'I am trying to make the series accessible to everyone, including younger audiences, but the primary market is gamers and those that enjoy games. In doing so, I have to censor swear words or be creative with insulting phrases that mean nothing in particular (e.g. 'You Blubbard! That was my best ray gun!', 'Oh for the love of Evil!!!' Or 'Oh for evil's sake')'
What are your plans for the series?
'Depending on how the series goes, I hope it become a fun project that people enjoy to see as I enjoy making it, and with open collaboration, it will ensure the project is lively as ever. Should I be invited to conventions, I hope to acknowledge the success of the project not just to my idea, but humbly I give nod and acknowledgement to everyone who took part in making it what it is, that includes this blog's very own Ninichi!!!'
What part does music play in the web series and how important is it?
'The project has three vital components, of which are intertwined and interconnected. They are the visual, acting, and music. With the visual, you see the moving imagery and design from both the artwork assets, the game being played, and the characters that set the stage of the performance. Credit for much of the artwork goes to my dear colleagues HowlingVoice, and DreamofSerenity626, for their massive contributions to the setting and character, and the visual effects respectively.
With acting, it provides an experience to suspend disbelief and for the audience to be immersed in the experience.
In both, the music not only accompanies these two fields, but enhances them, which is why it is a very important part in its own right. Every successful YouTube and Internet personality has a memorable theme song, and this project is no different. Ninichi, whom I must give proper praise and credit for, delivered a memorable tune that leaves potential YouTube audience listeners hooked and hyped for the review, wanting to see the performance of Dr. Glove as he either praises or bashes their loathed or loved video game franchise, series, or product.
On top of this, and an amazing three minute version, she provided music for the background, of general mood and atmosphere, reflecting experiences that harken back to 80's cartoons and nostalgia, the mindset where the performance wishes to take the audience back to. Another colleague of mine, Maravex, provided the transition bgm, such as single-player, multiplayer, music, sounds. Together, the music makes a harmonious story in and of itself, which adds to the overall experience one gives to performance to the masses.'
That all sounds wonderful! Let's listen to some of the tracks that will appear in the series: