have together. Some areas in the editor are marked with either N or S which means they relate to noise and "sound" respectively. "Sound" really refers to the square wave. There is a large grid in the instrument editor screen where you will have to draw your envelopes as a series of volume levels. You can also enable "buzz" with a button, which destroys your envelope settings but will allow for a more complex sound using a timer trick to reset a hardware envelope running at audio frequencies.

It's probably a lot easier for you to just give it a night or two to experiment than finding accurate explanation of its features. Another tip is to load the example songs that come with it and scroll through the instruments they use as you try them out/tweak them etc.

I doubt a Wonderswan is involved at all. It sounds like a square wave with some heavy post-processing, but I don't think that the timbre itself is particularly important to the character of the music in this case. Think more in terms of timing, melody and harmony and I think you'll get closer to what you are looking for.. The VSTs you mentioned seem appropriate to produce that timbre, though. Good luck, it's a nice song!

I'm guessing that putting game boys in a landfill where no one would ever do anything with them would have less of a carbon footprint than using them, shipping them overseas, stuffing them with batteries, going to far off places to play music from them etc.

This is it?

No, not really. Fluctuation or no fluctuation really means the difference between possible and impossible when it comes to getting things to stay consistently synchronized. It's your tools or techniques that are bad.

Protracker stores its note data as period values, i.e. the notes aren't necessarily strictly tuned to a table of pitches. One could probably just massage a protracker module into slightly different pitch conventions like just intonation, but it's going to be kind of hard to compose with a completely different set of pitches than those you'll end up hearing in after conversion.