Breather Level: Baba Yaga in Lviv: the level itself is a straightfire shot to the bottom with no pitfalls (at least until the bottom where you find the level's gimmick: frozen lakes, and even then they're pretty easy to navigate), and the witch herself is absolutely horrible at traversing her own stage, particularly if you put Heavenly Bulls near the aforementioned lakes: they're pretty much designed to be extremely effective on tiny platforms, and Baba Yaga will oftentimes end up backing off into the lake behind her trying to avoid them, multiple times even.
Designated Hero: Sisyphus. He's the one who broke out of Tartarus and is going around rolling over everything in his way with a big rock, yet the story is centred on him.
Atlas isnt any better since he is purposely trying to avoid his responsibility of holding the world up, whilst causing just as much damage.
Genius Bonus: History buffs will get the most chuckles, but the humor is slapstick enough for anyone.
The Cherub in the first game: considering it has no real offensive moves to damage your boulder and just focuses on keeping you from hitting it, the fight can become a very long and frustrating affair.
The Sea Serpent in the second game. You only need to hit it twice, and that's a good thing: his stage requires precision jumping from moving platforms while he slings fireballs at you. Falling in the water's not too much of a hazard, but getting back up onto the platforms is a pain due to the tentacle periodically coming up and smacking you into the air.
Most Wonderful Sound: "Excelente" in the third game, which means youve destroyed the opponents boulder.
Nightmare Fuel: Vincent Van Gogh in the sequel. Honestly, there's no way to accurately describe how unsettling he is.
The Isaac Boulder is rather haunting since it renders Isaac's head in rather realistic detail while keeping his black button eyes.
Sequelitis: While not necessarily a bad game, the third game is widely thought as a considerably downgrade from 2 due to a lack of creative level design, removal of some quality-of-life improvements, and overall less funny cutscenes.
Visual Effects of Awesome: The sequel's art direction is absolutely stunning. From faithful recreations of classical artwork to what is basically extremely faithful 3D recreations of paintings like "Starry Night", to a level where you roll down the sides of Mount Vesuvius while its erupting, to a stage that is basically one massive homage to Salvador Dalí, the game is practically a love letter to the history of art beautifully rendered in 3D.
"Any Way You Want It" is also pretty incredible, moreso the soundtrack version, which has just Mary J. Blige and Julianne Hough's vocals. The film version intersepts Sherrie's promotion to stripper with Drew being forced into a Boy Band heartthrob image by Paul, and while this helps add a new meaning to the song (Drew having to go along with the record label's decisions any way they want it), Diego Boneta and Paul Giamatti's parts are rather distracting if you're just enjoying the song.
Strawman Has a Point: The movie seems to spent 25 percent of its running time mocking Patricia Whitmore and the other 75 percent showing why she has good reason to oppose the Sunset Strip rock subculture.
Only Jaxx really confirmed her views - and growing out of that kind of attitude was the whole point of his Character Development in the movie.
Unfortunate Implications: The Freudian Excuse of the villain in the film is that she was seduced and then abandoned by a rock star, inspiring her to begin her crusade to lobby the government to ban rock music. The thing is, she is presented as an entirely negative character, while her ex is portrayed relatively positively, even joining the protagonists' band at the end, even though it was he who both made the first move in their relationship and left her. As the Musical Hell review points out, the only reason she's a villain and he isn't is Slut-Shaming.