Is there a challenge in doing the score for this game that you hadn't foreseen or thought about before you joined the project, either technologically or just compositionally?
TL;DRZanelli says he created challenges himself by pushing the audio team to make the music engine make composer-like decisions and shift in ways he doesn't think a music engine has done before.
I feel like I probably created more challenges, because it really did turn into a whole lot of conversations with the audio team. Can we do this? Me saying to them, can we get the game engine to do this? And I don't want to get too technical about it.
This is the crowd where you can get technical.
Well, look, I'm trying to push what a video game music engine can do. I really mean it when I say I hope that it will make the same decisions that I would make as a composer. Well, what I mean is we were certainly talking a whole lot about how can we do these things? Is it even possible in the music logic? And then they'd get back to me and say, yes, it actually is. There's a whole thing in the vertical slice, you're flying through the Coil a little bit and you get a tiny touch of what we're going to be doing with that. That environment is really special. And the way that music is going to work, it's going to swirl and build up in those stems that I'm talking about, but it actually can shift gears in ways that I don't think a music engine has ever done before. The challenges are coming because I'm as ambitious with the music as Chris is with the game, let's put it that way.