in Jetpack, it was such a different thing. The music track is something that we struggled with for a really, really long time, and part of that was because we- a lot of this was just coming from the legacy. The whole reason Mons Dash in the first place was, uh, pixel art was because we had a strong back - strong grounding in pixel art, and we had a lot of really talented pixel artists, it’s just like, this is easy, we know this. And so, then it was a new artist on, a different artist on Jetpack Joyride, a very talented guy called Sierra Asher who, fun fact - is legally blind, and he did all of the art for Jetpack Joyride solo, which is incredible. Um, and so it had that really strong, uh, you know, old school pixelly kind of feel, and so then we were searching for a sound for it, and originally, when we first started working on it, the sound designer, Cedar Jones, it was really serious, and, you know, we wanted you - we wanted to inject energy and excitement into it, and so that’s why we wanted to push the sound. But, originally it was, you know, there’s a lot of guitar, and there’s a lot of kind of, almost metaliness to it, because that makes sense, right? It’s you’re flying a machine gun through a cold steel factory. I mean, what other soundtrack could there be? But at the same time, it sort of started to dawn on us how bad a fit that was, because you had this absurdity of this floating coins in the air, and you’re collecting vehicles because why not, and the whole, the whole kind of humor and tone and tenor of the game was completely off. And so yeah - when they, we kept searching for a long time, and why that didn’t fit, and what we needed to do to resolve her. And it turns out the answer is brass. Once we added some brass into the soundtrack, and we added the little saxophone bit to totally took the serious edge off and it made it fit with kind of the absurdity of the situation, rather than just looking at the cold hard facts of the game, which was machine guns and explosions.
