![]() What in your career so far has been the biggest challenge for you when it comes to such „puzzle solving”? Interesting comparison to jigsaw puzzles. The next day I’ll start by working on what I’ve drawn up and I’m back to yesterday’s flow. So if I have a minute of music ready at the end of the day and an idea what to do next, but no time to develop it – I just quickly sketch that part. I like to just leave something to finish up for tomorrow. I have one more trick which always helps me. But once you lay a few pieces down and try hard, you’ll slowly get there. Sometimes you don’t know where to start, other times you’ve no idea where you’re going. Quite often all it takes for me is to just accept this and work harder on what I already got.Ĭomposing is a bit like doing jigsaw puzzles. Other times I just have too many options to choose from and it blocks me, because I think everything is quite „meh”. Often it just takes time for my brain to wind up. I sit and I mess around until something comes out. That is, I don’t go for a walk, I don’t paint landscapes, assemble models or listen to podcasts. If I have artist’s block and nothing works, then I don’t do as many other composers I spoke to. If I don’t have anything concrete to do (which lately is a luxury), I wait until I’m bored with procrastination and the inspiration comes on its own. Or rather after a few hours with my kids, so in reality my brain stays as cotton candy until I slide the key into my studio door.īut seriously, most projects are inspiring and motivating on their own. ![]() I spend a few hours with my kids and my brain turns into cotton candy. I try to strike a balance and degauss after work. How do you make sure you never run out of it during a day’s work? An integral part of such an approach seems to be a constant stream of motivation and creativity. I personally think you should take those risk as often as you can, since it seems to be working. I think it was a breakthrough project for me, not only for its success, but also because it taught me to trust my instincts and allow myself to surrender to them, even if it sometimes feels risky. TWoM showed me that I can share these emotions with others through music for games and that players are very graceful listeners. It’s small things like that, ones that few people know about, that leave so many positive emotions behind and make you remember a project fondly. The game’s raw style and heavy themes quickly suggested that the music should be just as raw, and amateurish guitar sounds fit that concept perfectly.Īfter that there was the trailer for TWoM: The Little Ones, in which my then-months old son had a chance to play a few sounds. ![]() ![]() Well, „learned” is a strong word, but all the guitar parts were recorded by me. I learned to play the guitar specifically for it. The TWoM soundtrack is a very personal project. How would you describe the Piotr Musiał of 2014 versus the Piotr Musiał of 2020? What was your journey from the fantastic This War of Mine to the internationally successful Frostpunk? Even now, when I’m playing the tabletop version of it I still play your compositions on speakers. It’s largely the soundtrack’s great atmosphere that glued me to my laptop for hours. The first game featuring your music that I’ve encountered was This War of Mine. Today’s time for part two – grab some tea or coffee! This is the English language version of an interview initially conducted in Polish by Piotr Sikorski.Ī little bit more than two weeks ago we published the first part of our interview with composer Piotr Musiał.
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