minimalist stuff I've heard which struck a chord with me." Follin did not have much time to listen to the work of his musical contemporaries while in the video games industry, a situation he implied as having been a benefit to his career. Follin speculated that in actively listening to those works, he likely ran the risk of encountering ideas he had not thought of and subsequently becoming discouraged and/or prone to copycatting. Personal view of work Particularly in the earlier days of his career, Follin often composed game soundtracks while the games themselves were still in the writing stages, meaning that there was usually no frame of reference or genre objective in mind. Follin himself humorously felt these situations created many instances where the soundtrack was unsuited to the game, though at the time neither he nor any game developers had any issues. Given another chance, Follin said he would have given more effort toward making his earlier soundtracks better suited to the games, feeling that his failure to do so (despite the compositional quality) likely cost him future work. Back then, Follin instead focused on exploring the various consoles' audio limitations. The technical limitations of the most primitive video game system soundchips made Follin's primary goals to create original sounds as well as not allow the resulting music to sound poor. Follin also never had the interest to join a demoscene group, though, near the end of his time working with Commodore platforms, he claimed he enjoyed himself when he made music. Outside of Ghouls'n Ghosts however, Follin later described his Commodore 64 work as nonsense that he was not particularly happy with. Follin noted Ghouls'n Ghosts on the Commodore 64 as his favourite work, though the game was a known entity, unlike many of Follin's early projects. Software Creations programmer Steve Ruddy, who created the music driver for the game (with design input from Follin) recalled Follin describing a wide array of imagery for the title theme. For the Ghouls'n Ghosts soundtrack, Follin retained parts of Tamayo Kawamoto's original arcade soundtrack within most tracks, only to transition into his own ideas for other portions of those tracks. Similar circumstances resulted in Follin's soundtrack for Bionic Commando. Follin has found it difficult to listen to works he created, feeling them outdated by the time they were completed. Follin disliked working with the Atari ST and the ZX Spectrum's