well yeah yeah I mean on Don of Ragnarok we had that on a very micro level where the first few minutes of score that I wrote they were starting to put it up to the game some of the exploration bits and they're like we're realizing that it just needs to be more spacious and it needs to just like breathe more and they didn't know that that was going to be the case until they really got to that moment and they showed me like some gameplay and I was like oh fuck yeah that's totally right this is not this is not the feel for it it needs to have this like greatness to it so so yeah I can see that very much happening I feel like I get that way on regardless of what project I work on like the earlier stuff that I'm tapping into first even if it might be gut instinct like you got to live with it for a little bit and then you I always circle back and I'm like I hate this so much I'm rewriting it because like you get to the to the meat of it and you realize okay this is it this is it not the stuff I

wrote first you did anything from your demo survive either musically or you know like in principle like conceptually even if you rewrote it it sort of derived from that like did it actually get through the process or by the time it shipped was it basically you had found better ideas you've evolved away

from it yeah none none of it none of it ended up in there it was a totally totally different thing I think mainly because I went to like fantastical and mystical with it at first and that was not like a little too Lord of the ringsy in some ways and they wanted something a little bit more grounded and unique and just like different for it which they also didn't quite realize yet either that was before we had the black metal conversation but yeah no none of that survived I don't think anything from oh maybe it might demo from Siege of Paris the theme made it I think the theme survived from that and I used Siege of Paris I used Viola de Gamba which ended up being like a big part of the sound of the game and the sound of Paris even if it was much later musical history wise then and when the siege of Paris actually happened I'm just so rule breaking

historians that are looking at this going the fuck kind of historical accuracy is this score in our in our game where you know earth was seeded by aliens and and you can access your memory you can have this like Carl Jungian access of memories because of a magic table yeah yeah

never