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bmaxwell · 1 year ago

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Game of the Year 2023: Not the Top 10

Some best-of categories, with every bit as much pomp and fanfare as The Game Awards!

Best Music:

The Last Spell

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Some other games had some truly memorable moments with their music this year, but none had a soundtrack as consistently great as The Last Spell. Admittedly prog metal is right in my wheelhouse, but god DAMN this game where you move the little guys around the map and blow up little monsters did not need its music to go this hard.

Also great music: Dredge, Diablo IV, Honkai Star Rail, Cosmic Wheel Sisterhood

It’s Not You, it’s Me:

Book of Hours

Sometimes a game seems perfect for me, but for whatever reason I just can't hit my stride with it. Other times I can tell a game is wonderful, but it either asks too much of me or just isn't my style.

This year had quite a few of these, but the honor goes to Book of Hours. It's the follow up to 2018's obtuse-but-cool-vibes game Cultist Simulator. I couldn't get my head around that one. I tried. I read guides. I watched videos. I started over again and again. I put 7 hours into it and finally accepted that whatever seems to be there - and I can tell that there IS something there - I just don't get to savor it. It's like those magic eye pictures. I believe you that there's a sailboat there if you unfocus your eyes the right way, but I've stared at it for 30 minutes and I'm sweaty and irritated and have a slight headache.

Books of Hours played out exactly the same as its predecessor, except this time I refunded the game before it hit two hours played.

Fuck your sailboat.

Runners up: Chants of Sennaar, A Space for the Unbound, Shadow Gambit, Lies of P, Aliens Dark Descent

Old Game of the Year:

Yakuza 6: The Song of Life

Kiryu gets out of prison to find his adopted daughter Haruka is in a coma and she has a TINY BABY named Haruto so Kiryu's gonna just chill and do his own thing HAHA JUST KIDDING he's gonna protect Haruka and protect that baby and find out who attacked her and who Haruto's father is and is Haruka gonna come out of her coma stay tuned and find out in Yakuza 6: The Song of Life!

Runners up: Soul Hackers 2, Tiny Tina’s Wonderland, Tales of Arise

Best Moment or Sequence:

Alan Wake II: The Herald of Darkness

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--- SPOILERS AHEAD ---

2023 had some great moments, none more memorable than this live action sequence in Alan Wake II. The game blends full motion video sequences with gameplay and in-engine cutscenes beautifully. None stands out more than the bizarre section where Alan is again drawn into the television and onto the set of a late night talk show. "This time" the host says "we're going to do what we always do, but instead of talking we'll sing it!" What followed is the best kind of ridiculous, tongue planted firmly in cheek.

--- END SPOILERS ---

Raphael's Final Act in Baldur's Gate III was an impossibly close second on this list. Runners up: Baldur's Gate III: Raphael's Final Act, Diablo IV: Storming the Gates of Hell, Hogwarts Legacy: Sebastian's story arc, Resident Evil 4 Remake: Ringing of the Church bell, The Man who Erased his Name: Kiryu's Ending Best Remake:

Super Mario RPG

I'm a cranky old man about the endless reboots and remakes in TV and film. I hate them. They're money grabs, cashing in our nostalgia and desire for comfort food. With the medium of videogames however, remakes generally make a lot more sense unless you're Naughty Dog. This year had a lot of great remakes. My brain says Resident Evil 4 was the best, but my heart says Super Mario RPG. I played it when it released in 1996 and I remember loving it, but I had lost all details of it. This gave me an excuse to replay it, and it's as magical as I remember. The game's writing and humor are incredibly charming. Mario as the silent protagonist in a world where everyone else can speak is great as he is forced to pantomime everything. The combat is snappy and the timed button presses help spice it up. The play time is short for an RPG, with some fat trimmed off the original release to come in at a dozen hours. All the goodness Nintendo fans know from Paper Mario and the Mario & Luigi RPG's started right here with Square.

Runners up: Resident Evil 4, Dead Space, Like a Dragon: Ishin, We Love Katamari: Reroll, Star Ocean Second Story R, Baiten Kaitos I & II HD Remaster

Looking Forward to It:

Like a Dragon: Infinite Wealth

Holy shit there are a lot of great RPG's coming out next year. But a new Like a Dragon game is at the top of my list. Ryu ga Gotoku has Yakuza 8 to build upon for their second turn based RPG. This one takes place in America and it gives us Ichiban and Kiryu. I can think of nothing I'd rather play.

Runners up: Final Fantasy Rebirth, Granblue Fantasy: Relink, Eiyuden Chronicle: Hundred Heroes, Unicorn Overlord, Metaphor ReFantazio

#goty 2023

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mimik-u · 4 years ago

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“Change Your Mind” Re-watch:

I’ve been dealing with this feeling on and off ever since I started “Diamond Days” earlier this week, but dang, I’m a little sad that I’ve reached the end of the show again. Of course, I’m excited to visit the movie again and see Future for the first time (!!!), but this episode above all really marks the end of an era. But things end and things change.

That’s the thesis of this episode anyway. And really, the nature of this beautiful show. :’)

Steven’s dream sequence is so haunting, both in terms of it explicitly showing us how Blue Diamond is currently recapitulating the very same cycles which pushed Pink away by showing us such a similar flashback from the past, but also by dredging up the horror of Pink’s memories. The idea that Steven’s gem still has access to some of his mother��s memories is used to its most visceral effect here, in which we get a nightmare heightened lens of how miserable she was, and often times, scared.

When the Diamonds stretched out their grieving hands through the cosmos and towards the world their youngest member loved, how did Rose feel to at once get a confirmation that she had been loved? Loved so powerfully that the Diamonds would try to destroy an entire planet to exact their revenge, and yet, at the same time, loved so terribly that they would never think twice about doing so, or that it took this for them to ever show it?

“This... isn’t normal. How many times did you lock her in here? How many times did you make her cry?” / “I didn’t... I... And I’m doing it again, aren’t I?” God, this exchange always undoes me. Not only is it Steven calling Blue out, but in a way, it’s him standing up for his mother, realizing what misery the Diamonds put her through and putting a name on it for Blue to recognize, contend with, and finally, accept. Blue tries to defend herself at first, but then, in the end, can’t. Because there’s no defense. There’s no excuse. And to horribly mangle a quote from Legend of Korra, by reaching that lowest point, Blue Diamond finally becomes open to the possibility of change.

It’s always so evocative to me that she collapses next to the tower window that’s at her eye level. Never explicitly stated, I think it really is implied here that Yellow and Blue have seen their fair share of this tower before, too, their trespasses of decorum excised out of them by White. In return, they tried to do the same to Pink. Cycles and cycles and cycles.

Gsleidjsneioeis, it never fails to make me laugh that Yellow is just sitting in the darkness, straddling her throne, waiting for Blue. Emo ass. I love her.

The Diamonds both look so shocked when Blue slaps Yellow’s hand away, as though neither of them can fathom, process, and believe what just happened. And yet, really, this is the climax to the schism between them that we’ve known since “That Will Be All.” They love each other—they loved Pink—but they have differed, fundamentally, on how to grapple with the pain of loving someone and losing her and existing from then on.

“When we thought Pink was shattered, when she abandoned us, I alone was there for you, and you would use your power against ME?” GO OFF, PATTI LUPONE EIEOSJSA. But this line gets me, too. Jesus. Yellow loves Blue so much.

“Didn’t we hurt Pink? She was suffering in silence for ages, just like our gems, just like me. And I know you’re suffering in silence, too.” HHHHHHH, AND THIS LINE. I think it’s significant because it’s Blue making a move we’ve rarely seen from her before—empathy. Her whole complex is that she’s been so lost in her own emotions that she forces them on everyone else, but here she does something monumental; not only does she acknowledge her own pain, but she uses it to recognize that others have been hurting, too. She and Yellow hurt Pink. (She makes herself and Yellow the agents of the action, therefore not evading the blame.) And so many of their gems have been hurt, too. Yellow has been hurting.

In her vulnerable expression that follows, it’s clear to the audience that Yellow knows her fellow Diamond’s words to be true, but she’s not ready to accept their veracity, to look inwards at the heart of her own misery. Also, help. I’m only 9 minutes into the episode.

“Does this look perfect to you?” And Yellow’s anger is stopped in its tracks. She looks immediately to Blue, literally smoking on the ground from the force of her attack. A fragment of palace crumbles emptily away. And this is the crux of the Homeworld Empire. It demands every gem, from the Diamonds downward, to sacrifice in the name of of perfection. But they’ve placed too much of an emphasis on appearance, numbers, quantity, and power, never interrogating the consequences that pursuing these ‘impressive’ entities bring: misery, hopelessness, despair.

“Stop... stop it, Blue. Stop using your power on me.” / “I’m not.” Hhhhhhhhh, I’m tender. And then, when Blue Diamond sweeps over to hold Yellow’s head?????? This is what being a Bellow Diamond fan is all about, okay rieososossnjaaj.

“You’ve made a grave mistake. Go to your rooms!” / “Uh, which rooms should we go to?” GJKHDFVHJNJJ. But yeah, White has definitely used the tower on Blue and Yellow b4.

Bismuuuuth, Lapis, Peri!!! God, I love Lapis’s outfit so much.

“Yellow and I will keep White distracted.” / Just go! Go! Hurry! She’s getting up!” Blue and Yellow know that in making this choice, they’ll face severe consequences, but still initially make the choice anyway.

And yet, Steven doesn’t let them make that choice. He doesn’t run away. Because he and this show fundamentally believe that change is effected through communication.

I still have thirty minutes of this episode left to go oskeodjsnsnsk, but now I need to symbolically talk about the Diamond mecha. It’s very on point that White’s ship can’t function if the other parts aren’t cooperating!!

The Diamonds finally expressing their vulnerabilities to the blankly staring ship is just so sad. They’re finally doing the emotional work that they’ve been neglecting for thousands upon thousands of years, and they’re almost literally meeting a wall.

“We Diamonds might be hard, but we’re also brittle.” / “I know my purpose isn’t to be happy.” Hhhhhhhhhh, these lines. The rigidity of the Diamond Authority has forced Yellow and Blue to become hard, to be unhappy. They, like all their gems, are suffering beneath the strain. Starting from the way it literally drains a planet of resources, this empire was never sustainable.

Cries bc the Diamonds are holding hands, AND THEN CRIES BECAUSE THEY’VE BEEN VIOLENTLY AND PAINFULLY PUPPETEERED.

THE FUSING MONTAGE!!! EKSSKSJ, I love how when he goes to fuse with Pearl, he does a few ballerina moves. AND I LOVE HOW 2.0 IS UNREPENTANTLY BRITISH. IT’S SO FJNNY AND RIGHT.

“AH! Steven, we fused!” She’s so happy!!!!!!!!!! Hhhh!!!!!

“I’m here. I love you.” Steven says this before fusing with Garnet, and there’s nothing else that could have ever been so fitting for a fusion who prides herself on being here and being made, so beautifully and entirely, of love.

Sunstone always looks and sounds like they’re two seconds away from breaking the 4th wall on a Sunny D commercial from the 1990s, and that’s amazing.

OBSIDIAAAAAAAAAANNNNNNNNNN. Everything about them is FUCKING EPIC. (Also, if you haven’t listened to the S5 soundtrack yet, you need to go listen to Obsidian’s track without background noises!!!!!!! It’s so motivating! I listen to it when I’m studying sometimes!)

I’m still soft about Bismuth giving Connie her own sword. Let them b sword buddies 2k20.

BIG FYCKING LAVA SWORD!!!!

The animation on this episode is absolutely insane. God, the Crewniverse did so good.

“Poor Yellow. Her impurities absorb all the blue in her light. She’s so strong, but so weak when it comes to Blue.” 😭😭😭 What do you mean I’m still emotional over the fact that Yellow Diamond’s one perceived weakness is Blue? Hahahaha.

“Ah, and Blue. Her impurities soak up all the warmth in her spectrum. She thinks she needs you, Pink.” 😭😭😭 She needs Pink to be warm.

“But you’re a part of me, the part I always have to repress.” White doesn’t yet realize it, but this is actually her revealing her own flaw. Not only does she repress her love for Pink, but she represses her own sense of pinkness, too. So cerebral and so detached, she’s allowed herself to exist for these past 6,000+ years in the gaping maw without Pink as a being who has subjugated the entirety of her emotional expression. Just as Blue and Yellow are equals and opposites, so too, were Pink and White.

“Insecure, dependent, obsessed.” God. Another thing about White Diamond’s powers in relation to Pink is that White has the capacity to know a gem’s thoughts once she possesses them, whereas Pink was able to relate and empathize with their emotions. And indeed, that’s how Steven came to know and help the Gems’ problems over the course of the entirety of this show—through empathy, relation, compassion, and understandings, concepts so foreign to White Diamond. Simply alien.

POV: You’re Connie Maheswaran, and you have to fight a possessed bastardization of the Gem who once lovingly taught you everything you know about how to wield a sword.

White Diamond so simply and so precisely plucking Steven’s gem out of his stomach is the single most terrifying visual on this show. Jfc.

“SHE’S GONE.” The animus of the Pink Diamond gem prmordially screams the truth that White Diamond refuses to accept. Pink is gone. There’s no undoing death. There’s no separation from gem and body. There is only, just as there has always been for fourteen years, Steven.

He is not, and never will he ever be, his mother.

Oh, my God. This show.

And just as White Diamond parting Steven from his gem is the scariest moment in the show, Steven reuniting with him is the most transcendent. He laughs. He hugs himself. He dances. Because Steven Universe is entirely his own being.

And he loves himself. That is the crucial part. That is the beginning and the end and the resolution. Oh, my GOD. This show.

“I am a child. What’s your excuse?” KWIDIDOSJSKSKSISOSMA, GET HER.

Steven walking over to comfort Pink Pearl, even though he doesn’t know her, even though the only iteration he has seen of her has been her lobotomized version—forbidding and detached—is so tender.

WISOSJSJS, I know this is emotionally deep and indicative of just how ingrained their psychological complexes are that they don’t know how to deal with vulnerable expressions of emotion, but White, Yellow, and Blue being so dramatic about White blushing is honestly hilarious.

Sadie singing “Let Me Drive My Van into Your Heart” is so good, but what’s even better is that two second shot of Greg blushing listening to his song being sung. ;-;

Oh! Oh! And Barb is in the audience! Character development! Growth!

“No more hiding! No more running! No more Diamond Authority!” KWOWOEJDKDOSJSJSISSJSJ.

Lion padding up to Lars in a silent recognition that they’re the same ;-;-;-;

I think Sadie and Lars reuniting with such drastically different appearances and mindsets is simply just one of the coolest ways this show has come full circle. This show’s about everyone changing. Look at these two. Look at where they started, and now, where they’ve begun again.

Genuinely crying at the last few shots of the show again. Oh, my GOD. The pure, unmitigated joy. Nephrite and Steven. Bismuth and Biggs. Garnet and Pearl. Jasper and Amethyst. The Diamonds.

This show really is about love and forgiveness and healing, y’all. 😭😭😭😭

AND THEN THEY COMPLETE THE SHOT FROM THE INTRO. I AM UNWELL. IT’S 8AM.

This show, in every sense of the word, is a miracle.

Thank you, Crewniverse for this comet of epic proportions.

#steven universe #blue diamond #yellow diamond #bellow diamond #white diamond #pink diamond #garnet #Pearl #amethyst #connie maheswaran #s: steven universe #mimiku #long post #I am EMOTIONAL

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aion-rsa · 5 years ago

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Hamilton: Ranking Every Song from the Soundtrack

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Imagine the experience of being one of the first individuals to see Lin-Manuel Miranda’s now-classic Hamilton: An American Musical live.

The first thing you notice is the spartan, largely empty stage. Then as Leslie Odom Jr. takes the stage as Aaron Burr followed by Miranda’s Hamilton, you realize that this production about America’s founding fathers is made up almost exclusively of People of Color. That’s a lot to take in from the start. At a certain point, however, you’re bound to realize that the play is about 40 minutes in and The. Music. Has. Not. Stopped.

In addition to its many ingenious quirks and hooks, Hamilton is truly a musical musical. Miranda’s book and lyrics about one of the country’s most colorful and impressive founders has a lot of ground to cover. And it does so at a musical sprint with almost no expository time-wasting in-between.

As such, the Hamilton soundtrack is a staggeringly impressive piece of recent culture. At 46 tracks spread out over nearly two and a half hours, this album closely replicates the experience of a show most could never get a ticket to live. A passionate, thriving Hamilton fandom rose up out of that soundtrack and it continues through to this day.

Now, with Hamilton about to be more accessible than ever by joining Disney+, we decided to rank all 46 of those tracks.

46. Hurricane

The hurricane that ravaged Alexander Hamilton’s Caribbean island home of St. Croix was a crucial part of his life and led to him securing passage to the United States. But the song “Hurricane” uses the storm late in the play as a tortured metaphor for his turbulent public life. It’s undoubtedly the least energetic and weakest full song on the Hamilton soundtrack.

45. Farmer Refuted

“Farmer Refuted” does well to capture a young Hamilton’s rhetorical brilliance early on in the play but doesn’t hold up well against other, more fully crafted tunes. Hercules Mulligan mumbling “tear this dude apart” is certainly a soundtrack highlight though.

44. The Story of Tonight (Reprise)

What would any Broadway musical soundtrack be without a reprise or two? “The Story of Tonight (Reprise)” is certainly fun. But, ultimately, tales of Hamilton’s legendary horniness would have been better suited with a full song.

43. Schuyler Defeated

Just about every line of dialogue in Hamilton is sung… including heavily expository moments like Burr defeating Hamilton’s father-in-law in a local election. The subject matter and lack of true musical gusto makes “Schuyler Defeated” one of the least essential tracks in the show.

42. We Know

It’s a testament to how strong the Hamilton soundtrack is that a song like “We Know” could appear this low on the list. This account of Jefferson and company informing Hamilton of what they know is quite good; it just pales in comparison to the song in which they uncover Hamilton’s misdeeds.

41. It’s Quiet Uptown

This is sure to be a controversial spot on the list for this much-loved ballad. “It’s Quiet Uptown” is indeed composed quite beautifully. It also features lyrics that seem to be almost impatient in nature – as though the song is trying to rush the Hamiltons through the grieving process to get back on with the show.

40. Take a Break

Part of the miracle of Hamilton is how the soundtrack is able to turn rather mundane concepts and events in Hamilton’s life into rousing, larger-than-life musical numbers. “Take a Break” is charged with dramatizing the notion that Hamilton simply works too much with a sweetly melancholic melody. It does quite a good job in this regard but naturally can’t compete with some of the more bombastic songs on the list.

39. Stay Alive

Set in the brutal dredge of the Revolutionary War, “Stay Alive” is a song about desperation. And between its urgent piano rhythm and panicky Miranda vocals, it does quite a good job of capturing the appropriate mood. It also feels like one long middle with no compelling introduction or conclusion.

38. Best of Wives and Best of Women

Talk about “the calm before the storm.” “Best of Wives and Best of Women” captures one last quiet moment between Alexander and Eliza before Aaron Burr canonizes his one-time friend to the $10 bill. It’s brief, lovely, and effective.

37. The Adams Administration

Hamilton wisely surmises that the best way to introduce audiences to new eras of its title character’s life story is through the narration of the man who killed him in Aaron Burr (Leslie Odom Jr.). Odom Jr.’s real flare for showmanship turns what could be throw-away intros into truly excellent material. It also features a hilarious nod to Sherman Edwards’ 1776 musical when Hamilton says, “Sit down, John” and then adds a colorful, “you fat motherf***er!”

36. A Winter’s Ball

Again: Burr’s monologues are always a welcome presence in these tracks. And in “A Winter’s Ball,” he does some of his best work by setting up Burr and Hamilton’s prowess… “with the ladiessssss!”

35. Meet Me Inside

Despite a brief running time, “Meet Me Inside” is able to establish George Washington’s general bona fides and Hamilton’s daddy issues in equal measure.

34. Your Obedient Servant

“Your Obedient Servant” is Hamilton’s loving ode to passive aggression. In just two minutes and thirty seconds, you’ll believe that two grown men could somehow neg themselves into a duel via letter-writing.

33. The Reynolds Pamphlet

You know that old adage of “he could read out of a phonebook and it would be interesting?” Well Hamilton basically does that with “The Reynolds Pamphlet.” The ominous music injects real import into the simple act of writing that would upend the Hamilton family’s lives.

32. That Would Be Enough

Eliza’s refrain of “look around, look around at how lucky we are to be alive right now” recurs at the beginning of “That Would Be Enough” in a truly touching way. This song is a real tonal whiplash from the revolutionary battles and duels that precede it, but it is ultimately strong enough to bring the focus back to Alexander and Eliza and not just the hectic world they inhabit.

31. The Story of Tonight

“The Story of Tonight” is both a clever drinking song among bros and a subtle setup for the show’s larger theme of one’s story being told after they’re gone. The song is both affecting and effective, just a little too short to stand out and make big waves on our list.

30. Blow Us All Away

“Blow Us All Away” is a fun, jaunty little ditty from Anthony Ramos’ Philip Hamilton. It rather ingeniously incorporates the young Philip’s own musical motif before ending in tragedy.

29. Stay Alive (Reprise)

It’s hard for any song to emotionally contend with the death of a child in under two minutes but “Stay Alive (Reprise)” does a shockingly good job. There’s a real sense of urgency to the music before it settles in for poor Philip to say his final words.

28. Burn

Musically, “Burn” is not one of the better ballads in Hamilton. Lyrically, however, its power is hard to deny. Phillipa Soo does a remarkable job communicating Eliza’s pain at her husband’s betrayal. More impressive is how she communicates the only way to work through that pain, which is through burning all of his personal correspondences and writings to her.

Movies

Hamilton Movie: Meet the Original Cast

By David Crow

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Hamilton Movie Censors F-Bombs for Disney Plus

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27. The Election of 1800

Hamilton is the rare musical where one character can sing “can we get back to politics please?” and the audience’s response is “hell yeah!”. The show is uncommonly good at dramatizing boring political processes, and “The Election of 1800” is no exception. The song builds up to a pseudo-reprisal of “Washington on Your Side” in a shockingly effective and cathartic way.

26. History Has Its Eyes on You

“History Has Its Eyes on You” is a powerful recurring phrase through the entirety of Hamilton. Each and every time the concept comes up in a song, it truly stands out. Strangely though, the song that bears its name is only in the middle of the pack in terms of the show’s numbers. Perhaps it’s because it occurs near the middle of the first act, before we can properly appreciate its heady themes?

25. Aaron Burr, Sir

One of Hamilton’s most charming traits is how readily it acknowledges what an annoying pain in the ass its lead character can be at times. “Aaron Burr, Sir” is literally the second song of the entire musical and helps establish its playful tone as much as the bombastic opening number establishes a deadly serious one.

24. Guns and Ships

Ballads are nice. “I want” songs are nice. Recurring motifs are nice. But sometimes you need a song that just goes hard. Thanks to “America’s favorite fighting Frenchman” that’s what “Guns and Ships” delivers. Lafayette actor Daveed Diggs faces an enormous challenge in Act One by filling out the character’s growth in bits and pieces. “Guns and Ships” is the reward, where a fully unleashed (and English-fluent) Lafayette makes it very clear what hell he has in store for the British army.

23. Washington on Your Side

Thomas Jefferson is such a dynamo of a presence in Hamilton that one could be forgiven for forgetting how infrequently he turns up. Jefferson (and Daveed Diggs) is operating at an absurdly high capacity in “Washington on Your Side.” Meanwhile the music has a ball keeping up with the increasingly incensed backroom scheming of Jefferson and his “Southern motherfucking Democratic-Republicans!”

22. Right Hand Man

Thirty-two thousand troops in New York Harbor. That’s uh… that’s a lot. While the second act of Hamilton has to work a little harder to capture the drama of the inner-workings of a fledgling government, the first act is able to absolutely breeze through some truly epic and exciting songs covering the Revolutionary War. “Right Hand Man” is one such ditty that really captures the frenetic urgency of a bunch of up-jumped wannabe philosophers trying to topple the world’s most powerful empire.

21. The Schuyler Sisters

Honestly, “The Schuyler Sisters” deserve better than its placement on this list. It’s just that everything that comes after is such a banger, that it’s hard to justify moving up the dynamic introduction of Angelicaaaa, Elizzzaaaaa… and Peggy.

20. Ten Duel Commandments

Imagine how insane you would sound in circa 1998 explaining that there would one day be a musical about the founding fathers that uses the framework of Notorious B.I.G.’s “Ten Crack Commandments” to describe the duel between Aaron Burr and Alexander Hamilton. Then imagine how insane you would sound when explaining that it was great. “Ten Duel Commandments” doesn’t cover the “big” duel of Hamilton. It’s a teaser for what’s to come. Thankfully it’s a hell of a good teaser.

19. Cabinet Battle #2

Hamilton’s two cabinet battles run the risk of being the cringiest part of the show. Every concept has its stylistic limit, and a rap battle between Alexander Hamilton and Thomas Jefferson should absolutely fly past that limit. Somehow, however, the novelty works and the creativity of Miranda’s writing shines through.

18. Cabinet Battle #1

The two Cabinet Battles are pretty interchangeable on the list. #1 gets the nod because of “we know who’s really doing the planting.”

17. What Comes Next

The trilogy of King George III songs is some of the most purely joyful songwriting on the Hamilton soundtrack. We can dive into the specifics of what really works about the songs in a later entry. For now, know that “What Comes Next” falls the lowest on our list due to featuring only one round of “da-da-da’s.”

16. I Know Him

“I Know Him” also features only one burst of “da-da-da’s.” But it still gets the nod over “What Comes Next” for King George III calling John Adams “that little guy who spoke to me.”

15. Dear Theodosia

Perhaps more so than any other character in Hamilton, Aaron Burr works best on his own. The character (and the man he was based on) plays things close to the vest by design. It’s only through his musical soliloquies that we get a real sense of the guy. That’s what makes “Dear Theodosia” so powerful in particular. Burr wants the same thing for his daughter that Hamilton wants for his son: “Some day you’ll blow us all away.”

14. One Last Time

George Washington owned slaves. Yeah yeah, you can bandy around the usual “bUt He ReLeAsEd ThEm AlL lAtEr In LiFe” all you want. At the end of the day, it’s an inescapable fact for the country to confront. It’s a hard thing for Hamilton, however, a show realistic about America’s flaws but still reverential to its founding story, to deal with. Hamilton presents the George Washington of American mythos for the most part and he strikes an undeniably impressive and imposing figure. To that end, “One Last Time” is one of the most unexpectedly moving songs in the show. Washington is committing one of the most important and selfless acts in American history by stepping aside. Yet there’s a real sense of sadness as the cast chants “George Washington’s going hooo-ooo-ooome.”

13. Non-Stop

“Non-Stop” is an extremely atypical choice for an Act-ender. Hamilton could have just as easily chosen to wrap up Act One with the rebels’ victory over Great Britain. Instead it takes a moment to process that then deftly sets up the rest of its story with “Non-Stop,” which is simply a song about Hamilton’s insane work ethic. The key to the track’s success is how relentless it is, as if it were trying to keep up with and mimic the title character’s pace. Then there are all the usual exciting Act-ending reprisals and recurring motifs to boot.

12. Say No To This

Just as was the case in Hamilton’s life, Maria Reynolds has only a brief role in the show, but her influence casts quite a long shadow. “Say No To This” is a real showcase for both Miranda and Maria actress Jasmine Cephas Jones. This is a devastatingly catchy jazzy number about marital infidelity…. as all songs about marital infidelity should be.

11. Alexander Hamilton

“How does a bastard, orphan, son of a whore / And a Scotsman, dropped in the middle of a forgotten spot / In the Caribbean by providence impoverished / In squalor, grow up to be a hero and a scholar?” our narrator Aaron Burr asks in Hamilton’s superb opening number. A play with so many moving parts, and such a high-concept needs an indelible opening track to convince audiences that the madness that is about to follow is worth waiting for. “Alexander Hamilton” is more than up to the task. This is an exhilarating starter that introduces its audience to all the important characters, themes, and sounds of the show. It also has its lead character spell out his full name in a rap, which somehow ends up being awesome and endearing rather than corny.

10. Wait for It

Just like the rest of us, Burr is the main character of his own story. And the show allows him to tell that story in songs like “Wait For It.” “Wait For It” is an exciting, downright explosive bit of songwriting. It’s every bit the “I want” song for Burr that “My Shot” is to Hamilton. And just like Burr and Hamilton are two sides of the same coin, so too are these two songs. Burr is alone once again in this powerful number. And he uses that privacy as an excuse to loudly… LOUDLY exclaim his modus operandi. He comes from a similar background as Hamilton and he wants mostly the same things as Hamilton. The difference between the two of them is that Burr is willing to wait for it all.

9. The Room Where it Happens

Bless this musical for having a song as brilliant as “The Room Where it Happens” only just being able to crack the top 10. There are hundreds of musicals in which “The Room Where it Happens” would be far and away the standout number. For Hamilton, it’s ninth. “The Room Where It Happens” is another example of the show taking a seemingly bland topic (backroom deal-making) and turning it into something transcendently entertaining for its audience and something transcendently illustrative for its characters. This is the song where the borders between Aaron Burr: Narrator and Aaron Burr: Vengeance-Seeker come down. Burr starts off as a patient observer of what kind of nefarious negotiations go into the building of a country before his frustration slowly builds into the recognition that he needs to be in the room where it happens.

8. Who Lives, Who Dies, Who Tells Your Story

Truly there is no more fitting ending to Hamilton than “Who Lives, Who Dies, Who Tells Your Story.” At its core, this is a play not only about legacy but about the fungible nature of legacy. Alexander Hamilton is gone and we know his story lives on. But who will tell that story? Like any good closing number, “Who Lives, Who Dies, Who Tells Your Story” knows the importance of bringing back many of the play’s core concepts and characters. And none of those are more important than Eliza’s assertion that she is ready “to write herself back into the narrative.” In the end, it’s not the revolutions or the pamphlets but the love. And that’s how one finds oneself in the absurd position of crying over the guy on the $10 bill.

7. What’d I Miss?

Lin-Manuel Miranda has described Thomas Jefferson as the show’s Bugs Bunny. Nowhere is that more apparent than in the ludicrously jaunty track that opens up Hamilton’s Act Two. There might not be a more joyful or outright hilarious three minutes in any of the soundtrack’s 46 songs. After several years spent living it up in France, Daveed Diggs’s TJ returns to the United States. The rest of his fellow revolutionaries have moved on to R&B and rap, but Jefferson is still stuck in full on jazz mode. “What’d I Miss” serves as the perfect introduction to a crucial character and the themes of the show’s second half.

6. The World Was Wide Enough

If “Who Lives, Who Dies, Who Tells Your Story” is designed to make the audience cry, then “The World Was Wide Enough” exists to make them gasp. This penultimate song is a truly stunning piece of work. This is a sprawling performance that brings back “The 10 Duel Commandments” in expected yet still emotional fashion. Then at the play’s climactic moment, it cuts out the music entirely to make room for Hamilton’s internal monologue – his one last ride through all the pages he won’t write. Finally it covers the grim aftermath of Burr and Hamilton’s duel as the survivor grapples with what he has done. There is a lot packed into these five minutes of song and each moment is more compelling than the last.

5. You’ll Be Back

If absolutely nothing else in Hamilton worked – if the characterizations were off, if the costumes were too simple, if the “Founding Fathers rapping” concept couldn’t be executed – the play’s two and a half hours all still would have been worth it for this one, tremendously goofy song. King George III (portrayed by Jonathan Groff in the original Broadway production) pops up three times throughout the show to deliver pointed little reminders to the American colonists about how good they used to have it. The first time around is by far the best, in large part because it’s so charmingly unexpected and weird. By the time King George III gets to the “da-da-da” section of his breakup song with America, it’s hard to imagine anyone resisting the song… or the show’s charms.

4. My Shot

While “You’ll Be Back” may go down as the most enduring karaoke song from Hamilton, “My Shot” is almost certainly the play’s most recognizable and iconic tune. Every musical needs an “I want” song in which its lead articulates what they want out of this whole endeavor. Rarely are those “I wants” as passionate and thrilling as “My Shot.” This was reportedly the song that Miranda took the longest to write and it’s clear now to see why. Not only is “My Shot” lyrically and musically intricate, but it does the majority of play’s heavy lifting in establishing Hamilton as a character. Just about everything we need to know about Alexander Hamilton and what drives him is introduced here. And the work put into “My Shot” makes all of its recurring themes and concepts hit so much harder in the songs to come.

3. Yorktown (The World Turned Upside Down)

In many ways, “Yorktown” benefits from the precedent that earlier songs like “My Shot” established. This is a song that puts energetic renditions of previous lines like “I’m not throwing away my shot” and “I imagine death so much it feels like a memory” to grand use. But for as much as “Yorktown” deftly invokes Hamilton’s past, what makes this song truly special is how solely focused it is on the present. To put it quite simply: “Yorktown” goes hard. It is fast, harsh, chaotic, and thrilling. This is the song that captures the moment that American troops defeated the British empire and “the world turned upside down.” It’s to the song’s immense credit that the music and lyrics capture the enormity of the moment. Also, there’s “stealing the show” and then there’s what Hercules Mulligan (Okieriete Onaodowan) does here in “Yorktown.” We’re in the shit now, and Hercules is loving it.

2. Helpless

“Helpless” might be pound for pound the best musical moment in all of Hamilton. It’s a simple, seemingly effortless love song that, even removed from the context of the show, would sound beautiful coming out of anyone’s car radio on a lovely summer day. Within the context of the show, it’s even better. It acts as a rare moment of celebration for all the characters involved before the Revolutionary War really gets churning and before a young America needs capable young Americans to guide it. What makes “Helpless” truly great, however, is the song that follows it…

1. Satisfied

Wait, wait… why is Angelica saying “rewind?” Why do we need to rewind? We had such a lovely night! The transition between “Helpless” and “Satisfied” is Hamilton’s greatest magic trick. The former presents a night of unambiguous love and celebration. Then the latter arrives to teach us that there is no such thing as “unambiguous” in Hamilton. In a truly remarkable performance, Angelica Schuyler (Renée Elise Goldsberry) teaches us what really happened the night Hamilton met the Schuyler sisters. Angelica will never be satisfied, and it’s because she’s “a girl in a world in which (her) only job is to marry rich.” Hamilton and Eliza’s story is a love story. But it’s also a story of Angelica’s loss. “Satisfied” imbues the musical with a sense of subtle melancholy that it never quite shakes through to the very end. “Satisfied” is the emotional lynchpin of Hamilton, and as such also its very best song.

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