So this is a very special episode of our program. Watch out for Fireballs.

The previous episode, Action Pact with us conjecturizing and proselytizing about video game, audio, and music.

But this is where we're kind of like put everything that doesn't really fit anywhere else,

along with your responses. So this is kind of like its own little episode.

And some probably some deleted scenes as well. Oh yeah.

That episode because it was epic in length. No matter how I'm recording this at the same time,

I don't trust my editing ability enough

to make that thing anything less than two hours long.

So yeah.

It will be a lengthy.

Yeah, so we just have some kind of grab-bag subjects.

We don't have, you know, thesis statements for them or anything like that, but we just kind of

want to throw out that are important when you consider sound music and games.

Yeah. And yeah, licensed music and games. Yeah, that's a big deal. I mean, it kind of goes into the voice

acting problem with a bloated budget. You know, like what do you do when you can you can afford to

license not bad moon rising a fortunate sun for your Vietnam game right right right and they're good uses that and bad uses right right absolutely

and there's like it's kind of interesting too so like there are there are shitty

uses of it where it's it's just not used very well so I think about and these are new games some of the ones I'm talking about so I'm thinking about like something like dishonored where the soundtrack during the game is inoffensive.

The ending credits has one of the dumbest

fucking vocal tracks I've ever heard.

Like, it's awful.

And not even in the fun way the Snake Eater theme was.

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