Greg Lobanov swings by to walk about Wandersong, with its happy-go-lucky approach to world-in-the-balance storytelling, its massive 110-tune soundtrack, and its uncommonly rich soundscapes. We talk about the collaborate process that brought the game to life, the thinking behind a music-driven game, and how our emotional connections to games—both in the moment and in retrospect—can be so utterly driven by music and sound in any case.
We also talk a bit about the “needlessly time-consuming” elements of the games we played as kids that, in games we come to as adults, can be grating and alienating. Games have gotten better at pithiness. Players have maybe even gotten better at knowing when difficulty is even necessary or interesting in the first place. It’s not a given that all games get more interesting as they get more difficult or demanding, after all. Let’s make room for the silly and the chill and the simply joyful, too.
“All The People Say (Season 2)” by Carpe Demon.
“Late Night Coffee” from Wandersongs: Volume 1 by A Shell in the Pit and and Adrian Talen’s version of “The Bard” from Wandersong & Friends – the Wandersong Remix Album.
Logo by Aaron Perry-Zucker, using Icons by Llisole, Dávid Gladiš, Atif Arshad, Daniel Nochta, Mike Rowe, Jakub Čaja, Raji Purcell and IconsGhost from the Noun Project.