Jason Schreier

And I think that's weird.

Like, I think it's kind of counter to the ethos of the game.

And so, you know, I wrote about this and some people shared the theory, the likelihood that, you know, they had a list of licensed songs they wanted to get, but licensed songs are very expensive and they couldn't get them all.

So they just had to use library music for some of them just as a cost thing.

And that seems possible.

Galvatron has said, at least in a Vice interview, that they got every single song they asked for

And even so, just like given the nature of the game, I think it's strange that they didn't explain where the music came from at any point or even in the credits.

Like, you know, say who wrote it beyond just crediting extreme music at the end of the credits, you know, given that they're attributing the songs to artists that don't actually exist in the game.

Yeah.

That kind of set me thinking about art and artifice and music and performance and the levels of the kind of truth and what the truth really is in this kind of artistic work.

And so that's what a lot of my thinking has been about the past few weeks.

Yet another thing that I actually...

find valuable about this game, that it provoked in me all of these thoughts and feelings.

And it really, I couldn't let go of it until I'd written about it.

I had so many other things I needed to be doing.

And I was like, I guess I just have to write this essay, which I'm sure is a feeling you can both relate to when you just, you've got an idea in your head and you just have to keep working on it until you get it out.

Well, your Australian fans would be disappointed.

I know, I know.

So it's a cool game.

And I really do, you know, for anyone just looking for a game recommendation, it's like three hours long.