Is Mixtape Worthy of the Hype - Kinda Funny Gamescast

Summary

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Kinda Funny Gamescast: "Is Mixtape Worthy of the Hype?"

Date: May 1, 2026
Host: Tim Gettys
Guests: Andy Cortez, Johnny Galvatron (Director/Writer, Beethoven & Dinosaur), Woody Woodward (Producer, Beethoven & Dinosaur)
Theme: An in-depth discussion ahead of the release of Mixtape, the new musical adventure game from the creators of The Artful Escape. The team explores the game's vision, development, soundtrack, design philosophy, and what makes Mixtape stand out.

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Main Theme & Purpose

This episode focuses on the anticipation for Mixtape, an upcoming narrative adventure by Beethoven & Dinosaur. The hosts, along with creators Johnny Galvatron and Woody Woodward, dive into the story, style, unique mechanics, and especially the music that defines the game. There's enthusiasm around how Mixtape builds on The Artful Escape, and candid conversations about the creative and logistical challenges of making a game where both gameplay and an iconic soundtrack drive the experience.

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Key Discussion Points & Insights

1. Welcome and Introductions

• [02:16] Tim Gettys welcomes listeners and introduces the guests, legendary for The Artful Escape, which Tim calls his "game of the year 2021."
• [02:56] Galvatron & Woodward—director and producer—are introduced as part of Beethoven & Dinosaur, now launching Mixtape.
• Mixtape is coming to all platforms May 7th, 2026.

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2. Team Dynamics and Indie Game Development

• [06:55]–[09:43]
  • Johnny describes how indie teams multitask: “Monday I'm in the studio making music, and then Tuesday I'm directing some actors… that’s what’s really fun about making indie games” (Galvatron, 07:55).
  • Woody is producer: “I just make sure the work gets done” (Woody, 08:35).
  • Johnny praises Woody’s leadership: “You have to have some level of unobtainable respect that can't be faked. And that's what Woody has” (08:34).
  • Woody likens his role to "herding a beautiful, delicate flock," using a metaphor of riding a bike covered in exotic birds as his production method (09:03).

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3. First Impressions: What is Mixtape?

• [10:54]–[12:35]
  • Andy confesses he thought Mixtape “was a Life is Strange type of game” but ended up “so happy to be surprised and delighted.”
  • “The quality of writing in it, the heart that there is—the voice acting was phenomenal...gonna be a special one” (Andy, 12:25).

Game Description

• [12:49] Johnny: “Mixtape is a video game. That's how I would like to begin. I can't stress that enough.”
• [12:56] The plot: Three teenagers on their last night of high school, headed to a party, soundtracked by the “greatest soundtrack of all time."
• [13:11] Iconic bands featured: Joy Division, The Cure, Devo, referencing real emotional connections to the tracks.

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4. Music, Nostalgia, & Licensing Woes

• [13:34]–[23:54]
  • Johnny describes curating the soundtrack like “starting a business with my best friends”—picking personal favorites for the game’s emotional core.
  • Anecdotes about hearing Devo’s “That’s Good” in the game after years of development and still feeling hyped (“There’s this weird Devo-shaped hole in my heart”—Galvatron, 14:17).
  • Discussion about the significance of Stan Bush and the Transformers film connecting to the creators’ identities (16:22–18:23).

Music Licensing

• [32:27]–[36:07]
  • Music supervisor Adam Penner was essential. Some tracks (like The Cure) required extreme efforts: “They had to send a Sherpa to find someone and get the rights for The Cure” (33:00)
  • Johnny avoided even attempting Led Zeppelin and Pink Floyd: "I have offered them millions...they just say no to everything" (34:26).

Unexpected Successes & Deep Cuts

• "The Donnie Darko licensed soundtrack is like, the perfect, perfect licensed soundtrack. I love that, just kind of next level down and with a theme…” —Johnny, [34:48]
• Stories behind securing Roxy Music (“Brian Eno and Brian Ferry, two of the greatest Brian’s in the same band”—35:17), and Smashing Pumpkins.

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5. Designing Mixtape: Building Around Songs

• [19:44]–[23:54]
  • Game structure built around musical flow—a “horizontal slice,” arranging levels as you would a mixtape for emotional arc.
  • “The art of a mixtape is the art of arrangement...if you rearrange, suddenly you have a different narrative” (Galvatron, 20:49).
  • Songs dictate mechanics: Each song gets a bespoke game “moment” to match emotion with gameplay.
  • Example: A betrayal scene is portrayed through unique floating mechanics; “show betrayal” as a feeling, not just a story beat (21:55).

Mixtape of Mechanics

• Each song—a custom gameplay mechanic, from shopping cart chases to tongue-fighting kissing mini-games (38:00).

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6. Gameplay Philosophy and Experience

• [43:51]–[44:57]
  • Tim: “The kind of restraint of gameplay…not having to be like every single second you’re doing something. The input is there to reward you with something fun” (43:51).
  • Johnny: “The game will tell you what it needs... when things are too short or need to be fleshed out, the game will tell you” (44:37, 46:17).

Not Over-Gamifying

• No padding for length or artificial “bloat”: “This game is as long as it needs to be to be awesome” (46:06).
• “Nothing but the hits” — a design/pacing mantra (56:47).

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7. Notable Gameplay Moments and Visual Flair

• [38:00]–[39:04] The infamous tongue-kissing mini-game: “Most of the game's budget was spent on the tongues...it's vile. We spent so much time on the particle systems for like ropes of saliva and spit flying out” (Galvatron).
• [39:15]–[41:54] Andy praises background physics systems, likening them to “The Last of Us 2's” rope physics. Johnny credits technical director Roman for always going above and beyond to achieve these details.

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8. Voice Acting and Hangout Vibes

• [46:40]–[48:29]
  • Johnny details the “hundreds of auditions.”
  • The cast plays the finished game at Annapurna; real tears: “I thought it was just going to be some shitty video game. Who the fuck are you?” (Cassandra’s VA, 48:10).
• Dialogue and “hangout vibes” inspired by slice-of-life films like Dazed and Confused; writing centers on maximizing character and dialogue over traditional plot (48:58).

Memorable Quote:

• “You bought loudness where loudness should be earned.” —Rockford about motorcycles (49:31).

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9. Music: Original vs. Licensed

• [42:31]–[43:51]
  • About 70% licensed music, 30% original, written by Johnny Galvatron and Josh Abrahams.
  • Blending learned from The Artful Escape; 28 tracks in total (“Too big. Too many tracks".)

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10. Art Style & Visuals

• [51:28]–[53:13]
  • Visual diversity from song to song: Use of “back plates from Seinfeld” and vintage Australian footage, adding to the period-melting vibe.
  • Stock footage used with intention to stimulate nostalgic associations with music.

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11. Comparison to The Artful Escape

• [54:49]–[56:47]
  • Biggest change: Moving from 2D to 3D gameplay ("a whole extra dimension").
  • Pacing lessons learned: "Levels lasting just long enough, what the game tells you."
  • “Nothing but the hits”—no filler, all killer.

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12. Audience Q&A and Fun Moments

• Superchats express love for The Artful Escape and hype for Mixtape (57:02–57:59).
• The band McFly hired Arden Beckworth (artist) based on her work in The Artful Escape (57:13).
• Running jokes about the team’s love for cricket and how that brought Johnny and Woody together (61:19–61:38).
• Hype for "genreless video game" appeal; “You will love it.” (62:28–62:43).

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13. Release & Platforms

• Mixtape launches May 7th, 2026 on Xbox, PlayStation, Switch, Steam, Epic, Windows, and Game Pass (62:03).
• Official website: mixtape.game and on all socials (#62:03).

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Notable Quotes & Memorable Moments

• “Every song requires something different. When you get given these songs, it feels like a tremendous responsibility… it’s like, we’re painting on top of the Mona Lisa.” —Johnny Galvatron [21:18]
• “Nothing but the hits” (game tagline/mantra) —Woody & Johnny [56:47]
• “The game will tell you what it needs.” —Johnny Galvatron [44:37]
• “Most of the game’s budget was spent on the tongues.” —Johnny Galvatron, about the kissing mini-game [38:00]
• “This is the most confident game I’ve played in a long time.” —Andy Cortez [50:57]
• “You bought loudness where loudness should be earned.” —Rockford via Johnny [49:31]
• “It is very smile-inducing…a joy to show people this game…” —Johnny Galvatron [48:29]
• "If you ever get to work on a game, that is really one of the joys: to see all your friends there, like, frozen forever." —Johnny Galvatron [54:03]

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Selected Timestamps for Key Segments

• [02:16] Show introduction, guest intros
• [10:54] “What is Mixtape?” and Andy’s first impressions
• [13:34] The band and song selection process
• [20:30] Designing levels around the soundtrack’s emotional flow
• [32:27] Securing music rights—a Sherpa for The Cure!
• [38:00] The infamous tongue-kissing mini-game
• [46:40] Voice acting and emotional cast reactions
• [51:28] Mixing art styles & stock footage
• [54:49] Artful Escape vs. Mixtape – evolution and lessons learned
• [62:03] Release info, platforms, and closing hype

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Tone and Takeaways

Tone:
Funny, irreverent, yet sincere. Full of creative passion, musical nostalgia, and Aussie banter. Deep behind-the-scenes moments meet silly asides (cricket, tongue physics, wrestling metaphors).

Takeaways:

• Mixtape is highly anticipated—not just for its wild soundtrack, but for how it matches mood, mechanics, and narrative with deep personal resonance.
• The team’s indie ethos means everyone wears multiple hats, resulting in a game that feels handcrafted and vibrant.
• Music licensing was arduous but yielded a uniquely curated, emotionally charged mix.
• Gameplay is tailored to serve story & sensation—never bloated, always “the hits.”
• The team (and hosts) believe Mixtape breaks genre boundaries; worth it for anyone who loves games, music, and honest storytelling.

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Final Words:
"This is a genreless video game. Just buy it and experience it. You will love it." —Andy Cortez [62:29]

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Mixtape releases May 7, 2026 on all platforms.
Check out mixtape.game and @mixtapegame for more.

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Transcript

[Johnny Galvatron]

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[Tim Gettys]

you want to get our shows ad free and our exclusive shows go to patreon.com kindafunny. What's up and welcome back to the Kinda Funny Games cast for Friday, May 1, 2026. Of course I'm your host Tim Gettys. And I'm joined today by Andy Cortez.

[Andy Cortez]

Hello. Hello, Tim.

[Tim Gettys]

And it is my pleasure to finally welcome to the Kinda Funny Studios, Johnny Galvatron.

[Johnny Galvatron]

Sick. It's so good to be here.

[Tim Gettys]

It's so cool to have you.

[Woody Woodward]

Thanks.

[Johnny Galvatron]

That's my full name. It is for saying the whole thing.

[Tim Gettys]

And Woody Woodward.

[Woody Woodward]

Hi.

[Tim Gettys]

Now people, if people don't know. All right. These are director, producer over at Beethoven and Dinosaur, creators of my game of the year 2021, the artful escape. And what is what will hopefully be my game of the year in 2026. I don't know. I don't know. Having to. Haven't played it all the way through, you know, mixtape. We did get to play three levels of it, Andy and I.

[Andy Cortez]

There has never been a better time to play mixtape. We can't wait for you to hop in. When?

[Johnny Galvatron]

May 7th.

[Andy Cortez]

May 7th.

[Woody Woodward]

We listen to you on everything.

[Tim Gettys]

Yes. Yeah. It's everywhere. It's very exciting.

[Johnny Galvatron]

Yeah. Too many. Too many consoles. Too many.

[Tim Gettys]

You want to name them?

[Johnny Galvatron]

Oh, God.

[Woody Woodward]

We're talking Xbox. We're talking PlayStation.

[Sponsor/Ad Voice]

Damn.

[Woody Woodward]

We're talking Nintendo Switch too. We're talking steam, we're talking EGs, we're talking Windows PC.

[Andy Cortez]

All of them.

[Johnny Galvatron]

All the things. Why do we do this to ourselves?

[Tim Gettys]

Making rad ass games. Now here's the thing. I'm very excited about this because like I said, Artful Escape, the best.

[Woody Woodward]

Yeah. Thank you for that.

[Johnny Galvatron]

You were the best. You were the torchbearer of the Artful Escape. And I just want to say thank you so much. It really meant a lot to us and you were always pushing the game and not just when it came out like months afterwards. You know, you gave it your game of the year and it meant heaps to us and we would always check what you're saying and it meant heaps to our team in, in Melbourne. And thank you very much.

[Tim Gettys]

I appreciate you saying that and thank you so much. But I remember when I was talking about it, you DMed me and we were going back and forth and we've been trying to make this happen for years now.

[Johnny Galvatron]

Yeah.

[Tim Gettys]

So believe I'm finally meeting you now. And I was so jealous because we sent Greg down to Summer Game Fest last year.

[Andy Cortez]

Right.

[Tim Gettys]

And so Greg got to play mixtape, but then he came back and was telling us all about it and meeting both of you and I'm just like, this, like this sucks. I'm seeing all these pictures of, of Woody with Greg and Jen. I'm just like, come on, man, it could have been me. I think it could have been.

[Woody Woodward]

I think Greg did it to spot you.

[Tim Gettys]

I know he often does that.

[Johnny Galvatron]

When I met Greg, I was like, greg, nice to meet you. Let's talk about Tim.

[Tim Gettys]

Let's talk about Tim. But let's talk about mixtape, because mixtape, obviously, artful Escape, was. Was awesome. I know a couple of us here enjoyed it. I really, really loved it. But when mixtape was first shown at that Xbox game showcase two years ago, I want to say. Yep. Everyone here was like, oh, shit.

[Woody Woodward]

Yeah.

[Tim Gettys]

Right? This looks incredible. I popped off when I saw the Beethoven dinosaur logo pop up.

[Johnny Galvatron]

I know. I watched you. I watched you watched it, and I watched it back, and also I showed it to my mom and dad.

[Tim Gettys]

Yes, dude.

[Andy Cortez]

Hell, yeah. Like, say in the darkest moments, replay that.

[Johnny Galvatron]

Yeah, yeah.

[Woody Woodward]

See, mom and dad. People like what I do.

[Johnny Galvatron]

Yeah, yeah. It's a real.

[Tim Gettys]

But I mean, this just. It looks so cool. We've been very, very excited about it. How are you feeling right now, a week out from release?

[Johnny Galvatron]

I feel like I'm gonna spew. Tim.

[Woody Woodward]

It's all adding up.

[Johnny Galvatron]

Can I. It's that. Can I just say we did. We did an. An interview with. Oh, it was with cnn. And we were, like, very different than this, I'm sure. We were doing an interview with cnn, and me and Woody were just.

[Andy Cortez]

Did they say, fucking Galvatron?

[Woody Woodward]

They score way more than we.

[Tim Gettys]

That was great.

[Johnny Galvatron]

They made us change the room that we were in because there were. There were pinups on the wall.

[Woody Woodward]

They're like, we can't have. We can't pack nipples on the wall behind me. Like, I'm sorry.

[Johnny Galvatron]

We were in a movie set, and that looked like a bedroom, and so they made us move out into the backyard. But the whole time leading up to the interview with, me and Woody are just pretending going, his name's Rick. Thanks, Rick. We had a really fun interview, but every time we're going, rick. Yeah, it's great. Rick, we can hear you. Welcome to cnn. And he goes. And, you know, there's spoilers. Spoilers here. But he's like, what does it feel like to make a game that's never been made before? And I'm grabbing Woody by the eye. I'm like, let me answer this. Let me answer this. And he's like, what does it feel like to make a game that's never been made before? And I'm like, it feels good, Rick. Feels great.

[Woody Woodward]

It was, like, full. Like, spike the alley you did for you.

[Tim Gettys]

Let me actually take a step Back here.

[Woody Woodward]

What.

[Tim Gettys]

What did you do on mixtape? And what did you do on mixtape?

[Johnny Galvatron]

Oh, well, indie teams, you usually do a lot of things. And I'll tell you, like, some examples, like the Alpha Escape. We have an artist called Arden, Arden Beckwith, and she was doing young adult fiction covers and Star wars trading cards. She's a fantastic illustrator. And she did all the illustration in the artful escape, beautiful 2D and. And digital artist. And then she learned to 3D sculpt and she made Rockford, you know, So I think the whole of the main character. The main character in mixtape. So, you know, I think all of us have very. Have different, like, lots of little keys that we play on this grand piano of making a video game. And I do some writing and directing sound. Some sound and music and direct actors and stuff. But everyone on the whole team has a whole bunch of crazy jobs that they do. And that's what's being. That's what's really fun about making indie games. And being in an indie game team is like, Monday I'm in the studio making music, and then Tuesday I'm directing some actors. And then on Wednesday I just hang out with Woody on Wednesday. But Thursdays, then you're doing some, like, level design. And so that's one of the things they talk about too with indie teams is like this institutional knowledge. The longer you can keep people on your team, the more strings they're going to have in their bow and your team gets better. And we work with an amazing team that just wants to make cool shit and get better. And that's like an amazing environment to be in.

[Woody Woodward]

And they're good at it.

[Johnny Galvatron]

And they're good. Yeah, God damn it, they're good.

[Woody Woodward]

I feel good. I don't do all the work. I just make sure the work gets done.

[Tim Gettys]

Okay, so you're a producer.

[Woody Woodward]

I'm a producer.

[Andy Cortez]

Yeah.

[Tim Gettys]

Love that.

[Johnny Galvatron]

And can I tell you what makes Woody a good producer?

[Woody Woodward]

Oh.

[Johnny Galvatron]

Is. Hang on.

[Woody Woodward]

Oh, hang on. Oh.

[Johnny Galvatron]

I think it's hard to be a producer because you have to have, like, an aura of respect on some level that is unfakable because you're in a situation where there's a bunch of artists and. And I. People often differentiate programmers and artists, but they're really the same thing, you know? So you have this team of artists and they're very protective and concerned about their own art, which is what you want. You want people to care. Like, when people come up to you and they're upset about something in the game, you go, I'm so stoked that you care that much. You know, that's how you should feel. And it's very hard to, I think, gathering and. And heard those cats.

[Woody Woodward]

Yeah.

[Johnny Galvatron]

Of. Of artists who care so much about what they're doing. And you have to have some level of unobtainable respect that can't be faked. And that's what. That's what Woody has.

[Woody Woodward]

They're a beautiful, delicate flock, and I love to love to, you know, keep them in the pen of development in a nice way.

[Andy Cortez]

Almost spit. Take the cat.

[Johnny Galvatron]

Not in any literal sense, of course.

[Woody Woodward]

Imagine it's more like. It's like a bike, and it's the guys riding the bikes covered in, like, exotic birds.

[Johnny Galvatron]

That's.

[Woody Woodward]

That's how I.

[Johnny Galvatron]

Exactly. What Your production method.

[Woody Woodward]

That's how I envision it.

[Johnny Galvatron]

And you're trying to get them, not take off and feed them.

[Woody Woodward]

Yeah, yeah. I'm like, no, stay here, Bloomer core. It's fine.

[Andy Cortez]

Like, it's fine.

[Tim Gettys]

So I want to get to mixtape the game. Andy, I haven't heard anything from you because I. I knew I was gonna like this game just based on how much I liked Artful Escape. I'm like, okay. And so much of what I liked about Artful Escape was the writing, the tone, the narrative, the characters. But, like, there was really something about specifically the writing that I really connected with. And I'm just like, damn, there's a voice to this that speaks to me very loudly. And I know that that. That voice with the kind of style of that game wasn't going to be for everyone, but that voice with the style of mixtape I knew was going to be for everybody. And I played three levels, and I was like, yeah, Andy's going to love this game. Was I right?

[Andy Cortez]

So, okay, that's a great question. Can you guys leave the room so I could talk to him in practice?

[Woody Woodward]

We'll turn away.

[Andy Cortez]

Yeah, okay.

[Johnny Galvatron]

I'm gonna listen to diva.

[Andy Cortez]

So, you know, there was a private exchange. This is like, I'm just, like, leaking the DMS right now. I didn't really know what this game was. I didn't know it was the team that made the Artful Escape. We'd seen it tons of times. I know the art looked beautiful. I know it looked like to be this experiential sort of thing, and it. But I didn't know it was like, oh, that's a team that made your Artful Escape. Tim loves the Artful Escape, but I saw myself on this interview, and I messaged him And Greg for it, scheduled for it. And I messaged him and Greg, I was like, hey, guys, I don't know why I'm on this. Like, I. I'm sure maybe there's a reason for me to like, but. And I told him I'm not the life is strange type of gamer. That's what I thought this was. As I said, I'm not. I don't play life is strange type games. Like, you know, Roger loves those, so does Joey. But, like, if you need me to be there, like, I'm totally down, and I'll, like, figure some stuff out to ask. And Tim was like, just. Just play that demo. Play that demo. And I was so. I was so happy to be surprised and delighted by everything that I was shown and that I experienced. And it is. It's one that I know that this is for everybody. You don't have to be somebody who is only like, the. Well, Andy plays the action games, right?

[Johnny Galvatron]

What?

[Andy Cortez]

This game was just so lovely. And the quality of writing in it, the heart that there is the. The voice acting was phenomenal.

[Johnny Galvatron]

It's.

[Andy Cortez]

It's just like, ah, this is gonna be. This is gonna be a special one. And I know why Tim wanted me to play this now.

[Tim Gettys]

Yeah. The three levels.

[Andy Cortez]

Yeah.

[Tim Gettys]

Can't wait to play more, right?

[Woody Woodward]

Yeah.

[Tim Gettys]

So having heard that, you guys, what is mixtape?

[Johnny Galvatron]

Mixtape is a video game. That's how I would like to begin. I would. I can't stress that enough.

[Woody Woodward]

It's definitely a video game.

[Johnny Galvatron]

It's absolutely a video game. So it's about three teenagers on their last night together, their last night of high school, and they're going to a party together, and they're listening to the greatest soundtrack of all time. Hey, Woody, let's talk about some of the bands.

[Woody Woodward]

Oh, like Joy Division.

[Andy Cortez]

Oh.

[Johnny Galvatron]

Anyone else?

[Woody Woodward]

The Cure.

[Johnny Galvatron]

The Cure's on there. Can you think of first track of the game?

[Woody Woodward]

Oh, Devo.

[Johnny Galvatron]

I'm just a humongous Devo fan. You couldn't tell. Yeah, yeah, yeah. I love Devo. And do you know, actually, can I. Can I. We can just talk crap, can't we?

[Tim Gettys]

Oh, absolutely.

[Johnny Galvatron]

I. When we laid out all the songs for the game, and when we were figuring out what tracks are going to be there, I was like, am I. Am I starting a business with my best friends? Do you know what I mean? Am I setting my favorite song to the song that wakes me up in the morning? You know what I mean? Am I about to ruin my relationship with my best friends? Of these songs that I Love. And the answer is no. Absolutely. Like, every time I hear Devo, that's good. When the, when the game starts up, I'm just absolutely pumped.

[Woody Woodward]

I know when. I know when Johnny's playing the start of the game at work because I can see over the top of my monitor, I see top of Johnny's head and hands, like, bobbing behind. Even after like three years, he's still just like vibing it, which is like. And I. I love it too.

[Johnny Galvatron]

There's this weird Devo shaped hole in my heart. And when I listen to. That's Good.

[Woody Woodward]

The Devo block fits.

[Johnny Galvatron]

I feel complete and whole. And Devo.

[Andy Cortez]

Well, one thing that also made me want to play it was Tim said andy. And as I'm telling you to play this. And he sent me a screenshot where the characters say, God, I was listening to Moving Pictures last night. And it's just like, fuck. How, like, how is that an album? And then they, they go on to use it in context about, like, who's. Who's the name of the singer? Getty Lee. And I was like, okay, I gotta play this. So I had to also wear the Rush shirt today. And the. It's just the vibes are just. They're just immaculate in this game.

[Tim Gettys]

And I love that. It, like, things like that can speak to you, right?

[Johnny Galvatron]

Yeah.

[Tim Gettys]

And to me, when we first saw the initial trailer. And you. You see, well, so one thing about Artful Escape that I loved was the use of voice actors that were incredibly talented and some very big names. Carl Weathers.

[Johnny Galvatron]

Carl Weathers, yeah. Rest in Peace.

[Tim Gettys]

His last.

[Johnny Galvatron]

His last voice role.

[Andy Cortez]

Yeah.

[Tim Gettys]

That's wild. Among others, right?

[Johnny Galvatron]

And he was dope. He was so cool because, like, he

[Woody Woodward]

was just adding stuff in.

[Johnny Galvatron]

He was like, adding stuff. And he was like, you know, I wouldn't say that there. I would say young blood. And I was like, sick. I'll do what you want to say.

[Woody Woodward]

I wouldn't say that. You go, yes, sir.

[Johnny Galvatron]

Carl Weathers was my first ever voice direction.

[Tim Gettys]

Dang.

[Johnny Galvatron]

At three in the morning in Melbourne. And he's there and I'm absolutely just shitting myself.

[Andy Cortez]

Yeah.

[Woody Woodward]

As you would be.

[Johnny Galvatron]

And he's like, he gets on the mic, he's like, what do you want, Johnny? And I'm like, I don't fucking know, Carl. Let's do this. He was so good.

[Woody Woodward]

Yeah.

[Tim Gettys]

So I love that. I remember seeing the. I mean, there were many artful escape trailers. That was a game that, like, what we kept seeing, it was so beautiful. Every time it's like, oh, my gosh, want to play it. But towards the end, we started seeing the. The big star names on the Dreamers. Right. Like to market it. And I love that for the. The first time we saw mixtape. Such a big part of it. Obviously from the name, the music you see just artist, artist, artist, and it's just banger, banger, banger, banger. Like so many, like iconic groups.

[Woody Woodward]

Yeah.

[Tim Gettys]

And I see Stan Bush and I'm like, my fucking guy, Johnny Galvatron making the connection here. For people that might not know what I'm alluding to here. Galvatron. What is Galvatron?

[Johnny Galvatron]

Galvatron is from the 1986 Transformers film. The Better than any Chris Nolan film. Fantastic. Everyone's like, oh, shit.

[Woody Woodward]

Yeah. Very emotionally charged.

[Andy Cortez]

He's not going to like that.

[Johnny Galvatron]

It's a. It's a doc dark film and permeated by some of the most brilliant and cheesy hair metal power ballads ever constructed. The Touch by Stan Bush is in this game. And do you know. Oh, do I have another Stan Bush story? We were like, it was like five days from the end of us locking the game and locking like all of our everything with all the before certification. Certification, yeah. Oh, God. That's why you need to produce. And we're just days before Alexa victoriously sips the coffee. Yeah, I gotcha. I need this guy. And. And we wanted another. I don't know if we'll say, but you will know I wanted another Stan Bush track off that album. The second track that he has. And it was five days before the end. And I'm just like, put in this Hail Mary call. I'm like, oh, like red phone.

[Woody Woodward]

Like red.

[Johnny Galvatron]

I picked up the red phone to music supervisor and Adam Penner. I'm like, I need more Stan Bush. I need. I need 15 seconds more of Stan Bush. And that was like our last, last, last minute thing that we got into the game was like 15 more seconds of Stan Bush. But I'll wait for you to see that.

[Tim Gettys]

I love that so much. But the thing about Transformers, the Animated movie.

[Woody Woodward]

Yes.

[Tim Gettys]

Is if you are a fan of it, it's your entire life and personality.

[Johnny Galvatron]

Yeah.

[Tim Gettys]

And so that's why I knew we were going to be friends. I heard your name even. I'm like, this doesn't make sense. But then seeing Stan Busch in that thing, I was like, I know I'm going to love this game. And so, yeah, hearing the touches in

[Johnny Galvatron]

it, I think incredibly excited. The 1986 Transformers film is actually my first introduction to Devo as well, because Weird Al Yankovic does this song called Dare to Be Stupid, which is like a rip off of Devo. And so I listened to that, and then I was, like, listening to his other songs and being like, well, nothing really else sounds like this guy's kind of crazy. This guy cannot be put in a box. He is undefinable. And then obviously found out later that it's ripping off Devo. And if you listen to. Oh, no, it's Devo that. The album, you can. If you listen to the whole album, you can pick every little bit of Dare to Be Stupid out of it. And where he took. Where Weird Al took that. And Devo famously hates it because they think it's better than any Devo song. If you see there's an interview with Mark Mothersburg, who's just deadpan, just going, I hate that guy.

[Woody Woodward]

Imagine, like, you spent years creating this band, and this weird guy just makes one song that's, like, encapsulates all your catalogs, and he's just like.

[Johnny Galvatron]

And you're just like, well, and it's a banger.

[Woody Woodward]

Great track.

[Johnny Galvatron]

It's called Dare to Be Stupid. Have a listen. It's real good.

[Woody Woodward]

Weird Al biopic as well is so good.

[Johnny Galvatron]

Yeah. Yeah. Thanks, Weird Al.

[Woody Woodward]

Yeah, thanks for being.

[Johnny Galvatron]

Do another Devo song, if you could.

[Tim Gettys]

Okay, so then, mixtape, obviously, a lot of songs, they're trying to make the perfect mixtape to. To cover their. Their final day together as friends. How does that translate to a video game?

[Johnny Galvatron]

Yeah, I think what happened was we started with. We started with that's Good by Diva.

[Woody Woodward]

We literally started with that.

[Johnny Galvatron]

We started with that, right? And then we lay out all these different songs that. These were my favorite songs, and we would lay them out. And, of course, the art of a mixtape is an art of arrangement. And you can have all these different things, and you can have people from different places, and they're from different countries in different decades, and you can put all their songs together, and you can find this through line of emotion. You can find what connects them. And if you rearrange, suddenly you have a different narrative. And so we would rearrange these tracks into all these different narratives and see where they flow, see where they would peak, see where they would dip. And then we made what we call a horizontal slice. Woody.

[Woody Woodward]

Yeah, we, like, built the game around the flow of that soundtrack because, like, as the soundtrack and the narrative are, like, running along, then we kind of place the levels along that line and built the whole game start to finish.

[Johnny Galvatron]

Real shitty.

[Woody Woodward]

Like, Some cutscenes. It was like a black screen with, like, the text. Like, you know, this happens now. This happens.

[Johnny Galvatron]

A real bad softball.

[Woody Woodward]

Yeah. Things like that. And then we once. So shitty.

[Johnny Galvatron]

And I'll add, it was. Had all me. Me doing all the acting.

[Woody Woodward]

Yeah. The. The. The Johnny Cut of the Johnny Cut

[Johnny Galvatron]

will not be released.

[Sponsor/Ad Voice]

Damn.

[Woody Woodward]

And then we. Once. We felt like the horizontal slice was good, like start to finish, which was all playable, then we were like, cool. And we went in, just like, brought the audio up, brought the visuals up, and, like, brought. Built it all up on top of that. But yeah, it was like. It was like, literally, like Johnny said, it was like making a mixtape. We laid it all out.

[Johnny Galvatron]

Yeah. And then the mixtape kind of. It permeates into everything of the game because it's like you have. Every song requires something different. And when you get given these songs too, it feels like a tremendous responsibility. Like, I love Diva, but, like, give me. That's good. Do you know what I mean? And I'm like, well, this needs to be. The mechanics here need to match this song. We need to be as good as this song. We're adding stuff on top. You know, we're painting on top of the Mona Lisa. Do you know what I mean?

[Woody Woodward]

We don't want to do the Mr. Bean thing where we ruin. Is it like Whistler's Mother or whatever?

[Johnny Galvatron]

Yeah, yeah, we don't want to do that. We want to, like, try and enhance the music of anything. So once you have a mixtape of music, suddenly, if you want to do the best for every song, suddenly you need a mixtape of mechanics. You need a different system. You need a different way of showing the mental state of the protagonist to the player. I think that's what's really interesting about this kind of mix of mechanics, of using the medium, of using games to show what these songs feel like. There's a lot of really amazing games about difficulty and overcoming hardship and perseverance. But it's really fun to try and use the medium to show betrayal. How do you show. How do you, with a controller, show that someone's stomach has dropped and that they've been betrayed by their friend? And we have a scene in the game where Rockford is betrayed by her best friend, and she just lifts off the ground and floats through town, and she floats backwards through town. And it's a very simple mechanic, but it's this beautiful moment, and it just uses the medium really well to show betrayal. You have Sensitive to Light by Rainbow with, like, Ronnie Dio singing over the Top and it's electric. And you like, well, this needs to be a shopping cart escaping the police with helicopters, obviously. And we're going to have to do something completely different. So you have this kind of mixtape of mechanics, mixtape of music. And then you have. Everywhere you look, the mixtape kind of permeates, right? Because it's like, wait, are these three characters from the same period or is Slater kind of from thrash from 88 and Rockford is from 94. And Cassandra, she's like kind of from 1996. And then you look around their rooms and you're like, well, this is. This whole world is kind of some like classic hits radio station. That. That is. That exists somewhere between like 1970 and 1995. Except for Freak by Silverchair, which came out in 1996. But who's count? No one knows. But I love the idea of that suddenly this mixtape not only permeates the music, but then it permeates the characters. It permeates the rooms, the world and how you interact with it as a medium.

[Andy Cortez]

And that's one thing I wanted to ask because this game, you know, like you. You're Talking about late 90s, in some instances with the. With the time and where this takes place. I was wondering if this were a game about kids now and you had the last 20 years of 20 to 30 years of music catalog to choose from, who would you like to get added into the catalog from?

[Johnny Galvatron]

If we were doing from the last

[Andy Cortez]

20 years from like 2000 and on.

[Johnny Galvatron]

Let's start with Woody, because Woody's gonna say a whole bunch of bands can't even say their name on the radio. You know what I mean? It's going to be like Puke Kiss and Puke Kiss. Puke Kiss. I saw them in a.

[Andy Cortez]

The Abortions last album.

[Tim Gettys]

Little.

[Woody Woodward]

Little. Little derivative. Didn't hit the notes.

[Johnny Galvatron]

And Woody saw them in like a shed in North Melbourne and all they. All they do is bang empty kegs.

[Woody Woodward]

Yeah. And eat rats live.

[Johnny Galvatron]

So after you, Woody.

[Woody Woodward]

Oh, I mean, I'm just gonna spout off a bunch of like, you were bands.

[Johnny Galvatron]

Please give me a bunch of obscure.

[Woody Woodward]

Some power trip in there.

[Johnny Galvatron]

Yep.

[Woody Woodward]

I'd love some butthole surfers in there.

[Andy Cortez]

Okay.

[Johnny Galvatron]

Yeah, yeah. Who else do you know? I would go, like, straight into 2007. I would be like Kaiser Chiefs.

[Woody Woodward]

Oh, really?

[Johnny Galvatron]

Straight to India into the indie sleaze and like Kasabian.

[Woody Woodward]

And I always said Kasai Ban. Yeah.

[Johnny Galvatron]

I thought for years placebo was called Placebo.

[Woody Woodward]

Wait, what?

[Johnny Galvatron]

Yeah, yeah. And they got introduced on hey, hey. It's Saturday, like, way in Australia, and the guy went placebo. And I like this idiot. He doesn't even know how to say their band name.

[Woody Woodward]

Yeah, placebo for sure.

[Johnny Galvatron]

I really like the Test Icicles. I know that sounds like a funny name. That sounds like a band that Woody would like with the Test Icicles was really good.

[Woody Woodward]

Is that a real band?

[Johnny Galvatron]

And do you know what? The klaxons. Okay, I'm gonna throw out there. I would throw in a bunch of claxons.

[Woody Woodward]

Great choice.

[Andy Cortez]

I thought it was just klaxons. They have a though in front of it.

[Johnny Galvatron]

Really? It's the placebo.

[Andy Cortez]

Oh, gotcha. Well, there is a reference to this is how we do it.

[Woody Woodward]

There is.

[Andy Cortez]

And, you know, because I think of some of the best R B from the early night or, you know, that sort of 90s era. I think of, like, Ginuwine's Pony. I think of like, you know, that sort of like, era of hip hop that will always play at a club.

[Johnny Galvatron]

And I'm picturing you there right now.

[Andy Cortez]

I mean, well, you know, that doesn't happen at all. But, you know, that.

[Tim Gettys]

And getting down to pony, I've seen it.

[Andy Cortez]

That music's still very near dear to my heart, even though, like, I come from more of like, like, you know, emo indie sort of, like, scene or whatever. But I would, you know, I was hoping that they would, you know, throw out some, you know. God, so many people have been canceled, Tim. I can't even like anybody.

[Woody Woodward]

I'll list about 50 bands. Kelly.

[Andy Cortez]

People are terrible. Never mind. Never mind then.

[Woody Woodward]

Oh, My Chemical Romance is one I definitely put in there.

[Andy Cortez]

Oh, great to do it.

[Woody Woodward]

If you good to do it again later.

[Johnny Galvatron]

We went and saw Bring Me the Horizon the other night.

[Andy Cortez]

Yeah, yeah.

[Johnny Galvatron]

Machine Gun Kelly bumped into me.

[Tim Gettys]

Really?

[Johnny Galvatron]

No. I was like, hey. And he went, hi. And kept walking. It was actually a delightful encounter.

[Andy Cortez]

Good for him.

[Woody Woodward]

Was he opening?

[Johnny Galvatron]

No, he was there watching with Helsie.

[Tim Gettys]

Huh.

[Andy Cortez]

Oh. Oh, him and Megan Fox not together anymore. It's true.

[Woody Woodward]

Yeah.

[Andy Cortez]

Oh, really?

[Johnny Galvatron]

Oh, really?

[Andy Cortez]

Really tough.

[Johnny Galvatron]

You heard it here first.

[Andy Cortez]

Yeah.

[Tim Gettys]

Was there any songs that you had on your mixtape that you either couldn't get access to or that you couldn't find the gameplay mechanic to add to it? So you cut it.

[Johnny Galvatron]

Let's venture into getting the music of the game.

[Tim Gettys]

Let's do that.

[Andy Cortez]

Let's do that, Tim.

[Tim Gettys]

Oh, actually, you're right. You're right. Hold on one second. Let's do that. After a word from our sponsors, this

[Sponsor/Ad Voice]

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[Johnny Galvatron]

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[Andy Cortez]

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[Johnny Galvatron]

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[Johnny Galvatron]

Hi Ma. Thanks for your unfiltered advice.

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[Johnny Galvatron]

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[Johnny Galvatron]

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[Tim Gettys]

So how'd you get these songs?

[Johnny Galvatron]

Wow, that's a great question. When you bring a music supervisor and say, we're making a game about a girl who wants to be a music supervisor and has to have the greatest soundtrack of all time, they say, yes, please. I would like to work on this game.

[Woody Woodward]

It's like a devil's handshake. Yeah, because like what, you're gonna work on it and not make the best soundtrack out of it. You know what I mean?

[Tim Gettys]

That's great.

[Johnny Galvatron]

Yeah, it was sick.

[Woody Woodward]

The trick.

[Johnny Galvatron]

And there were things like we Needed to get the rights for the cure. But someone was at a retreat, and they had to send, like, a Sherpa to find someone and get the rights for the cur.

[Tim Gettys]

Sure.

[Johnny Galvatron]

I love that.

[Woody Woodward]

There was like, no. There's, like, no phone or Internet. Wherever they were. Like, I just sent. Literally sent someone to go and find them.

[Johnny Galvatron]

It was just like, I gotta get the rights.

[Andy Cortez]

You think they were Lenny Kravitz's island? We learned about Lenny Kravitz, how he has this island. I did that. Yeah.

[Johnny Galvatron]

Automatically suspicious.

[Tim Gettys]

I know.

[Johnny Galvatron]

I don't know.

[Tim Gettys]

People shouldn't have.

[Andy Cortez]

So, like, Mike was like. He's the one who introduced it to us. And, like, it's hard for your mind not to go. Like, well, there's got to be something nefarious happening here. But there's no cell phones allowed. You go there to just, like.

[Johnny Galvatron]

To.

[Andy Cortez]

To just disconnect from. There's a lot of, like, travel. There's a lot of. That's what he calls it.

[Woody Woodward]

Yeah.

[Andy Cortez]

Crab McGraw. And there's a lot of sheep all over the place. And we were talking about it, like, I bet you those used to be humans. Like, that's where my mind goes at. Like. Yeah, that makes sense. Like, it's a story to bother you situation. Yeah, it's very, very weird.

[Woody Woodward]

Have you seen the Lenny Kravitz video on the Internet? These.

[Johnny Galvatron]

We can't talk about that.

[Woody Woodward]

No, we can.

[Andy Cortez]

The hanger.

[Johnny Galvatron]

Yeah, yeah, yeah.

[Woody Woodward]

What do you mean? The hanger?

[Andy Cortez]

Where it pops out. Oh, yeah, yeah. The weapon of mass destruction.

[Tim Gettys]

I do. I do love speaking to Snow Bike Mike. I was talking to him this morning, and he was so excited that Johnny Galvatron's gonna be here. And he goes, man, I wonder if Johnny Galvatron's met Snowbike. Mike, you're the only human being that would put a sentence like that together.

[Woody Woodward]

Himself.

[Tim Gettys]

By himself.

[Woody Woodward]

Himself.

[Johnny Galvatron]

Oh, oh, oh.

[Woody Woodward]

Just a bizarre human speaking. The third person. Yeah, look, he's.

[Andy Cortez]

Yeah, yeah,

[Tim Gettys]

sorry. Back to the Cure.

[Johnny Galvatron]

So. Yeah, back to the Cure. So we were. We were trying to get all these different songs. The only ones I didn't try and get were, like, Led Zeppelin and Pink Floyd. Because our music supervisor was like, I have offered them millions with an S, and they just say no to everything. Yeah, don't both.

[Woody Woodward]

Don't bolt.

[Johnny Galvatron]

I don't think we wanted to go that. Because I really like. I like a soundtrack that is not the main hit.

[Woody Woodward]

Deeper, deeper cuts.

[Johnny Galvatron]

A little deeper cuts. Like, I think the Donnie Darko license soundtrack is like, the perfect, perfect licensed soundtrack. I love that. Just kind of next level down and with a theme that connects all of those tracks together. That's like. It's like they. It's like all the licensed songs in Donnie Darko, they all use like the same reverb plugin.

[Woody Woodward]

Yeah.

[Johnny Galvatron]

It's like this beautiful synergy through it.

[Woody Woodward]

And it's like.

[Andy Cortez]

I was gonna ask, is there a song that you were least expecting to get? One that you were like, this is kind of a Hail Mary. I know you mentioned that story earlier, but like, was there one that you're like, oh, we actually got it. Nice. That's awesome.

[Johnny Galvatron]

Yeah, there was a. There was a couple like that. There was More Than this by Roxy Music. And there's a. There's a line in the game where Rockford, the protagonist says, brian Eno and Brian Ferry, two of the greatest Brian's in the same band. What are the odds, right? And then they rang me and they're like, Brian wants to know, like, where in the game the song is. I'm like, which Brian? Like, we didn't ask.

[Woody Woodward]

I'm like, I need to know.

[Johnny Galvatron]

It was Brian Ferry.

[Woody Woodward]

We had to do like a split the subtitle for that as well because both their Brian's are spelled different. So when. When Rockford says two of the greatest Brian's, we're like, well, what do we do?

[Johnny Galvatron]

Well, how do we write which Brian.

[Andy Cortez]

Yeah.

[Johnny Galvatron]

Does. Gets preference? Brian Ferry or Brian Eno?

[Woody Woodward]

Yeah, we don't want to. So we just did like a slash and had both the spellings.

[Johnny Galvatron]

It's an awkward subtitle. There's a lot of politics involved.

[Woody Woodward]

Let's include all the Brian.

[Johnny Galvatron]

And Smashing Pumpkins was another one. I couldn't believe we got over the line because Melancholy and the Infinite Sadness. Man, that default, that was me when I was. When I was 16. What was your 16 year old album?

[Woody Woodward]

Probably early System of a Down.

[Johnny Galvatron]

Oh, no way.

[Woody Woodward]

Yeah, I remember My Phone. That was earlier. My first single I ever bought was Linkin Park, One Step Closer.

[Johnny Galvatron]

Oh, nice. Yeah, My first single was the Cause Were you.

[Andy Cortez]

But singles were never a thing that I think we like did. We're buying on 38.

[Johnny Galvatron]

Okay.

[Andy Cortez]

Were we ever buying albums that were like. Or were you ever going to like a Sam Goody Tim and going like, here's this three dollar thing for just the single or whatever.

[Tim Gettys]

I bought Lincoln park singles and Eminem

[Andy Cortez]

singles because I only ever saw albums. I don't think we had that where I was at.

[Woody Woodward]

Singles were a huge thing Back home they had like the top 10 albums or whatever and they're like, they'd have all the top 10 singles and that kind of stuff.

[Andy Cortez]

Yeah.

[Woody Woodward]

And they were like back home they're like $10 more for a single.

[Johnny Galvatron]

Yeah, yeah. And you would get a shitty remix with it.

[Andy Cortez]

Yeah, yeah.

[Woody Woodward]

It was like, it was like here's

[Tim Gettys]

the extended version with the shitty dance.

[Woody Woodward]

Exactly. It was like main track, shitty extended dance, like instrumental. Yeah.

[Johnny Galvatron]

Acapella chipmunk version.

[Woody Woodward]

Yeah, yeah.

[Johnny Galvatron]

I remember having the Chipmunk Macarena

[Andy Cortez]

and

[Woody Woodward]

you're like, you're like man, this superior to the original. Imagine you sitting down with like a whiskey. Like, like. Yes. Yes.

[Tim Gettys]

One. One of the gameplay mechanics we saw was a kissing scene between two characters where we got to, to play and control the tongues inside the mouth. Can you talk about that?

[Johnny Galvatron]

Yeah, we, we. Most of the game's budget was spent on the tongues. Yeah, it's, it's two tongues wrestling, which it's another interesting way to use like the medium to use, to use interaction to show like teenage awkwardness and embarrassment. And it's these two colossal tongues that are, that are fighting each other. And I, I, I, it's, it's vile. We spent so much time on the particle systems for like ropes of saliva and spit flying out. And then we were like, could we put braces on it? We did. And then, and then I've seen three different reactions to how it people play it. One is just there's a button that comes up at like three or four seconds too late that says that's enough. And you click, that's enough. And usually immediately people are like, that is enough. And they, they get out. And then I saw someone brought at summer Games fest brought in maybe their 12 year old kid to play it and then the tongues come up and they went sideways on the sticks. The tongues just went and never touched. They're like, ew, no, the tongues must never touch. And then Tim Schaefer came and played and he played it for like 45 minutes. Tim shaped, that's all. He did not get off the, he literally logged in. He was just like a journalist can be on the phone.

[Andy Cortez]

Get our engineers on the phone. Yeah, I, that is one thing that I noticed with my time with it was the, the love and attention put into silly shit like that.

[Woody Woodward]

Yeah.

[Andy Cortez]

As well as how much there's going on like in the background with the physics systems.

[Johnny Galvatron]

Oh sure.

[Andy Cortez]

There's like so many great rigid body gravitation things exploding.

[Johnny Galvatron]

Yeah.

[Andy Cortez]

I'm throwing toilet paper and it. And it falls and tracks exactly the

[Johnny Galvatron]

way you would want it to. I'm so glad that you noticed.

[Andy Cortez]

And it remind, and it reminds me of like that first time that this is a different sort of scale. But like, just stick with me here. The first time when we were playing the Last of Us two.

[Woody Woodward]

Very similar.

[Andy Cortez]

Very similar.

[Johnny Galvatron]

Yeah.

[Andy Cortez]

And we were dealing with. You are playing as Ellie with the rope system.

[Johnny Galvatron]

Oh.

[Andy Cortez]

And you are grabbing the rope and you could wrap it around this and it'll. And it would fall and it would, you know, wrap around certain objects and everything. All the collisions was like so perfect. And that's when I'm playing, I'm like, damn. There's like, none of this is half assed.

[Johnny Galvatron]

Yeah.

[Andy Cortez]

This takes a lot of like engineering and work. And was there ever a moment you're like, like, guys, it's not worth it. Or you're like, no, we need that.

[Johnny Galvatron]

No, we need to be perfect ourselves. We just want to ruin ourselves. And, and yes, we say that every day. But you were suddenly you were in a bunch of artists and it's always, there's always one artist on the team who goes, yeah, we could, you know, if we did this, we could. This is, this is every interaction that I have with Roman Maximission, who's the technical director and the hero of, of

[Andy Cortez]

making props to them. Amazing.

[Johnny Galvatron]

Yeah, yeah. Of. Of making mixtape. And I'd be like, can we have the. All the characters fly through the air and that they have like a different movement system when they get close to the ground so that they can veer off and then have a separate movement system when they're running. And then I need a separate movement system in these wind tunnels. And he goes, no, that's ridiculous. I go, that's fair enough. Then he'll sit there for a bit. He is.

[Woody Woodward]

It was.

[Johnny Galvatron]

Well, if we did this.

[Woody Woodward]

No, it was fully that name of like, no, no, no.

[Johnny Galvatron]

I'll try it for 10 minutes. And then four hours later he comes to you and it's done. It's like. And that's, that's like playing down how brilliant and what a genius Rahman is. But it was always like that. But we were always trying to meet and match the brilliance of the song. So, you know, and also trying to like, if we're trying to show teenage freedom, there's a, there's a scene in the game where you fly. It's in the trailers. You fly through these fields and you're kind of flipping and stuff. And you want this to represent teenage freedom. The first time that you're kind of off the chain, and the first time you experience that freedom with your friends, and it has to be this. There it is. There she goes.

[Andy Cortez]

Great B roll from Barrett.

[Johnny Galvatron]

Thank you so much. And you can do all these things. Like, there's this beautiful movement system of when they're kind of gliding through the fields, and then they fly up through the air. And then we have a separate movement system for how they should turn and how they should be, like. Because it has to be ballet. And then if you bring them up like this, how I wanted them, then they come back down at the wrong angle, so you have to have a different angle come down, and then you have. Have to have a separate system that shears them off so that they can kind of run down onto the ground and seamlessly land and stuff. And then we just chucked in a massive fucking saxophone solo.

[Woody Woodward]

Yes, we did.

[Tim Gettys]

Always makes things better.

[Johnny Galvatron]

And that's once you've got the movement right, that sack solo, really.

[Tim Gettys]

So how much of this is the licensed mixtapes stuff and how much of this is original music? And who made the original music?

[Johnny Galvatron]

Me and Josh Abrahams made the original music. And we will use a lot of stuff that we learned from the Alpha escape of how to blend in and out of things. Most of it is licensed music.

[Woody Woodward]

There's, like, we say, what, 70, 30.

[Johnny Galvatron]

Yeah, yeah, yeah.

[Woody Woodward]

70, 37.

[Johnny Galvatron]

There's, like, 28 tracks. You know, it's like, very. It's too. It's too big. Too many tracks.

[Woody Woodward]

It's like four vinyl.

[Johnny Galvatron]

How are we gonna release the soundtrack? But, yeah, just like, trying to have, you know, give every song what it needed, and just being, like, treating those things like these precious, like, reliloquies, like these really sacred kind of religious objects, and trying to. That was. That was the hardest and scariest part. But, I think, yeah, extremely satisfying. And we always felt privileged to work on that music.

[Woody Woodward]

That's. I mean, that helped us get a lot of the tracks as well. Like, when you go. When you go to, like, Devo or whatever, and you're like, hey, we want to. Oh, there's this little band called Devo. You might have heard of them.

[Johnny Galvatron]

Love them.

[Woody Woodward]

It's just like your shirt, actually. And you say to them, like, hey, we want to include your track in the game. And it's not just, like, a background track that plays, like, the main character looks you in the eyes and says. Talks about how dope the track is. And they're like, well, yeah, of course. Yeah, like, you know? Yeah. So it was. I mean, it helped us.

[Andy Cortez]

Yeah.

[Johnny Galvatron]

Yeah.

[Tim Gettys]

The one thing that I really loved about Artful Escape and from my experience with mixtape, I'm loving as well, is the kind of restraint of gameplay, not having to be like every single second you're doing something.

[Johnny Galvatron]

Yeah.

[Tim Gettys]

It's like you. The input is only there to reward you with something fun. The animations that Andy's talking about or like, just like these. These interesting gameplay moments that might only happen once in the game or maybe twice or whatever it is. How do you find that balance of not over gamifying this thing that is such a narrative where you can call this thing so many things. Video games can be anything. Interactive movies, this, that. Whatever. This is very clearly a video game. Like, if you do not interact with this, you will not get the story.

[Andy Cortez]

Yeah.

[Tim Gettys]

How do you find that line?

[Johnny Galvatron]

I think we have this kind of theory is that the game will tell you what it needs.

[Andy Cortez]

Needs.

[Johnny Galvatron]

And if you have a group of people sitting there on the couches playing the game and you all hear the same thing, then you know you're all work, you're all in sync. You're all becoming like the machine working on this. This goal. So you. You would sit there and you would know.

[Andy Cortez]

No in sync on the album, by the way.

[Johnny Galvatron]

No.

[Andy Cortez]

Unfortunate.

[Johnny Galvatron]

A little late. We could try and squeeze it in. I'll call. I will call Adam Perna.

[Woody Woodward]

I would have gone Backstreet Boys over and sick anyway.

[Johnny Galvatron]

Would you? Yeah, absolutely.

[Woody Woodward]

Absolutely.

[Johnny Galvatron]

Yeah. So what are we talking about?

[Woody Woodward]

The gameplay, how the thing and people

[Johnny Galvatron]

ask you too, is like, do you have to make. Do you have to kill darlings? Did you have to cut anything? That was really hard. And when the game tells you it's too long, you know, when things are too short or they need to be fleshed out, the game will tell you. So I think it's more a thing of, like, not, like, going into each song saying, what does this need? And how are we going to weigh things up? It's just by, like, getting it on the screen, getting our, like, as much of it happening as we can. And then it starts telling you things. It starts telling you where we need the action and how the pacing's right and where we need the dialogue to hit and how things needed to be edited. It's always going to tell you what it needs to be. And I think one of the cool things about making a game like this and having, you know, a nice publisher deal and stuff is like, no one's being like, this needs to be padded to 10 hours or this needs to come in under an hour.

[Woody Woodward]

Put a fucking battle pass in.

[Johnny Galvatron]

Put a battle pass in. Have some Michael. Some Michael transactions.

[Woody Woodward]

Michael transactions.

[Johnny Galvatron]

Have you met him yet? And so I love that we're allowed to just be like this game is as long as it needs to be, to be awesome. So I think the game will tell you.

[Andy Cortez]

I really, really was immediately impressed by the quality of the writing and the quality of the voice acting. And you alluded to a story about getting some of the voice actors. When we were out there. You told me a story about how you got the voice actors to play the game. I would love for you to share that with. With the class.

[Johnny Galvatron]

Yeah, sure.

[Woody Woodward]

It was special.

[Johnny Galvatron]

It was. It was really amazing because you work on these things, especially with voice actors. They might not see it for a year. So we were working. We. I. I loved working with all the people, all the team. The voice cast is amazing.

[Andy Cortez]

They're so good. God damn, they're so good.

[Johnny Galvatron]

They're really good. And it was just like hundreds of auditions that we went through. We recorded a couple of different Rockfords. We recorded a couple of different Cassandras. And it needs to be this, you know, for Rockford, there needs to be this mix of where she can talk to camera like an MTV presenter, but then she has to have these emotional big scenes with her friends. It's very hard to find the right person who can do that. And then with Slater, is.

[Andy Cortez]

Is.

[Johnny Galvatron]

Slater has to be like really Bill and Ted and Keanu, but if he's a caricature, then he's not going to be what he needs to be as. As the character. So it was, like, amazing working with these people who I don't think had worked in video games before. And anyway, we got to show them. We got to show them the finished game. So they come to Annapurna. Have you been there? No, it's. You gotta go, Nick. We'll take it there. It's nuts.

[Woody Woodward]

Amazing.

[Johnny Galvatron]

It's like this crazy movie studio. So we. We were playing it on this enormous screen and they played through the whole game and they were sitting there at the end and they're just like bawling, like crying in the chairs. And Jess, who plays Cassandra, was there and she's sitting. She's sitting there like closed eyes, like, hands on the chair for, like 10 minutes.

[Woody Woodward]

I was like, sitting there. Is she asleep? Is she like. I was like, is she bored? Did she hate it?

[Johnny Galvatron]

Okay. And I came. It came and said it. And I touched her Arm. I'm like, is it. Are you okay? And in this bawling voice, she goes, I thought it was just going to be some shitty video game. Who the fuck are you?

[Woody Woodward]

You fucked me up, man.

[Johnny Galvatron]

Yeah, yeah.

[Woody Woodward]

Just like single tears.

[Johnny Galvatron]

Yeah. And it was just. It's always been a joy to show people this game because it's like, it is very smile inducing. And I think I'm so glad that you like the writing. I'm stoked. I think a lot of our influences is kind of is. Comes from hangout films, which are like Dazed and Confused and there's a whole genre of hangout films. You should watch them. It's kind of like about more about dialogue and character. Obviously. Video games are usually quite Plot.

[Andy Cortez]

Slice of life.

[Woody Woodward]

Slice of life, exactly.

[Johnny Galvatron]

And so the pacing of those sort of things is like. If you can make those moments where they're just hanging out and talking to each other as exhilarating as when they're flying down the hill on a shopping trolley, then you've kind of. You've found your area. I think like one of my favorite dialogue bits is just Rockford has this long barrage about how loud motorcycles are not as good as people with a microphone. And that people with loud motorcycles should not be so loud because the audience is unaware.

[Andy Cortez]

They haven't earned it.

[Woody Woodward]

That's it.

[Andy Cortez]

Yeah.

[Johnny Galvatron]

They haven't earned it.

[Andy Cortez]

It's so fucking good.

[Woody Woodward]

You bought loudness. Yeah.

[Johnny Galvatron]

You bought loudness where loudness should be earned.

[Tim Gettys]

It's fucking profound, man.

[Johnny Galvatron]

And I love. I love that you get to write these kind of hangout moments. And, you know, each time you come back from a. From a song, there's different interactions with the characters. They have different conversations. And such a fun way to explore characters too, because writing dialogue for these characters is like a joy. They will not. You might hear writers say, this is like they would. Don't shut up. They just always have opinions on things as those kind of teenagers who really judge people on what they listen to. And I was like that. Woody's still like that now.

[Woody Woodward]

Actually, it is.

[Andy Cortez]

That was a very shout out to Johnny for that move. A very Nick Scarpino move to like, I'm gonna make fun of somebody at the desk right now.

[Tim Gettys]

See the reaction?

[Woody Woodward]

That wasn't pretty.

[Johnny Galvatron]

I gave him a real good run before, so I gotta give him a couple.

[Woody Woodward]

They gotta be the sandwich.

[Andy Cortez]

Yeah, yeah, yeah. I was just. I don't know, I. I was just really blown away by the. The quality of the writing. And I think one of the first Things I told you was. And one of the things. First thing that I told Barrett was I think that it's always noticeable at how. How I think the games industry has like a lack of really awesome quality writing. And it's rarer to get that nowadays, I feel. And like when I played Citizen Sleeper 1 and 2 and I'm like, oh man, I wish I could clone you and just have you write for other stuff. I. I wish I could clone Johnny Galvatron.

[Tim Gettys]

I'm saying it for you.

[Andy Cortez]

And have that dialogue in a lot of other IP and stuff. Just because there was just such a great level of. With that never. It was never cheesy and over. Like, if anything, this is like the most confident game I've played in a long time. Like, it is so it knows what it wants to be and it. It. It's crushing it. Yeah.

[Johnny Galvatron]

Yeah.

[Andy Cortez]

Like, I really love the experience.

[Johnny Galvatron]

Thanks so much. I do. I do feel like it is an extremely confident game. I think that's a great way to talk about it. It really knows what it is. It comes out of the gate hard.

[Andy Cortez]

Yeah.

[Johnny Galvatron]

I think like, it is very stylistically confident. And yeah, that whole mixtape as well is also influencing the visual style because I really love that we have like all these different weird visual styles that come in through the different songs and we use like back, like. Like recorded back plates from Seinfeld when people are driving and stuff like that.

[Woody Woodward]

Yeah.

[Johnny Galvatron]

Or using. We use like all these old ABC footage which is like Australia's pbs.

[Andy Cortez]

It's so good.

[Johnny Galvatron]

And we. We got it all for like really cheap.

[Andy Cortez]

They were like.

[Johnny Galvatron]

They were like. We've never found footage for a video.

[Woody Woodward]

It was great. We got like assigned a research and they went into like their archives. Like all this footage for it was rad.

[Tim Gettys]

I love like even the very start of this game. I think it like explains its mission statement so well of we're creating the mixtape. It's our final day. But defining we are tying music to memories. And it's just like that concept is just. That's how music works. You know, you. You tie nostalgia to hearing music and all of that. And like designing a game around that I think is. Is so special. But it's the loving care put into every. Around that song as we've been talking about. But that stock footage, there's like scenes early in the the game that you just see like a lot of flashes of like quote unquote random stuff. But it's not random. Like you. It feels so designed and like the. The footage Being used is telling such a great story. And it's just like we talk about vibes so much. The vibes are immaculate. It's just like every piece of the art is coming together in a way to make it something more. And I. I can't believe I'm this hyped about stock footage in a video game, but it's like there is. There is something about the decisions that make it feel like, oh, wow, this is special.

[Johnny Galvatron]

Do you know what I really love when walking through the game?

[Woody Woodward]

Thank you.

[Johnny Galvatron]

Because is. Thank you.

[Woody Woodward]

Despite our looks, we did think about the video game. Yeah. Yeah, it was thought that went into it.

[Johnny Galvatron]

Even though I do look like a wrestler, that someone said in the comments earlier. Who is this guy?

[Woody Woodward]

Wrestler?

[Johnny Galvatron]

Do you know what? I'll tell you something that is. Is really special that maybe only people in video games get to experience, but I'll tell you something that I really love is that video game making is very iterative. And when I say that it's. Woody and I and the team, we might work on a single level for a year. You know what I mean? And, like, it's not just someone comes up with a level and then everyone sprinkles stuff on. It's like everyone's in there working. Do you know what I mean? And then suddenly you get to that last day and you're doing your last playthrough for certification. And I walk out into the field, and I see Harry in those trees. I know Harry put that over there. And then I know that Woody harassed Mikey to get those trees better. Lod details down there.

[Woody Woodward]

And I did do that.

[Johnny Galvatron]

And I see Woody in there. And then I see.

[Woody Woodward]

Thank you, Mikey.

[Johnny Galvatron]

You know, and then these light beams come through, and I know that Mikey added them. And to just walk through and see your friends and your colleagues there, like, cast forever. Very cool. Very cool.

[Tim Gettys]

The dude that just said that wrote this game. You know what I mean? That was some dope. This game has dope riding like that from the dome.

[Andy Cortez]

When I see a blue Prius, I'm like, that's Tim.

[Johnny Galvatron]

Yeah.

[Woody Woodward]

But I'm seeing him everywhere.

[Johnny Galvatron]

Yeah. But if that. Yeah. If you ever get to work on a game, that is really one of the. If he had a good experienced it, that is like. That is really one of the joys to see all your friends there, like, frozen forever. So it's. It's really a joy.

[Woody Woodward]

Eternal monument.

[Johnny Galvatron]

Yeah.

[Tim Gettys]

So how different is this from artful escape? Take that question.

[Woody Woodward]

What was it?

[Johnny Galvatron]

What was the biggest change?

[Woody Woodward]

Woody, you're not going to believe this, but a whole extra dimension.

[Sponsor/Ad Voice]

Whoa.

[Woody Woodward]

I know.

[Johnny Galvatron]

Let me tell you, that extra dimension

[Woody Woodward]

is up, down, left, right, and forward and back. Come on.

[Andy Cortez]

Yeah.

[Johnny Galvatron]

Oh, my God. But do you know what? I. This is kind of me going from artful to. To mixtape is like. When I was making Artful, I'm like, well, artful is this enormous tracking shot. You know, it's a dolly tracking shot and where we would make these things for months and then you would run past them in three.

[Woody Woodward]

The whole game's left to right at break.

[Johnny Galvatron]

Yeah. Hey, there it is. Yeah, you like do that.

[Woody Woodward]

Yeah. And you just blast past it and so.

[Johnny Galvatron]

See that thing? That took months.

[Woody Woodward]

Sorry. It's gone.

[Johnny Galvatron]

It's gone.

[Woody Woodward]

It's a good game.

[Johnny Galvatron]

It looks. It still looks so pretty. So I would collect all these tracking shots from all these different films. So you would have like these Wes Anderson tracking shots or like there's like some really good Spielberg wanting tracking shots. And also like, you know, the classics. Scorsese has beautiful, like long tracking shots. So I collected them and then I'd got really, really into cinematography. Hard. And then by the time this game started, I'm like, oh, my God, the camera can turn around. I'm so excited. And so it was like I got to like just be a, you know, a dop and learn on the job. As I was saying, because things are so iterative. I can work on a camera shot for a year and make sure that I get better and get it right and get the scenes right. So it was. I had so much fun doing that. So that was one of the big jumps. And then what else?

[Woody Woodward]

What else?

[Johnny Galvatron]

What did we learn from Artful on the way.

[Woody Woodward]

I think our pacing from Artful really helped us with this because, like, like, obviously it's set to music and so we don't want to just loop the same song for 20 minutes, you know what I mean? And stuff like that. So the pacing and having, you know, the gameplay serving. The serving not overstaying its welcome. Enough gameplay for those sections, levels lasting just long enough, that kind of thing. Like, what does the game tell you?

[Johnny Galvatron]

Yeah, make it shorter, make it longer.

[Woody Woodward]

Yeah. I mean, the tagline for the game is nothing but the hits. And I think that's without pacing. We really nailed it. Like, it's. There's no. There's no fluff off. It's just a top to bottom. That's the game.

[Johnny Galvatron]

Just a hit.

[Woody Woodward]

Yeah.

[Tim Gettys]

We got a couple super chats I want to get to here. Yeah, Science dog. Official just says, showing some love for the Artful Escape. It was a transcendent experience that blew my tiny mind.

[Woody Woodward]

Sick. Thank you.

[Johnny Galvatron]

Thank you so much.

[Tim Gettys]

Only special feature says, I adore Artful Escape. I'm so hyped for mixtape. And then Mr. Hawk says, My favorite fun fact about Artful Escape is that the band McFly loved the art in it so much, they hired Arden Beckworth to design the art for their album Power to Play.

[Johnny Galvatron]

That's really true. And Arden was like, can I have some time off to work on this? And we were like, no, no, we did.

[Woody Woodward]

We said yes.

[Johnny Galvatron]

We said yes. There, it's on the album. It looks great.

[Tim Gettys]

Ashes writes in and says, I just want to know, what does Nick think of that gorgeous mullet? I loved Artful Escape. I can't wait for mixtapes. What did Nick. Didn't you meet Nick Scarpino?

[Woody Woodward]

I did, briefly. Didn't say words.

[Tim Gettys]

He must have commented on.

[Woody Woodward]

Didn't say a word.

[Andy Cortez]

He'll say when you leave, he'll probably be like, that was awesome. That was a good moment.

[Johnny Galvatron]

It's a great. You have a. It's a great one. It's a really great mullet.

[Woody Woodward]

Best part. Grow up myself.

[Johnny Galvatron]

Sick man. Sick man.

[Andy Cortez]

Selftaught.

[Woody Woodward]

Yeah, selftaught.

[Tim Gettys]

But in terms of mixtapes kind of tone versus Artful Escape, like, do you think that this is going to reach a. A wider audience?

[Johnny Galvatron]

I think it's an. This is my business answer is I think it's an easier game to sell. Is that. Is that a terrible answer? I think that the. Sometimes I think maybe Artful Escape is this weird thing. It's not really a 2D platformer. That's not what it is, but it looks like one. So I think there's something hard in the sale of that, of Artful. Whereas, I think, you know, we've become a better team. We always push ourselves to get better, and our next game is going to be better again. And that's my answer.

[Woody Woodward]

We're making another game.

[Johnny Galvatron]

Oh, we might. Yeah. Yeah. It's about Cricket.

[Sponsor/Ad Voice]

Wow.

[Tim Gettys]

How would you describe Artful Escape?

[Johnny Galvatron]

No, Cricket. Back to Cricket. Artful Escape, I think is. Well, the difference between Artful Escape and mixtape is like, Artful Escape is very much about making music, and it's very much about the satellite aspects around people's creative Personas and, like, how they can elevate your core medium, which I think is a really fun thing. I love that kind of, like, outside of. Of Bowie's music, what did Bowie do to make himself Interesting. You know, when he made stage Personas, he would go to restaurants in limousines, even though he was sleeping on people's couches and had no money. And that was part of how he grew as an artist and grew his image. And I kind of really love that stuff. And then mixtape, coming across the mixtape, it's about the listener. It's about what does music mean to the listener, how does it affect your life? How does it make you feel? And then being able to convey that feeling through the medium. And what I think is cool is like, you know, you have all these clubs. This is. I'm golf. This is a golf metaphor.

[Woody Woodward]

Golf analogy.

[Johnny Galvatron]

Golf analogy. I love golf. You have. Have you ever golf?

[Andy Cortez]

Oh, yeah, I love golf.

[Woody Woodward]

One times golf.

[Johnny Galvatron]

You have, like your cinematic club and your. Your music club and your narrative club, and then you also have your mechanic club. You know what I mean? And if you. If you can use them all and then have them flow and then you can get all those points, like the narrative and the mechanics and everything to hit those c Nandos in four or five times, you know, within the narrative, within the design, then I think, like, you've struck gold.

[Tim Gettys]

Follow that.

[Andy Cortez]

Well, I was thinking about my. How my brother always makes fun of me because I bought Nike golf clubs at one point, and Nike's no longer doing golf stuff. And so it's like, everybody's like, why did you buy Nike golf clubs? Like, that's such a dorky thing to do because I just like Tiger woods at the time. Embarrassing.

[Johnny Galvatron]

I'm sorry.

[Andy Cortez]

Embarrassing.

[Woody Woodward]

Are they good clubs?

[Johnny Galvatron]

Clubs?

[Andy Cortez]

No. No.

[Johnny Galvatron]

What kind of cricket bat do you have?

[Woody Woodward]

Me? Yeah. I have a kookaburra cricket bat. How Australian.

[Johnny Galvatron]

Sick. You guys know much about cricket?

[Tim Gettys]

No.

[Andy Cortez]

No, no.

[Woody Woodward]

Would you like to.

[Tim Gettys]

Third game coming soon. Only special feature says, will there be a physical edition?

[Johnny Galvatron]

Maybe they don't tell us that stuff.

[Woody Woodward]

Maybe they don't say maybe stuff.

[Tim Gettys]

The answer is maybe. Everybody, please.

[Woody Woodward]

I would love one to say maybe.

[Johnny Galvatron]

I would love one as well. We would love one. People ask us about it all the time. I. I just. We just make. I can.

[Woody Woodward]

Maybe.

[Johnny Galvatron]

Yeah. Oh, maybe.

[Tim Gettys]

So we're approaching the end here. Is there anything else that you would want to talk about? Mixtape or cricket or anything?

[Woody Woodward]

We won't talk about cricket because then you have to cancel the rest of your shows for the day because it'll just be. We'll just be rambling for hours.

[Johnny Galvatron]

We really love cricket,

[Woody Woodward]

man.

[Johnny Galvatron]

Love cricket. Me and Woody are the only two people in the video game industry worldwide that Love cricket. And that's why we work together.

[Woody Woodward]

That's the only reason Woody.

[Johnny Galvatron]

Woody had left his previous job. And then we were drinking in the pub one time and I. We were talking about cricket and I was like, do you wanna. Do you wanna work at mine? And he was like, yes. And then we had. Then we. Unfortunately for the stuff, every time the Ashes are on, that's a cricket thing between Australia and England, and we have them on the TVs around the. Around the studio. Anyway, I love cricket. Anything else we should talk about to sell the game? Probably the video game mixtape dot game comes out May 7th.

[Woody Woodward]

It's on everything. We're talking mixtape, game on, like, Instagram, Twitter.

[Johnny Galvatron]

Oh, my gosh.

[Woody Woodward]

Bs. That's Blue Sky Tim.

[Andy Cortez]

That's Blue Sky Tim.

[Tim Gettys]

Yes, it is.

[Woody Woodward]

Yeah. On all the stuff. Devo.com, xbox, PlayStation, Switch, Steam, EGS, Windows for PC. Game Pass.

[Johnny Galvatron]

Game Pass.

[Woody Woodward]

Game Pass. Day one.

[Andy Cortez]

It's one of those that I'm like, I'm just, like, trying to earn. Like, this isn't. This is a genreless video game.

[Johnny Galvatron]

Sick.

[Andy Cortez]

Just buy it and experience it. You will. You will love. It is like, I. You don't have to be. I only play whatever first person I was and I only play this. Andy, don't be dumb.

[Tim Gettys]

Like the first couple.

[Andy Cortez]

Experience it and then, you know, be

[Woody Woodward]

smart like, you will love it.

[Andy Cortez]

Be smart like me.

[Johnny Galvatron]

Yeah. We worked really hard on it.

[Woody Woodward]

Thank you. Please.

[Johnny Galvatron]

We're really proud of it. We think it's really special.

[Woody Woodward]

I'd like to take a holiday.

[Johnny Galvatron]

I. Someone asked me the other day what's like, what are you doing after the game drops? I'm like, I look into the future and all I see is darkness.

[Woody Woodward]

I'm gonna lie down. Yeah.

[Tim Gettys]

Lie down for a. Y' all deserve that. Y' all deserve that. Check out mixtape next week. Of course. We'll be doing our full review next week of the game. I can't wait to play more. I can't wait for y' all to play. It's gonna be a good time. What a pleasure to meet both of you.

[Johnny Galvatron]

Nice to meet you guys. Sorry about Steve Irwin.

[Woody Woodward]

What do you mean?

[Tim Gettys]

Thank you for that chat, Zach.

[Andy Cortez]

Sorry about him.

[Woody Woodward]

Oh, he's sorry about him. Right, right, right. I mean, thanks. He. He lived like he died just on. On the Edge.

[Andy Cortez]

On the Edge.

[Woody Woodward]

Yeah.

[Andy Cortez]

That's the first one that really affected me.

[Tim Gettys]

I mean, honestly, that was the first celebrity worldwide situation, dude.

[Woody Woodward]

I think he gained appreciation after that.

[Tim Gettys]

I.

[Andy Cortez]

You know, I mean, he always had my appreciation.

[Tim Gettys]

Yeah.

[Andy Cortez]

I was always the biggest fan.

[Tim Gettys]

His son's amazing.

[Woody Woodward]

They hunted that daughter, too.

[Tim Gettys]

But his son's dope.

[Johnny Galvatron]

They're good kids.

[Woody Woodward]

Yeah, they hunted that stingray one Dancing

[Tim Gettys]

with the Stars last week.

[Andy Cortez]

Yeah, he got away.

[Woody Woodward]

He was on the road. They were trying to find it.

[Tim Gettys]

I love you all. Goodbye.

[Johnny Galvatron]

Peace.

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