"Yeah. I think the first medium you learn is how you build your lexicon and your language around whatever art you're making. I'm always using music metaphors and am always like, you know, we need to crescendo here or this is the middle eight here, we need to have a different feeling here. And so I think once your brain is wired in the way of chords and song structure, you see everything in that, through that lens."
"I'm sure it's the same for photographers who would make a film or a photographer who would make music. You know there are these weird, different angles to come in from. One of my favorite films is Close Encounters of the Third Kind, and I found out years after liking it that it was the only film that Spielberg cut to the music. Usually, he makes a film and then they put the music to it, but he cut it the other way, and that film always just felt like it flowed the right way to me."
"So, yeah, that's the lens I look through. How can you do that in game development when you have the variable of "
"Mixtape boldly asks its players to make memories to good music, mixing its coming-of-age story with a head-banging soundtrack filled with the likes of Devo, The Smashing Pumpkins, and The Jesus and Mary Chain."
Mixtape follows Stacey, Cass, and Slater on Stacey’s final night in a small town before she moves to New York to pursue her dreams. The game blends a coming-of-age story with a sweeping soundtrack featuring artists such as Devo, The Smashing Pumpkins, and The Jesus and Mary Chain. Beethoven & Dinosaur, known for The Artful Escape, brings a music-forward approach to storytelling. The director describes thinking in songs as a core creative lens, using musical concepts like crescendos and song sections to guide emotional pacing. The development process treats game moments as parts of a musical structure, aiming for flow and feeling through chord and rhythm thinking.
Read at GameSpot
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