Attack from Mars

get into it um and that's you know i think i think the best players are probably doing all of that

oh for sure i think zeller in that episode talked about you know he checks like the scoop eject you know to see if it is something that will do a dead bounce or whether he can trap up immediately with it i mean there's a lot of uh nuances of games that i think people take for granted on home games that are just like really tuned in you know i'll use attack from mars as an example right i think this is a great game to learn most flipper skills on but That scoop, normally, it shoots down the left flipper, bounces over to the right.

You're good to go.

Not every game is like that.

That way now you know it's like, well, I got 100 mil on this game.

Like, is that a good game? Well, if you're playing Teenage Mutant Ninja Turtles, yeah.

If you're playing, you know, Attack from Mars, probably not.

yeah well i'll tell you what i have you know i've had avengers infinity quest for in a little over five years probably and um there's still one quest that i have not completed which is hawkeye challenge which is You know, if you look at Internet Connected, it's to be believed, which I'm sure it is like point one eight percent of people who have played that game have completed it.

Uh, and I love a Jon Borg, but they all feel sort of same-ish.

Uh, Brian Eddy games all sort of feel the same-ish, like Stranger Things, Attack from Mars, Medieval Madness.

You can feel that, like, that's the same person that designed these games.

Yep.

I thought that was such an interesting way to describe it, and it's a great description because when we listen to some of your music in the next episode, it becomes apparent.

Certainly on games like the ones I really think about, like our Attack from Mars and Medieval Madness, obviously, but even like Safecracker, too, going back through that game and just being like, yeah.

This is like that kind of jazzy like cat burglar type of evocative.

I'm just like, if you were to think of like what the theme of this pinball machine is supposed to be and then the music you create for it, you're like, it is idiomatic.

So a lot of what makes a pinball machine come to life, like I was saying earlier, is the sound package.

And I fully believe that so much of why a shot feels special is to do with the choreography of light and in particular sound.

Some of my favorite examples from your work include the extra ball shot in Attack from Mars.

the replay uh sound with the horns and medieval madness the super jackpot and getaway and uh assault on the vault and safecracker can you describe the psychology of what you're trying to do with the use of sound how you elicit emotional responses in the game through the use of sound and the sort of process with the designers or programmers and how you guys as a team sort of nail those moments?

License.

Number seven, Attack from Mars.

These are games that will never leave the top ten.

Yeah, that's

Medieval Madness.

Cactus Canyon.

Attack from Mars.

What do you think, Erica? Number 10.