Does Sony's decision to sell a collector's edition of Journey hint at the future of physical games media – as a repository for super fan special releases? And is that a bad thing? And why does everyone like an apocalyptic tale anyway? Could a French chronicler of the tenth century have the answer? Where the hell is this going?
Last month, I spoke to Journey soundtrack composer, Austin Wintory, for my Guardian feature on game music. Here is the rest of my interview with him, covering his inception into the Journey project and his theories on interactive music, art and the future of soundtracks.