Kirk Hamilton

But it's cool.

I think the setting is just beautiful.

It looks amazing.

It reminds me of that movie Event Horizon combined with the, if you remember, the vision that Commander Shepard has in the first Mass Effect when Commander Shepard touches the

whatever it is, the thing that gives them the vision.

It's got that kind of orange-hued body horror, screeching flash cuts to things that just seem terrible, you know, like a microchip being stapled onto a brain or something.

You're not sure it's happening fast enough that you can't quite...

Figure out what it is, but it's enough to leave you feeling disturbed.

A lot of the transitions between sequences in this game have the same kind of jump cutting.

You're not really sure what's going on, though, of course, they're gradually doling it out to you.

And I really think it's beautiful looking.

I mean, Returnal was also a beautiful looking game.

And then to your point, Maddie, beautiful sounding.

The music is amazing.

I mean, this is something Housemarque has always been good at.

A bullet hell game is beautiful.

Kind of a music game.

It's something you were saying, Jason, about the boss fights.

When you're in a boss fight, especially when the attacks begin forming these beautiful spirals and patterns and the music is just pumping in your headphones or speakers and you're dodging and you're kind of doing this dance dance revolution, you know, mostly just holding down the trigger to shoot and not even looking where I'm aiming almost and just dodging my way through.

It feels more like a dance more than a fight at times.