00:00Peggy Sette
00:30So I remember when they asked me to do it they didn't have like that much material for me to
00:33work with
00:34So I got to have this complete freedom and then when I first saw the images I was thrown away
00:40I thought it was wonderful, it was so beautifully made, there's so much depth to it all
00:44And I really felt that I could work with that
00:47For me the music was there to create that sense of intimacy, of nostalgia when we're exploring
00:53But also that sense of energy that we have when we're doing fights or bus fights
00:59At first it was supposed to be something really small just like a piano and guitar and maybe a cello
01:03And it was kind of a challenge because whenever you get into a boss fight it gets so much more
01:08intense
01:09And we actually had to commission a whole orchestra to do the boss fights
01:17It's really epic, big and operatic
01:22I remember seeing for the first time the music on the images and I kind of tear it up a
01:26little bit
01:26Because it's just so wonderful to see something come to life like that
01:37I wanted the sound to be really organic and magical at the same time
01:41So it was it was quite a challenge to get those two mixed together
01:46For our house I didn't want the foley just to be the only thing that would make the sound
01:53You know just cloth and gear so for the wings we tried so many things it was never working really
02:00At the end Chai the foley artist suggested we use a flower
02:05And it actually works really good it makes some really believable wings loops
02:13We also work with Cirque du Soleil to really help enhance the sense of theatricality in our game
02:20My first impression of this project was wow this looks wonderful it's beautifully designed
02:24I think it's a breath of fresh air in a world where most video games are based on
02:29on muscular demonstrations of graphics and power
02:32Working with Cirque du Soleil brings us their world-class experience in realization
02:38And also in terms of design they're used to create those extravagant costumes those exotic worlds
02:46And for me that was a perfect match with child of light
02:49They would show me things they would ask for my opinion and we would just debate and discuss
02:54how some of these things could be improved or transformed
02:58I'm not a video game designer and I think that's what they specifically wanted for me
03:02was the stage direction point of view
03:04I was sort of brought back to my childhood into this sort of fairy tale
03:09world that was very beautiful and very fulfilling
03:12and to be able to play something that reminds me of these fairy tales was truly great
03:24The writing in child of light is entirely in rhyme and so I had to really treat almost every stanza
03:32as a puzzle
03:46As you can see, what has happened?
03:47Not now
03:48So
03:48like
03:48in order to cast it
03:48he was brought to you
03:48like
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