Devin Santi
speaker
110 appearances
1 recordings
1 series
first heard Apr 2025
last heard Apr 2025
Devin Santi’s voice in public audio — every appearance, attributed to the second.
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Appearances
In a good way. With nostalgia, I try and be very cautious with it. Because nostalgia, for nostalgia's sake, in a way, is almost predatory for the consumer. And it's the opposite of that. If anything, I feel like the game, I'm almost having a commentary about nostalgia. And some of the songs later in the game really talk about, like, why am I escaping?
Why do I need to use this form of meaning to escape from the past? And that becomes kind of an overarching story theme in the game.
I thought I was just rocking out. No, no. Things happen. Stealing donuts. There's a cause and effect.
If anything, there are things in the demo that happen in the demo, and you think, oh, this is just a funny, crazy thing, but all of your actions in the demo have an effect on the rest of the game.
That's probably my entire life. Yeah, right? I feel like Mr. Sleepy Man as a character is the embodiment of that because I didn't intend to make him a video game character. I was just drawing a sleepy guy. I was practicing drawing because I knew I wanted to do game art. And I was like, oh, Sleepy Man, Mr. Sleepy Man, that sounds funny.
And then it kind of just occurred to me that it would be a fun game idea. But then even the idea of him being this character who, you know, you're doing morally wrong things in the game. You're stealing a cash register. You're messing with people in the town. I didn't realize the comedic aspect of that, that, oh, Mr. Sleepy Man, because he's asleep, he doesn't have any moral accountability.
Like, the player absolves him. That in itself is almost like a joke. And I'd say that is kind of, like, unexpected, you know, because I didn't... I didn't preconceive something like that. Things kind of just fell into place. It's just the game. If there's something funny in the game, it just happened to be funny. That's the thing about comedy, too.
I love comedy as an art form because you can tell when someone's trying to be funny.
Yeah. And it's, I'm trying to make myself laugh at the end of the day, you know, and it doesn't escape you. Like you go and you read the descriptions of the objectives and I'm putting jokes in there. And the best part for me is like, you know, I'm the biggest fan of my humor because it's for me.
So like I'll write a joke two years ago and then I'll read the description of something while I'm coding. And it's like, oh, I completely forget about the joke and it makes me laugh, which is, which is kind of the idea. If you're, if you can't, if you don't like your own cooking, then why are you cooking? You know?
Yeah. You know, there's a famous Rick Rubin quote. It's like, you really, if you try and make something for someone else, you're going to ultimately fail. I'm paraphrasing that. But in a game, it's like, you have to really balance that because at the end of the day, it is for someone else. It is like, it's like cooking. It is the same thing.
It's like, you're not the one consuming it at the end of the day. Yeah. But, you know, when someone like just pops into my Discord and they have like a thousand lines of feedback, you have to really take it as a grain of salt. I feel like the best feedback I get is from people who have been following the game and truly understand my vision of it.
And like the feedback that they give, it's like someone that actually cares about the game rather than someone who's kind of just nitpicking and they think it should be something else. Like that's subjective, like there's subjective feedback and objective feedback.
someone objectively sees where the game is going and can help steer in that direction that's great but if someone's just like they don't even want that type of game yet they're giving feedback because they saw some other game that did that that's usually kind of how i yeah you kind of have to just filter through what's useful and what's
Get over it. I don't think it's that difficult of a game to begin with, like, from a platforming perspective. Like, at one point in development, I was trying to make it so, like, maybe you can beat the game without even pressing the jump button. That was too far. I went too far. But it's, I mean...
Yeah, you really have to sort through it, because at the end of the day, you have to make what you want to make. And I think maybe some people, at least people who do game development, that's an artistic confidence that takes years to develop. And I think I'm fortunate that I kind of, like, I really, like,
i really got my legs in like music and youtube and i i've been making stuff my entire life like i made a youtube channel when i was like 12 probably shouldn't have that was a mistake they probably should have been watching what i was doing because then i had like people really criticizing me harshly yeah yeah as a as a kid that just the descriptive of that word but um Yeah.
So that's kind of, I think I just have, I, I have a lot of experience going into game development. So I think people get into game development as like the first thing that they've tried to do and, I'm lucky that I have like music. What is great about music as an art form is that rhythm goes into everything.
Like having a rhythm for how long a cut scene should be having a rhythm for even just a sequence, a platforming sequence, just that instinct. I feel I carry over. I've got instincts for music that I've been carrying over into everything. That makes sense.
Yeah. I think the strength is that everything is coming from the same source. If I'm writing a line of dialogue, if I'm writing a lyric, if I'm writing a piece of music, it's all coming from my brain, and I have the same idea. And I think... Even when the game starts, I'm communicating so many things.
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