00:00I've played your games
00:01I've played yours
00:08Composing for a game is very different
00:11from working with linear media
00:12like films and so
00:14because you can sit and compose
00:16and you can compose a 50 second sequence
00:18that works musically
00:20but it has to react to the player actions as well
00:24There has to be an emotional level
00:27to which a player can connect
00:30because without it you basically are just
00:33wandering alone in a space
00:35where nothing is really touching you
00:43One of my earliest thoughts was
00:45somehow to represent his
00:48by somehow distorting the tuning of the sounds
00:51It's more like an invisible force
00:54and it's more about how it affects the environment
00:58In that way it can be beautiful and unsettling at the same time
01:06Also I've worked on the master enemy
01:10and I stole some of your material
01:12and twisted it and stuff like that
01:16I shouldn't have said that
01:17And I was like
01:18I'm going to have my revenge
01:19Ha ha ha ha ha ha
01:28Grazie a tutti.
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