Creating a musical score for interactive video games is like trying to hit a moving target. Luckily, Hans Zimmer’s studio <a href="https://bleedingfingersmusic.com/">Bleeding Fingers</a> has developed some clever strategies. I talk with their CEO <a href="https://en.wikipedia.org/wiki/Russell_Emanuel">Russell Emanuel</a> and musicians <a href="https://play.reelcrafter.com/M-6dxB8KQQeVeY1uSBOD1Q">Thom Lukas</a> and <a href="https://play.reelcrafter.com/IAwv2mMnS2irW1CChfMoCQ">Giovanni Rios </a>about how they create innovative scores for games like Arknights, and why they thrive under creative limitations. Grammy-winning video game composer <a href="http://www.winifredphillips.com/home.html%20">Winifred Phillips</a> discusses how she builds adaptive scores that shift and respond to unpredictable gameplay. And video game historian and RPI professor <a href="https://faculty.rpi.edu/william-gibbons%20">William Gibbons</a> explains why the technological limitations of ‘80s and ‘90s games actually fueled composers’ creativity.  
This week’s episode is sponsored by <a href="https://theperfectjean.nyc/">The Perfect Jean</a>. Our listeners get 15% off your first order plus Free Shipping, Free Returns and Free Exchanges when you use code IMAGINARY15 at checkout. Learn more about your ad choices. Visit <a href="https://podcastchoices.com/adchoices">podcastchoices.com/adchoices</a>

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