What challenges are there in working on Pyro's audio compared to that of Stanton?

I can take it from a sound design aesthetic point of view. So Pyro's palette is massively different visually to Stanton. It's a lot more turbulent. And with that are going to come unique challenges. The planets are going to be different, the moons are going to be different, have a completely different vibe. If you've got a Stanton palette and you've got a Pyro palette, they're in themselves their own beasts. And then you establish: what does Stanton feel like? What does it embody? What do you want it to sound like? And then the same with Pyro. And then filter that down, similar to the ship thing, right? You build a style guide of what you want Pyro to sound like, dangerous and foreboding, and then how do we filter that down and realize that on this particular planet or that particular planet, and then take some specifics from each of those. It's going to be a load of fun, because there's quite a lot to work with, and we've learned a lot working on Stanton. So the Pyro stuff is really nice to get our teeth into. But it's new, uncharted territory. The tech and tools have improved and grown in scope since I started on the project and working on Stanton. I think the actual ability to put sounds in and tailor them to the experience is much improved. We have a great deal of fidelity. But I think the main challenge is really having that feel, a shift between Stanton and Pyro. So when you're in Pyro, anywhere in Pyro, space traversal or actually on a planet, you feel like you're in that system versus Stanton. So hopefully we can achieve that.

I wanted to add too that there's a discipline here that's kind of missing some representation. Music, I think, will have a really big impact on selling the emotional aspect of where we are, either Stanton or Pyro. And that's a very critical element, I think, when feeling out a different space. In a lot of cases, the way music affects you in that kind of sense is meant to not be very obvious.