I’m working on it with this couple, Roger and Ines, who are these totally dope video game designers in San Francisco who met in grad school and got married and formed a little company together, and they’re not the biggest or like, the most experienced designers in the world, but when I went to meet with them, they were the ones who were most enthusiastic about the idea and who actually thought we could pull it off, so they’re the ones I ended up working with. The first game that they made is this little indie thing where you’re a caterpillar who turns into a butterfly and then you fly around the city giving good luck to people. And I played that one, and it was super cute and creative, and I was like: Awww. I love these guys!

Actually, it was kind of crazy how most of the video game people treated me when I talked with them. In a way, it was nice to be reminded that there are people who just don’t give a fuck about me or my world because they’ve got their own, like, fully cohesive world that doesn’t have anything to do with me, but for the first time in as long as I can remember, I was being rejected, you know what I mean? I was meeting with all these video game people and telling them about my idea, and they were all just sort of looking at me like: Why would WE do this? What’s in it for US? And they all just basically told me: This idea won’t work and it’s going to be way too expensive and it’s going to take way too much of our time and nobody is gonna play it. And a few of them asked me if I would do music for THEIR games—you know, like, the games they were already developing—but I was just like: Nah, I don’t think so.

So I finally ended up meeting with Roger and Ines, and you know, I mean, I love them—like, they’re the best—but I do sometimes wonder if they’re in over their heads. LOL.

The hardest part, you know, is just that there are infinite possibilities, and we all want the world to feel as open as possible, but the bigger the world gets, like, the more expensive the game becomes to make. And, like, we don’t have any big backers or anything—I’m kind of just financing the thing myself—so that’s actually why I’ve been touring so much this year. I’ve gotta build up the revenue so we can keep chipping away at it.

Roger and Ines gave me an initial estimate for what they thought it was gonna cost, but we’ve already blown WAY past that, and now it’s like, every couple weeks, they’re going: Hey, we think we need a little bit more money. Hey, we’re gonna need to hire another programmer.

But, whatever. I guess that’s just how this shit works.

Everyone thinks it’s a bad idea.