Hylianhero777
1993
Whoever decided to add Streets of Rage style proximity based throwing to a run and gun was a god damn genius
Extremely funny that this game tries to do the sort of intentionally directionless/barebones "the player will intuitively figure it out" tutorialization of Flower and Journey while at the same time being a mobile game with like 4 currencies and a dozen completely obtuse systems. As a result nothing seems to have any clear purpose. But don't worry they also wrestle the camera away from you every 2 or 3 minutes for a slow, awkward cutscene with none of the emotional punch their prior games have.
Was getting by on the fact that it at least looks and sounds nice. Then I finally waded through enough of the game's BS to realize one of it's currencies quite literally monetizes the idea of connection and making friends. I'm out. Just depressing.
Was getting by on the fact that it at least looks and sounds nice. Then I finally waded through enough of the game's BS to realize one of it's currencies quite literally monetizes the idea of connection and making friends. I'm out. Just depressing.
2023
Sorry folks but it actually kind of rules. Clearly has a lot of love for the series behind every aspect of its design (porting over elements like boost/health management and the spin attack from later entries is great, the character art in the menus is cool) and the skyway is a genuinely well thought out comeback mechanic. Of course it's not a GX remaster or big budget new entry, but so called F Zero fans really seem to hate... the original F-Zero with X's mechanics. There is an element of luck that's going to come with a 99 person race, absolutely, but I'd say that the skill based racing and really tense risk/reward are here just as much as in prior series entries too. Really addictive arcade like experience that is unfortunately being beaten on by people for imo pretty superficial reasons.
Modern Nintendo: "Nooooooooo!!!! You can't make unique characters in Paper Mario anymore!!!!!! We must protect the brand!!!!"
Mario Land 2: "We put Dracula at the end of this level. For fun"
Mario Land 2: "We put Dracula at the end of this level. For fun"
2021
Not putting a score on this until all chapters are out but yeah, I loved it! Big step up from chapter 1 presentation wise and you can tell Toby having a team has allowed for much more ambition. Music slaps. Funny and touching writing. What more is there to say!
...well one thing! This game got me thinking about why I find Undertale/Deltarune so uniquely funny. Of course there is the writing/dialogue, which personally I think mostly hits but could also probably be described as "tumblr" if you were being a really uncharitable, cynical douche. I do get it though, when it does miss, it misses in a way where I just kind of go "wow this sure would have killed as a shitpost in 2013 but not sure if it lands here." Thankfully at least to me that doesn't happen often and I think the writing is genuinely both funny and charming.
But I don't think that's what makes these games uniquely funny. That would be that Undertale and Deltarune both are games that manage to weave comedy directly into their game design. If you've seen the "Every Frame a Painting" video essay on Edgar Wright and visual comedy I think a great comparison can be made to what Toby does with these games. Don't just settle for dialogue, if the medium is the message, use the medium to its fullest! How can you get a joke out of an attack pattern? How can you get a joke out of a piece of equipment? How can you get a joke out of experimenting with mechanics? It's something that I actually don't see many "comedy games" attempt much at all beyond maybe a throwaway "You got a Thing!!" jingle + pose because haha funny Zelda reference (not that I have anything against that). Just something I had on the brain after finishing this chapter! Can't wait to see where the game goes next.
...well one thing! This game got me thinking about why I find Undertale/Deltarune so uniquely funny. Of course there is the writing/dialogue, which personally I think mostly hits but could also probably be described as "tumblr" if you were being a really uncharitable, cynical douche. I do get it though, when it does miss, it misses in a way where I just kind of go "wow this sure would have killed as a shitpost in 2013 but not sure if it lands here." Thankfully at least to me that doesn't happen often and I think the writing is genuinely both funny and charming.
But I don't think that's what makes these games uniquely funny. That would be that Undertale and Deltarune both are games that manage to weave comedy directly into their game design. If you've seen the "Every Frame a Painting" video essay on Edgar Wright and visual comedy I think a great comparison can be made to what Toby does with these games. Don't just settle for dialogue, if the medium is the message, use the medium to its fullest! How can you get a joke out of an attack pattern? How can you get a joke out of a piece of equipment? How can you get a joke out of experimenting with mechanics? It's something that I actually don't see many "comedy games" attempt much at all beyond maybe a throwaway "You got a Thing!!" jingle + pose because haha funny Zelda reference (not that I have anything against that). Just something I had on the brain after finishing this chapter! Can't wait to see where the game goes next.
2021
It was pretty imperative that they didn't miss with this one with the 2D series banking on this game for its big comeback and it's my pleasure to inform you they didn't fucking miss.
Metroid Dread is easily the best game MercurySteam has ever developed and they've finally crafted a Metroidvania here that can go toe to toe with the best of the genre. Presentation wise I really enjoy what they've done here. The backgrounds are extremely detailed with biomes that get more and more interesting as you progress. The cold, clinical atmosphere the game often creates is evocative of the rest of the series, but there is definitely a bit of a sterile, less natural element at play here (with the exception of a few areas) which I think gives the game something distinct from its predecessors. I actually really like what they've accomplished with the 2.5D look as well, lighting is often used to great effect and the material work still manages to look good with the side view perspective. The only downside in the presentation, imo, is the music. Young composers and series newcomers Soshi Abe and Sayako Doi handled the music for this game. I like the fact that they've injected some new blood here but while I certainly don't think the soundtrack is bad, the focus is more on Fusion style ambience (and still not quite as well done as Fusion) than Super Metroid's perfect mix of ambient tracks and melodic yet still atmospheric tracks, which I loved. I hope that the series focuses more on Super's musical style in the future as I do think this did sometimes detract from the series' signature atmosphere.
The story is another thing that is somewhat mixed for me. I think a lot of people were expecting a very specific story to come out of this game after Fusion and if those people refuse to accept anything else they will probably be disappointed. I think the story here is still good, with hype moments, good reveals, and stellar cutscene direction, plus it manages to avoid essentially all of Other M's myriad of issues while still not shying away from some of the ideas presented in both it and Fusion (though mostly Fusion). That said, it ends just a bit too abruptly after the big climax and it's certainly not doing quite as much on a thematic level as Fusion was, though there is some interesting stuff going on here that I think should not be overlooked!! Overall I'm saying I enjoyed it and really don't think the story should be dismissed just because it wasn't directly following up on what Fusion set up (I think that could well be still to come for this series anyway).
The level design and movement are absolutely best in class. This is like, an RE4 level of fine tuned to me. It feels like a middle ground between Fusion (you always have an objective) and Super Metroid (you are not told where to go to reach that objective). They do block off backtracking a bit more than I'd like occasionally, but it never feels arbitrary or too restrictive as before long you'll acquire whatever item you'll need to break through that backtracking barrier and have things open up again. The way things loop back in on themselves and the design guides you back and forth through the game's various zones feels masterful and extremely well paced, it is by far one of the game's greatest achievements. On a micro design level, the level of execution required in some of these ability based puzzles to get Missile/Energy tanks is devious but never cheap, requiring both thoughtful planning and precise execution. This execution is never an issue because the movement is so fantastic. All abilities feel vital while also never being frustrating to control once you get a hang of the learning curve on some of them. No hesitation this is one of the best feeling Metroidvania games I've ever played.
Finally I'd like to talk about combat and the EMMI, because this is where the game shines even brighter and what elevates it to a masterclass in my book. EMMI zones are the game's biggest deviation from the classic Metroid formula, evolving the ideas present in Zero Mission's stealth and Fusion's SA-X to a whole new level. I was definitely a bit worried about how this would be handled but it turned out fantastic. There always manages to be tension in these zones, whether it's a new trick the EMMI throw at you that you must adapt to or a particularly challenging bit of level design to navigate through when one is on the hunt. The EMMI's AI is also extremely well realized, and compares really favorably to even the best pursuer enemies in video games (eat your heart out, Resident Evil!) Working in 2D and the specific concept of the EMMI has allowed them to completely avoid the issues with pursuers in many 3D games where it's all too easy to catch them fumbling around on corners or not reacting to your movements in a nuanced manner. It feels like they are genuinely smart without just automatically knowing where you are, which is the perfect accomplishment for videogame stealth I feel. I think they've also been smart in how they sometimes withhold the part of the expected gameplay loop where you find the Omega Cannon and defeat the zone's EMMI, sometimes for much longer after you've initially set foot in its zone for the first time. It makes it all the more satisfying when you finally get the abilities that allow you to discover where the cannon in that area is and be able to take the fight to the EMMI.
This is hands down the best combat in the series, made better by the fantastic movement I mentioned earlier and how they've refined all combat abilities to ensure they can be used without breaking momentum. Combat feels punchy, fluid, and all the other buzzwords you commonly associate with "good game combat." This is made most clear in the game's bosses, which are absolutely the series best in terms of design and difficulty. I was practically jumping out of my seat with how much fun I was having fighting these things and they tie the whole experience together in a wonderful way.
Play this god damn videogame. Metroid is back. I don't envy Retro, Prime 4 has even more to live up to now.
Metroid Dread is easily the best game MercurySteam has ever developed and they've finally crafted a Metroidvania here that can go toe to toe with the best of the genre. Presentation wise I really enjoy what they've done here. The backgrounds are extremely detailed with biomes that get more and more interesting as you progress. The cold, clinical atmosphere the game often creates is evocative of the rest of the series, but there is definitely a bit of a sterile, less natural element at play here (with the exception of a few areas) which I think gives the game something distinct from its predecessors. I actually really like what they've accomplished with the 2.5D look as well, lighting is often used to great effect and the material work still manages to look good with the side view perspective. The only downside in the presentation, imo, is the music. Young composers and series newcomers Soshi Abe and Sayako Doi handled the music for this game. I like the fact that they've injected some new blood here but while I certainly don't think the soundtrack is bad, the focus is more on Fusion style ambience (and still not quite as well done as Fusion) than Super Metroid's perfect mix of ambient tracks and melodic yet still atmospheric tracks, which I loved. I hope that the series focuses more on Super's musical style in the future as I do think this did sometimes detract from the series' signature atmosphere.
The story is another thing that is somewhat mixed for me. I think a lot of people were expecting a very specific story to come out of this game after Fusion and if those people refuse to accept anything else they will probably be disappointed. I think the story here is still good, with hype moments, good reveals, and stellar cutscene direction, plus it manages to avoid essentially all of Other M's myriad of issues while still not shying away from some of the ideas presented in both it and Fusion (though mostly Fusion). That said, it ends just a bit too abruptly after the big climax and it's certainly not doing quite as much on a thematic level as Fusion was, though there is some interesting stuff going on here that I think should not be overlooked!! Overall I'm saying I enjoyed it and really don't think the story should be dismissed just because it wasn't directly following up on what Fusion set up (I think that could well be still to come for this series anyway).
The level design and movement are absolutely best in class. This is like, an RE4 level of fine tuned to me. It feels like a middle ground between Fusion (you always have an objective) and Super Metroid (you are not told where to go to reach that objective). They do block off backtracking a bit more than I'd like occasionally, but it never feels arbitrary or too restrictive as before long you'll acquire whatever item you'll need to break through that backtracking barrier and have things open up again. The way things loop back in on themselves and the design guides you back and forth through the game's various zones feels masterful and extremely well paced, it is by far one of the game's greatest achievements. On a micro design level, the level of execution required in some of these ability based puzzles to get Missile/Energy tanks is devious but never cheap, requiring both thoughtful planning and precise execution. This execution is never an issue because the movement is so fantastic. All abilities feel vital while also never being frustrating to control once you get a hang of the learning curve on some of them. No hesitation this is one of the best feeling Metroidvania games I've ever played.
Finally I'd like to talk about combat and the EMMI, because this is where the game shines even brighter and what elevates it to a masterclass in my book. EMMI zones are the game's biggest deviation from the classic Metroid formula, evolving the ideas present in Zero Mission's stealth and Fusion's SA-X to a whole new level. I was definitely a bit worried about how this would be handled but it turned out fantastic. There always manages to be tension in these zones, whether it's a new trick the EMMI throw at you that you must adapt to or a particularly challenging bit of level design to navigate through when one is on the hunt. The EMMI's AI is also extremely well realized, and compares really favorably to even the best pursuer enemies in video games (eat your heart out, Resident Evil!) Working in 2D and the specific concept of the EMMI has allowed them to completely avoid the issues with pursuers in many 3D games where it's all too easy to catch them fumbling around on corners or not reacting to your movements in a nuanced manner. It feels like they are genuinely smart without just automatically knowing where you are, which is the perfect accomplishment for videogame stealth I feel. I think they've also been smart in how they sometimes withhold the part of the expected gameplay loop where you find the Omega Cannon and defeat the zone's EMMI, sometimes for much longer after you've initially set foot in its zone for the first time. It makes it all the more satisfying when you finally get the abilities that allow you to discover where the cannon in that area is and be able to take the fight to the EMMI.
This is hands down the best combat in the series, made better by the fantastic movement I mentioned earlier and how they've refined all combat abilities to ensure they can be used without breaking momentum. Combat feels punchy, fluid, and all the other buzzwords you commonly associate with "good game combat." This is made most clear in the game's bosses, which are absolutely the series best in terms of design and difficulty. I was practically jumping out of my seat with how much fun I was having fighting these things and they tie the whole experience together in a wonderful way.
Play this god damn videogame. Metroid is back. I don't envy Retro, Prime 4 has even more to live up to now.
2021
"No More Heroes 3 feels like a punk band playing on busted amps duct-taped to hell" - 6/10 IGN
I feel like you have to start with the presentation when talking about this game. I have, no exaggeration, never seen anything like it. The only way I can describe it is throwing everything at the wall and somehow having it all stick. In an era where games feel so designed by committee, where all UI values being sleek over having any personality, this game feels like a example of how worthwhile it is to say fuck all that. It's a delight!
The actual technical side of things does leave a lot to be desired. I don't envy Grasshopper basically trying to do an open world while on a budget, on UE4, and on Switch, which is probably the worst combo you could imagine for one. But yeah, it's exceedingly ugly and the open world performance is bad. The open world performance I find less acceptable (though it's actually a pretty solid 60fps in combat which is remarkable) but the crusty visual quality... it's maybe a bit lame to excuse it, I would like it to be better, but it does feel kinda punk, doesn't it? Busted amps and duct taped to hell.
The combat is the best in the series hands down, at least when it comes to actually being engaging. Enemies do get pretty spongy late game which I found to slow the pace too much for me but that's really my only big complaint. Enemy variety is solid and the enemies themselves are well designed/considered. Enemies are just as aggressive when off screen as on, which will probably cause some debate but I found the game throws them at you in small enough numbers that it never felt unmanageable. The combat is still simplistic in comparison to the action game greats but it nails exactly what it needs to nail which is that visceral, blood pumping feeling.
The story has me a bit mixed. I think it's definitely a step down from Travis Strikes Again, which felt so personal and like it actually had some big themes it wanted to explore. There might be some more depth beneath the surface in NMHIII than I'm giving it credit for but the game definitely feels less like it has something to say than TSA or NMH1. That said man if it isn't a fun time. More about character moments than grander themes but it managed to surprise me constantly on top of being genuinely funny.
I've got a lot more thoughts but don't know if I could get them all out right now. I'll just say I spent most of this game really enjoying the ride and even if it doesn't reach the storytelling heights of the other NMH games Suda wrote (so, not 2) it still knows how to get you hyped as fuck and to genuinely laugh out loud. Really just glad he got to make this game and excited to see where the studio goes next now that it feels like Suda is more willing to go hands on again. Now lets get that spirit hunting horror game starring Yuki, Midori, and Tokio!
I feel like you have to start with the presentation when talking about this game. I have, no exaggeration, never seen anything like it. The only way I can describe it is throwing everything at the wall and somehow having it all stick. In an era where games feel so designed by committee, where all UI values being sleek over having any personality, this game feels like a example of how worthwhile it is to say fuck all that. It's a delight!
The actual technical side of things does leave a lot to be desired. I don't envy Grasshopper basically trying to do an open world while on a budget, on UE4, and on Switch, which is probably the worst combo you could imagine for one. But yeah, it's exceedingly ugly and the open world performance is bad. The open world performance I find less acceptable (though it's actually a pretty solid 60fps in combat which is remarkable) but the crusty visual quality... it's maybe a bit lame to excuse it, I would like it to be better, but it does feel kinda punk, doesn't it? Busted amps and duct taped to hell.
The combat is the best in the series hands down, at least when it comes to actually being engaging. Enemies do get pretty spongy late game which I found to slow the pace too much for me but that's really my only big complaint. Enemy variety is solid and the enemies themselves are well designed/considered. Enemies are just as aggressive when off screen as on, which will probably cause some debate but I found the game throws them at you in small enough numbers that it never felt unmanageable. The combat is still simplistic in comparison to the action game greats but it nails exactly what it needs to nail which is that visceral, blood pumping feeling.
The story has me a bit mixed. I think it's definitely a step down from Travis Strikes Again, which felt so personal and like it actually had some big themes it wanted to explore. There might be some more depth beneath the surface in NMHIII than I'm giving it credit for but the game definitely feels less like it has something to say than TSA or NMH1. That said man if it isn't a fun time. More about character moments than grander themes but it managed to surprise me constantly on top of being genuinely funny.
I've got a lot more thoughts but don't know if I could get them all out right now. I'll just say I spent most of this game really enjoying the ride and even if it doesn't reach the storytelling heights of the other NMH games Suda wrote (so, not 2) it still knows how to get you hyped as fuck and to genuinely laugh out loud. Really just glad he got to make this game and excited to see where the studio goes next now that it feels like Suda is more willing to go hands on again. Now lets get that spirit hunting horror game starring Yuki, Midori, and Tokio!
2022
This is absolutely stellar. A passion project that shows the true untapped potential of both RPGs and the games medium as a whole. The fact that this thing wasn't being talked about right up there in the same conversations as FFVI and Chrono Trigger is a crime. Also perhaps the only RPG that understands what good pacing is
They somehow managed to un-solve a problem that was solved 40 years ago
2005
This is one of the most confident games I've ever played god damn
Every single aesthetic choice is a masterstroke. It manages to be equal parts funny, disturbing, and thought provoking. I don't even have much else to say other than I'm blown away by this.
Oh yeah and the games industry needs to get its shit together in regards to sound design. This runs circles around almost every game coming out nowadays, make some bold choices! Drown your voice actors in reverb + bass! It's fucking cool!!
In the name of Harman...
Every single aesthetic choice is a masterstroke. It manages to be equal parts funny, disturbing, and thought provoking. I don't even have much else to say other than I'm blown away by this.
Oh yeah and the games industry needs to get its shit together in regards to sound design. This runs circles around almost every game coming out nowadays, make some bold choices! Drown your voice actors in reverb + bass! It's fucking cool!!
In the name of Harman...
This might bump up to a 3.5 when the game is actually finished but right now this is the worst offender of the Switch Era Mario Sports games' "just add the content later" approach. Next Level games does an amazing job bringing personality to these characters yet again and the core gameplay is extremely solid but there is just nothing here to really keep you coming back. Also, they made the pitch a bit too small for my liking. Feels like having some variety in field sizes would go a long way towards mixing things up with the gameplay, and if they scrapped that idea because it wouldn't fit with their weird "every stage is a mash-up of two different stages" gimmick then that was an extremely bad call.
2022
Understandably divisive but man I love it. Stands as a very interesting contrast to DMCV to me. V felt like a game that cut as much of the fat as possible to focus solely on arena combat, and it was incredible at that at (what could be argued was) the cost of variety, level design, etc. Bayo 3 revels in excess. It has a weird elevator action side game. It has copious amounts of gimmick sequences. It has extremely expansive and interesting level design, filled with secrets. I think as an alternate path for action games it manages to do this all really well in its own right.
The combat is much improved on 2, if not as elegant in design as 1, due to the enemies not busting out of combos and juggling being more consistent. Enemy design is well considered compared to 2 as well, there's still some bs but there is a lot more clarity in tells I find. Demon slave is a better implemented core mechanic than Umbran Climax, turning the game into a big brain dance between two characters instead of a mash fest. The weapons are some of the best in any character action game. That said, I think the scoring system needs a bit of a rework to properly incentivize this type of play. Less strict time requirements and rebalanced combo score that would lessen the effectiveness of focusing solely on the demons would go a long way here. Viola is pretty good but it's insane that block offset is not explained anywhere and the parry itself is not nearly as satisfying as it could be on a kinesthetic level.
The story is a bit all over the place. Equal parts extremely hype spectacle as you'd expect and also a bit frustratingly undercooked with respect to the villain and especially the ending, which I actually didn't hate at all but completely understand why people did. It doesn't help that it does not feel very well set up and weirdly the cutscene direction (normally super solid as always) falls apart somewhat in these final moments as well, leaving the final dramatic moment feeling a bit limp. Appreciate the fact that this is a really big swing though.
The best version of this game is definitely yet to come. I've put up with a lot when it comes to technical issues on Switch games but I think this is the one that pushed me over the edge into thinking that new hardware from Nintendo is actually necessary if they want 3rd parties to be able to work properly on ambitious games like this. Framerate is not atrocious but certainly isn't good and the visual quality is just so muddy/aliased, it's a bit disheartening and you can see them fighting against the constraints in ways they didn't have to in 1 or 2. Modern rendering techniques just don't work on this old thing.
Pros and cons all over the place but imo this is a beautiful mess that shoots for the moon and hits it quite often. It's nice to see a game made in 2022 that feels like it's still exceling with that PS2 era design ethos of just having a super strong single player campaign filled with sick unlockables and secrets. Long live Bayonetta.
The combat is much improved on 2, if not as elegant in design as 1, due to the enemies not busting out of combos and juggling being more consistent. Enemy design is well considered compared to 2 as well, there's still some bs but there is a lot more clarity in tells I find. Demon slave is a better implemented core mechanic than Umbran Climax, turning the game into a big brain dance between two characters instead of a mash fest. The weapons are some of the best in any character action game. That said, I think the scoring system needs a bit of a rework to properly incentivize this type of play. Less strict time requirements and rebalanced combo score that would lessen the effectiveness of focusing solely on the demons would go a long way here. Viola is pretty good but it's insane that block offset is not explained anywhere and the parry itself is not nearly as satisfying as it could be on a kinesthetic level.
The story is a bit all over the place. Equal parts extremely hype spectacle as you'd expect and also a bit frustratingly undercooked with respect to the villain and especially the ending, which I actually didn't hate at all but completely understand why people did. It doesn't help that it does not feel very well set up and weirdly the cutscene direction (normally super solid as always) falls apart somewhat in these final moments as well, leaving the final dramatic moment feeling a bit limp. Appreciate the fact that this is a really big swing though.
The best version of this game is definitely yet to come. I've put up with a lot when it comes to technical issues on Switch games but I think this is the one that pushed me over the edge into thinking that new hardware from Nintendo is actually necessary if they want 3rd parties to be able to work properly on ambitious games like this. Framerate is not atrocious but certainly isn't good and the visual quality is just so muddy/aliased, it's a bit disheartening and you can see them fighting against the constraints in ways they didn't have to in 1 or 2. Modern rendering techniques just don't work on this old thing.
Pros and cons all over the place but imo this is a beautiful mess that shoots for the moon and hits it quite often. It's nice to see a game made in 2022 that feels like it's still exceling with that PS2 era design ethos of just having a super strong single player campaign filled with sick unlockables and secrets. Long live Bayonetta.
2016
I think what really threw people about this was the combo of the controls absolutely having a huge learning curve combined with Platinum's "the first playthrough is the tutorial" style design, you do both at once and the average player is going to be left with a horrible first impression. That said, even when you get over that hump there isn't a ton here. Moments of greatness with some genuinely fun bosses and setpieces hampered by a lot of middling levels and mechanics that don't feel fully fleshed out. Also the fact that this is ANOTHER Star Fox retelling is extremely lame and yes I will blame Miyamoto for that one
It's kind of wild that this guy who joined Capcom as a planner and whose first directing gig was Dino Crisis 2 also happened to turn out to be one of the better writers of video games we've ever had.
This has one solid leg up on Ace Attorney and that's pacing - despite this game being one large "case" I find the pacing in this to be much tighter and more thought out than even the best Ace Attorney cases, even if those could have higher highs.
This has one solid leg up on Ace Attorney and that's pacing - despite this game being one large "case" I find the pacing in this to be much tighter and more thought out than even the best Ace Attorney cases, even if those could have higher highs.
1998
I am not even good enough to get consistent wins on Standard difficulty, but I can't help but be blown away by how good this is. A genuinely challenging racer with great track design and possibly the most legit sense of moving at blistering fast speed I've ever felt in a video game. The slightest touch of the control stick will send your racer careening off in that direction, so micro movements and mastery of the drift is key. This very touchy control at such a high speed combined with the difficulty makes each race white knuckle. The boost being tied to your health is such an astoundingly simple yet well thought out risk/reward mechanic that I'm shocked every arcade racer didn't start copying it. Total masterclass of a game.
Oh yeah and the soundtrack freaking rules
Oh yeah and the soundtrack freaking rules