# Bon Jovi Pinball Featurette

**Source:** Cary Hardy  
**Type:** video  
**Published:** 2026-07-28  
**Beat:** Pinball

**URL:** https://www.youtube.com/watch?v=a45guPEIx0c

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## Analysis

Barrels of Fun announces Bon Jovi pinball, a music-themed game designed by Cary Hardy that celebrates the band's four-decade legacy through a concert experience. The machine features innovative mechanics including a heart-shaped toy with multi-level ramps, a captive ball loop-to-loop with spinner, crowd-surf flipper, and physical locks for modes. The design prioritizes approachability and nostalgia, incorporating 17 songs from across the band's catalog with side missions featuring characters Tommy and Gina, while maintaining a '90s Williams-era visual aesthetic without playfield LCD.

### Key Claims

- [HIGH] Bon Jovi has 10 billion streams and has sold out arenas everywhere — _David Van Ness (Barrels of Fun founder), promotional statement about the band's cultural reach_
- [HIGH] The game features four flippers: two standard bottom flippers, an upper flipper, and a crowd-surf flipper in the outlanes — _Cary Hardy (designer), detailed design description of flipper configuration_
- [HIGH] The game does not include a playfield LCD because space constraints and the mechanical toys made it unnecessary — _Cary Hardy, design philosophy and technical constraints discussion_
- [HIGH] The game features 17 songs from Bon Jovi's catalog selected for recognition and emotional connection across different eras — _Cary Hardy, song selection process description_
- [HIGH] The band was actively involved in every aspect of the game's design and approved all elements — _David Van Ness, licensing partnership and approval process_
- [HIGH] Barrels of Fun has implemented audio system improvements including an enclosed subwoofer, custom speakers, and custom amp as standard across their recent games — _Cary Hardy, discussion of audio evolution from Labyrinth through Bon Jovi_
- [HIGH] The game is designed as a throwback to two-flipper games for family accessibility, but design constraints required additional flippers — _Cary Hardy, initial design goals versus final execution_
- [MEDIUM] Barrels of Fun employs approximately 30 employees and produces 10-20 units weekly — _Not directly stated in this content; corroborated by KB context but not explicitly confirmed here_

### Notable Quotes

> "One of the things that Barrels of Fun likes to do is like we like to tell stories. We love to create an experience."
> — **[name withheld pending review]**, early in content
> _Core design philosophy and brand positioning_

> "Bon Jovi is huge...10 billion streams. They have sold out arenas everywhere. And I want people to come up. Even if Bon Jovi is not your taste, play the game experience."
> — **[name withheld pending review]**, near end
> _Market positioning and inclusive appeal strategy_

> "If you really want this shot, David, you're going to need an upper flipper...No, Dave, you're really going to need a third flipper."
> — **[name withheld pending review]**, design discussion section
> _Illustrates engineering constraints overriding initial design intent_

> "This game doesn't feature an LCD on the playfield. And the reason that is the case is this game doesn't need it."
> — **Cary Hardy**, LCD design decision
> _Contrasts with prior Barrels of Fun games (Labyrinth, Dune, Winchester) which used LCDs_

> "I honestly set this whole room up for you to carry to come in and I brought in the other games just so you had a little pallet cleanser...Wow, we've made four games and they all are completely radically different than each other."
> — **Cary Hardy**, reflection on studio visit
> _Pride in Barrels of Fun's portfolio diversity and design evolution_

> "My biggest thing when I have someone walk up to this game is if they're Bon Jovi fan, they'll have the opportunity to choose which song they can play. I don't want you choosing a song because of the point. I want you to choose a song because it amps you up to play."
> — **Cary Hardy**, song selection design
> _Player agency and emotional engagement as core design goal_

> "I don't care if you drain out of a song in 1 minute. I still want you to feel like a rockstar. And the way to do that is through audio and sound, but also the score."
> — **Cary Hardy**, rules and scoring philosophy
> _Design priority: experience over precision play; big scoring for emotional payoff_

> "This is a concert experience that is featuring Bon Jovi celebrating his legacy, but it's about that experience when you go to that concert for the first time."
> — **Cary Hardy**, thematic positioning
> _Game framed as concert experience first, Bon Jovi game second—similar to Creature from Black Lagoon being a drive-in experience_

### Entities

| Name | Type | Context |
|------|------|---------|
| Barrels of Fun | company | Houston-based boutique pinball manufacturer; announced Bon Jovi as their fourth game; founded by David Van Ness and Brian Savage |
| [name withheld pending review] | person | Co-founder of Barrels of Fun; speaking about brand philosophy, licensing partnership, and design evolution |
| Cary Hardy | person | Lead designer of Bon Jovi pinball; also designed Labyrinth, Dune, and Winchester for Barrels of Fun; discusses mechanics, themes, and design philosophy in detail |
| Bon Jovi | music_artist/ip | Rock band active for four decades; heavily involved in game approval process; band members performing concert tour during game development |
| Bon Jovi pinball | game | Fourth game by Barrels of Fun; music-themed pinball machine celebrating band's legacy through concert experience; features 17 songs, multiple flippers, and concert-themed mechanics |
| Luke Underwood | person | Mechanical engineer lead on Bon Jovi; influenced flipper and toy design decisions; contributed to heart toy and captive ball loop-to-loop mechanics |
| Phil Grimaldi | person | Rules lead on Bon Jovi (following Dune); developing scoring and mode structure; designing cheer meter for apron sliders |
| Johnny Crap | person | Art director for Bon Jovi; created artwork with '90s Williams/Data East aesthetic showing band's progression from present to earlier eras |
| Jeff Dodson | person | Music composer/sound designer, known as 'Dirty Pool'; working on Bon Jovi audio/music implementation; excited about music challenge |
| Joshua Clay | person | Director of animations on Bon Jovi |
| Eric Priepke | person | Programmer on Bon Jovi |
| [name withheld pending review] | person | Mechanical engineer on Bon Jovi |
| Labyrinth | game | First game by Barrels of Fun; initially criticized as too dark; featured LCD and Halo light system; upgraded sound system and cabinet design |
| Dune | game | Second game by Barrels of Fun; dramatic cinematic experience; featured LCD display system; referenced as predecessor for Bon Jovi improvements |
| Winchester Mystery House | game | Third game by Barrels of Fun; haunted house experience; themed around real Winchester Mystery House location |
| Cary | person | Mentioned as attendee of studio visit; initially claimed not to be Bon Jovi fan but knew every song while playing; also referred to as 'Carrie' in conversation |
| Tommy and Gina | character | Side characters featured throughout Bon Jovi game as couple referenced in multiple band songs; used for side missions including 'the wave' and beach ball features |
| Creature from the Black Lagoon | game | Classic pinball game referenced as design inspiration; Cary Hardy describes as 'drive-in experience' rather than literal monster theme; influenced side quest design approach |
| World Cup Soccer | game | Classic pinball game referenced as inspiration for side missions and little quests in Bon Jovi |
| Williams | company | Referenced for '90s era playfield artwork aesthetic that inspired Bon Jovi's visual design |
| Trent Armstrong | person | Animator on Barrels of Fun team working on Bon Jovi |
| Parker | person | Electrical engineer on Barrels of Fun team working on Bon Jovi |
| Luke | person | Electrical engineer on Barrels of Fun team (possibly different from Luke Underwood, mechanical engineer; context unclear) |
| Julian | person | Animator on Barrels of Fun team working on Bon Jovi |

### Signals

- **[design_innovation]** Heart-shaped toy with multi-level ramp entry (ground, middle, top) that can catch, throw forward/backward, and interact with captive ball loop-to-loop mechanism; represents novel integration of iconic band imagery (heart from 'Shot Through the Heart') with gameplay mechanics (confidence: high) — Detailed mechanical description by designer discussing heart toy functionality, three-level ramp system, and integration with spinner and captive ball
- **[design_innovation]** Four-flipper design including crowd-surf flipper in outlanes that lights when crowd meter is built up; unconventional flipper placement designed for thematic concert experience and emergency recovery (confidence: high) — Extended discussion of flipper design evolution, explicit mention of four flippers including crowd-surf flipper location and function
- **[design_philosophy]** Emphasis on approachability and two-flipper accessibility for family/new players, combined with optional depth through upper mechanics; throwback to '90s Williams-era design with modern components; game designed to make all players feel like 'rockstars' regardless of skill (confidence: high) — Multiple statements about family-friendly design intent, eventual compromise on flipper count, scoring philosophy prioritizing experience over precision, and explicit comparison to '90s classics
- **[design_innovation]** Custom audio system featuring enclosed subwoofer, custom speakers, custom amplifier, and emphasis on audio clarity and immersion comparable to home theater or concert venue; represents evolution from prior Barrels of Fun games (confidence: high) — Detailed audio system description emphasizing enclosed subwoofer, custom components, clarity as design priority, and progression from Labyrinth through Bon Jovi
- **[product_strategy]** Barrels of Fun selecting licensing partners with aligned creative vision and minimal creative restrictions; band actively involved in approval process at every stage; contrasts with more restrictive IP deals (confidence: high) — David Van Ness statement: 'We choose licenses and partners that have the same goal that we have...Bon Jovi they've been a part of this process all the way along. Every aspect was approved by the band themselves'
- **[design_philosophy]** Game positioned as concert/experience first rather than literal band tribute; draws parallel to Creature from Black Lagoon as 'drive-in experience'; side missions and characters (Tommy and Gina) enhance immersive concert narrative; similar to how Dune was cinematic experience and Labyrinth/Winchester featured environmental theming (confidence: high) — Cary Hardy discussion of game as 'celebration of decades' and concert experience, comparison to Creature from Black Lagoon drive-in framing, integration of Tommy and Gina character missions
- **[design_innovation]** Custom apron design featuring light-up tape deck in center, light meter on right with LED indicators, and two sliders that rise with cheer meter to indicate progression and player performance; represents ongoing Barrels of Fun commitment to unique cabinet elements per game (confidence: high) — Detailed apron description with mixing desk concert theme, light deck, light meter, and slider mechanics tied to cheer meter progression
- **[design_philosophy]** Game features 17 songs selected for broad recognition and emotional connection across different life eras rather than maximum commercial hits; methodology balances band's setlist preferences with cultural ubiquity and nostalgic resonance; players choose songs for emotional engagement rather than points (confidence: high) — Cary Hardy discussion of song selection process: '17 songs that people would recognize...we also chose songs that were wildly popular during the decade...may not be listened to, but will connect to a player'
- **[design_innovation]** Captive ball loop-to-loop mechanism in wire form that completes full loop and lands behind initial ball; feeds into spinner; designed to create moments of crowd excitement and crowd meter building during combo play (confidence: high) — Detailed explanation of captive ball mechanics by designer, discussion of loop-to-loop spindown and spinner integration for crowd revving
- **[product_strategy]** Bon Jovi features no playfield LCD despite Barrels of Fun's investment in LCD technology on prior games; mechanical toys, LED systems, and apron elements deemed sufficient for visual feedback without playfield LCD; represents tech choice based on design needs rather than standard implementation (confidence: high) — Cary Hardy statement: 'This game doesn't feature an LCD on the playfield...this game doesn't need it...had no space for an LCD down there...didn't feel necessary'
- **[design_philosophy]** '90s Williams/Data East aesthetic with art showing Bon Jovi band progression from current era backward through earlier incarnations; throwback to classic pinball artwork style rather than contemporary/3D rendering; consistent with Barrels of Fun's goal to make 'coolest collectible stuff' with lasting appeal (confidence: high) — Art director Johnny Crap described as wanting '90s throwback playfield artwork; Cary Hardy discussion of art showing band era progression and Williams/Data East visual inspiration
- **[business_signal]** Barrels of Fun presented as having capacity and specialization to produce games with custom components (aprons, cabinet design, audio systems, mechanical toys) across multiple game titles; company portfolio of four radically different games in 2-3 years suggests scaling production while maintaining quality (confidence: medium) — Cary Hardy pride in portfolio diversity ('made four games...completely radically different'), mention of active work on two additional projects, custom elements in each game (different aprons, cabinet decals, audio systems)
- **[sentiment_shift]** Potential shift in perception of Bon Jovi as music game IP: non-fan attendee (Cary) initially skeptical but 'knew every song' while playing; suggests game design successfully creates connection to catalog even for non-enthusiasts through ubiquity and cultural resonance strategy (confidence: medium) — Exchange between David Van Ness and Cary about Cary's experience: 'I've never seen someone sing so much to songs that he said I'm not a Bon Jovi fan' and Cary's confirmation 'it's damn true'

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## Transcript

You tilt it, daddy. [music] You just want to get this done so you can go home. Yeah. [music] This ain't a song for the broken heart. One of the things that Barrels of Fun likes to do is like we like to tell stories. We love to create an experience. We have created a fun experience with Labyrinth. Uh Dune was a very dramatic [music] cinematic experience and Winchester was a game that was about a haunted house experience. And one thing I do enjoy [music] playing is I do like playing band games, um, music games. And I always thought down the road of what would a music pin look like if Barrels of Fun had the opportunity to do that. And we actually had a couple of bands approach us about doing a game for them. And Bonjou View is actually one of them. It's [music] one of these things I've been saying to quite a few people. It's an IP that everyone knows. You may not know Bonjovi. You may not like Bonjovi. However, Bonjovi over the last four decades has been in our culture. Even if you don't recognize it, you hear it everywhere. [music] So when I started doing my research and and looking into what band game or music pin I wanted to do, Von Joy came very very quickly to the top of we can make something really really special here and take what we've learned from our last three games and take the music pin experience to another level. When we're [music] developing a game, we choose licenses and partners that have the same goal that we have. We want to make the best experience we can. And uh there are IPS out there that may not have a lot of restrictions [music] on what they can do. With Bon Joy, they've been a part of this process all the way along. They've been actively involved in it. Granted, they were getting ready for a concert [music] uh which they're currently doing right now. starts in the US and goes over to Europe uh soon. And uh they were very involved. I mean, every aspect [music] of this game was approved by the band themselves. It was very important [music] to John that we create a game that captured their legacy. This was about the band and what they've done from the days when they were playing bars in New Jersey to filling up stadiums. This is truly a celebration of what they've done in the four decades of making music. You know, it's kind of weird that I didn't think [music] about how much their music has been throughout our lives. And when I started diving into this with the team, we realized this game is much more than just a music pin. Yes, it is a concert experience, but many of these songs that we've connected with or we are aware of are connected to moments that we experienced in the 80s [music] and the '90s and the early 2000s. So, when you step up here and you play [music] one of these songs for the first time, and you may not know it, I am pretty positive, and I think [music] Carrie can actually attest to this. It's like, dang it, I know this song. And I'm going to call Carrie out here, but I've never seen someone sing so much to songs that he said, I'm not a Bon Joy fan. And he pretty much knew every song that he was playing. Is that true Carrie? Yeah, it's [laughter] it's damn true, man. I led the lead on this design. This is my third design. But the team really stepped up and when they realized the feel that I was going for, the nostalgia trip, we just don't have concert footage for out of the four decades. We [music] have the music videos. We introduced side characters, Tommy and Gina, who is a featured couple through all their songs, like through a lot of their songs. And, you know, I really wanted to make it a game that made the player feel like a rock star. Um, my initial goals with this game was to be a two flipper game. Um, something I've noticed with all the games that we've built is we have a lot of new people coming [music] to these IPs. These IPs are very familyfriendly and a lot of the times they don't use the upper flippers. It takes time for them to learn that you got to use an upper flipper to get further into the game. And so when I started working on this game, I really wanted this to be a throwback to a two flipper game. Very easy to approach for the families. Um, granted, halfway through the design, Carl and Luke Underwood, [music] who was the engineer on this game, basically said, "If you really want this shot, David, you're going to need an upper flipper." I'm like, "No, we got to be able to squeeze the shot over more so we can hit it from like the right flipper." And it got to the point where it's like, "No, Dave, you're really going to need a third flipper." So, I was like, "All right, let's put a third flipper in there." And when I broke when we broke the two root flipper rule, I was like, "Well, screw it. I'm going to throw in a fourth one." And they go, "Where do you want that?" And I told him exactly where it was, which [music] you guys have now seen. The crowd surf flipper. It's just fun. I just like if we're going to put a fourth one in there, let's put it somewhere that people [music] are going to enjoy. You know, when we approach it, I work with the team. What are five or 10 things that connects you to that IP? Um, when it comes to music, it's kind of very different. So, you look at the themes of the music and what you're doing, the eras it comes from. And obviously, Eupon Job's [music] iconic logo is the heart and dagger. So, we had to figure out in half their song, you know, like shot through the heart. It's like, so we need to make sure that we're going to be shooting a heart. You know, if I have a worm that eats a bowl, I'm going to have a heart that eats a bowl. So, it kind of centered around the heart mech. I actually had a different design for the heart mech. And when Luke came on [music] to start actually uh executing this design, he's the mechanical engineer lead on this, he was he started changing what it should be doing. My approach again was I wanted this to be approachable. I wanted every shot to be able to be hit from the bottom flippers. And I wanted as many options when it comes to combinations and stuff like that on shots. [music] So you can shoot through the heart, you can shoot under the heart and the heart can also catch the ball and actually take it to the third level of the ramps. So you have a ground level entry, a middle ramp [music] entry, and then you have a top ramp entry as well. We can throw the ball forward, we can throw the ball backwards. that toy can do a lot when it [music] comes to the music and we made sure all the music is centered around different shots. So, you know, we're trying to utilize the playfield [music] as much as we can with each song and make it unique to each. [music] [music] The second big feature, this actually came from Luke, a captive ball that would actually be caught. So it'll be your ball that goes around gets caught. Another ball will come in and then you can shoot that ball. Originally that was going to be shot through the heart. Like you'd capture it and then you shoot it through the heart. And then Lucas said, "Yeah, that's not going to work." So he came up with, "What about if we put it in a loop?" I'm like, "What do you mean?" He's like, "It's a lip to loop." So a it's a captive ball in a wire form that if you hit it goes all the way around and comes back and lands behind the captive ball. When he presented that and I was like, "Well, crap. You know what we need to do with this?" And he looked at me and goes, "What?" I said, "We need to put a spinner in there." So we have a captive ball loop toloop [music] that goes around the spinner. And the whole point of that is we want to have a moment where you are getting the crowd excited. So you're at this concert experience and you want to rev up the crowd. So every time you start doing combinations on that music, you'll have an opportunity to rev up that crowd. The more you rev that crowd up, the crowd surf outlane [clears throat] flipper will light and will give you the ability to actually save that ball as it goes out the left lane. Another one is a part of going to a concert, which I really haven't had the privilege to do, is there's usually a VIP section for people that can afford to go um behind the scenes at a concert. So, we have a dedicated area in this game that's fed from the upper right flipper. That is a VIP access area. So, that's a magnet grabs the ball. You will get your VIP points. You got to spell VIP and that actually [music] feeds into a three ball physical lock that will lead to a mode down the road. We also have the still horse lock mechanism. [music] Again, iconic song. My still horse I ride wanted dead or alive is we had to feature that. So, right alongside between the VIP and the heart is the steel horse. And [music] basically, it's a three ball physical lock as well that you can lock by shooting either left or right orbits. It will lock the ball. And then once they're all up there, then you can release them onto the playfield for extra points. Again, you have to, you know, figure out what is going to encompass what the experience is going to be. So, you start looking at a set list that they play. what they play as a set list versus what everyone listens to can actually vary greatly. So we basically started looking at the process like what songs have good music for pinball, what songs will connect to people that know the band and also what songs will connect to people that you may not recognize as a Bonjovi song, but Bon Joy is played everywhere. It is played on every classic radio at multiple times a day. It's in elevators. It's in supermarkets. I mean, it's at stadiums. It's everywhere. So, choosing [music] the songs out of all their albums was choosing 17 songs that people would recognize and have a connection to it to somewhere in their life. So, we went through the the biggest hits, but we also chose songs that were wildly popular during the decade that they were launched. So they may maybe not as listened to, but I we we have a gut feeling that this is something that will connect to a player to make them energized to play the game. My biggest thing when I have someone walk up to this game is if they're Bonjovi fan, they'll have the opportunity to choose which song they can play. The idea is I don't want you choosing a song because of the point. I want you to choose a song because it amps you up to play, you know, so [music] you can get excited about playing. Like cuz like when I hear good music, I actually play good. I mean, there are people that put headphones on and play their own music in their head when they're playing a pinball machine professionally. So, it's one of those things of I want the person to step up, choose a song that they know or gives them excitement, and then they plunge the ball into that game. Now, Phil Grimaldi, who is rules lead on this game, uh, following Dune, is he has a very deep dive on what the rules are, and for a competitive will become way more clearer and as it gets developed along. Um, but I'm not worried about the points. Well, actually, I was kind of worried about the points. I wanted this to be a big scoring game. I don't care if you drain out of a song in 1 minute. I still want you to feel like a rockstar. [music] And the way to do that is a through audio and sound, but also the score. [music] So, you're going to see some pretty big scores on this game. [music] Art package is Johnny Crap. He is on the art package this time. Uh we also have Josh Joshua Clay who is the uh director of animations. Then you also have Phil Grimaldi is the rules lead on this and Luke Underwood is the mechanical engineer. Now you got to remember there's also a ton of other people behind that. You also got Jeff, which I probably should have left that to last and make him feel really good about himself. [music] Jeff Dodson aka Dirty Pool. He is uh working his music [music] madness on this. And you know, it's kind of interesting like he was actually really excited about this project because a he didn't have the right music for it, which he obviously loves doing, but this was a really challenged was like how do we take that concert experience [music] and he's a great fit for Barrels of Fun because he is as passionate as we are and he wants to do something different. You know, what can like barrels I believe in the pinball community is like we want to make these experiences that above and beyond pinball. [music] And so when he got brought into the challenge of doing Bonjobi, he's like, "Okay, this is an opportunity. We could really make a [music] big difference in how we approach this." Also, you got to remember you've got uh Trent Armstrong, Julian. These are the animators on our team. We also have Eric Prepkey is our programmer on this game. We have Paul SS who is the other mechanical engineer. You know, we have a lot of people that are working on this. We have Parker and Luke. They're both electrical engineers as well. The the team is so big now, it's actually hard to think of who they are, but the team on this is have worked on every game that we've made. And I honestly I set this whole room up for you to carry to come in and I brought in the other games just so you had a little pallet cleanser. So after playing Bonjovi, seeing four games that we've made, it's you know, [music] we live so much in our own project. like every project, every project. Like I'm I [music] mean I'm actively working on two other projects right now. It's not often you get to step back and look in this room and go, "Wow, we've made four [music] games and they all are completely radically different than each other." That was a proud moment. Like I didn't really that didn't set in until you walked in. I was like, "Oh wow, that this is like there's difference especially in [music] the color palettes." But this game doesn't feature an LCD on the playfield. And the reason that is the case is this game doesn't need it. You know, this game with the heart mechanism and the still horse and the bonjovi LED board in the back that lights up while you hit spinners and stuff like that. This game had no space for an LCD down there. Um, so it didn't feel necessary. You know, I put more This game really much very much is a throwback to the '90s for me. Like I wanted this to be approachable. Like you'll look at the artwork and Johnny very much made it clear he wanted this art package to be very 90s has a very throwback to the Williams and Da East days of playfield artwork and stuff like that. Um just starting on the left side you go from the most current version of Bonjobi and as you work your way around the playfield it goes to the younger version [music] of Bonjobi. I mean they've been going since the 70s you know so we wanted to encapture those eras again. [music] Yes, BonJovi is the centerpiece of this concert experience, but this game is more than just their music. This is more about a celebration of the decades that they've played through and the concert [music] experience that comes with that. So, there's little side missions that if Phil will talk about this in other interviews where we have little side missions that while you're playing the song that you can start [music] up with Tommy and Gina that will start the wave through the audience. um or a beach ball that comes through. Very similar to kind of the the games I enjoyed growing up is Creature from the Black Lagoon, World Cup Soccer. You know, this game is very much a a game inspired by those type of little side quests as you're going through the mode itself. Creature from Black Lagoon for me, I'm a horror kid, so Creature meant a lot to me as a game. And when I played it, I realized this is not a Creature from Black Lagoon game at all. This is a drive-in experience. And I guess Bon Joy is kind of similar to that. This is a concert experience that is featuring Bon Joy celebrating his legacy, but it's about that experience when you go to that concert for the first time. Just like my first concert was in excess. And man, like your first concert experience is usually unforgettable in a good way. When I look at all the games I've worked on, it's only been three that I've been [music] in the lead of, is I've always put something into the apron. So on this one, we have obviously [music] the flipper down. So our apron's different again, which I can tell you our engineering people like, can you not just do like why are we making custom aprons for every game that we make? Well, because we can. But we obviously have the flipper down on the left side. But this apron is we want it to be kind of like the mixing desk at the concert. So we have a light up little tape deck in the middle of it. And on the right hand side, we got a little light meter that's just lit up with LEDs. But we also have two sliders in there. So, as you get better at playing this game and the crowd's getting louder, they will slide up [music] to indicate that you're doing better. So, you got two sliders there. And Phil is working on what he wants that to be, but it's most likely going to be a cheer meter, like to show you that you're building up your cheer, but also, you know, progressing up to like [music] bigger jackpots and that you're playing really, really well. Just a visual indicator that we think is just fun. [music] I just want this to be a fun experience. This is not about this is yes the overarching [music] this is about the Bonjovi experience and experience the concert through his set list that you get to set but this also should be an experience that you get to choose your experience and I'm hoping some of this music [music] will connect with you guys because you heard it at a time in your life that you were having some type of event cuz bonjovi is everywhere you [music] can't escape it. What I'm excited for is people get to experience this in the wild. And many of our games, you know, I someone's going to make me a t-shirt. So, I'm going to put this out there. I need someone to make me a t-shirt making [music] games no one's wanted since 2023. We choose licenses and themes that we know we can make a very unique experience, an experience that you can share with your friends and have a good [music] time. Bonjob is no different than that. Bonjobi is huge. They've, you know, they have 10 billion streams. [music] They have sold out arenas everywhere. And I want people to come up. Even if Bonjob is not your taste, play the game experience. Build your set list. Play it loud. Like the sound system in this game. Uh, you want to talk about things that I've learned as a pinball company. I I hope people [music] have seen and experienced from Labyrinth to Doom to Winchester. We've made a lot of advances and improvements of what we're doing from Labyrinth. Everyone said it was too dark. So, we decided to include the Halo light system which is built into the [music] cabinet. We also had to upgrade the sound system from Labyrinth to doing to help create that immersive world. That is no different what we've done here with Bonjobi. [music] When we did this, I like clarity in my audio and that was a big drive as we kept developing our games that this [music] audio system had to be on a level like if you was in a home in a home in a movie theater or a concert, you want to hear it and you want to hear every little element of it. And [music] we have successfully done that with this game. Um because we actually have an enclosed subwoofer now and [music] that's going to be standard. Like everything we have done, we've learned from Labyrinth, our Everglass cabinet decals, light lighted speaker panels that we've had from the get- go, you know, now our audio system with [music] an enclosed subwoofer, with our own custom speakers, our own custom amp. Like, this is all part of building a better product that we will keep developing until [music] eventually I'm no longer around. But hopefully whoever takes this home after me will continue that legacy cuz we just want to make the coolest collectible stuff in the world that people will want for years to come. Go and experience it. Play it loud. I guarantee you, you're going to walk away with a smile. This ain't a song for the broken hearted [music] a silent prayer for [music] farted. Oh no. [music] And I ain't going to beat the face in the crowd. You're going to hear my voice when I shout it out loud. It's my life. [music] It's now. I ain't going to live [music] forever. I just want to live. [music and singing] Heat. Heat. [music] [singing] IT'S MY [music] LIFE.

_(Acquisition: supadata_caption, Enrichment: v5)_

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*Exported from Journalist Tool on 2026-08-03 | Item ID: 97efd95b-25d8-4500-9f5d-3659408d0362*