When I played Spyro as a child, its world was complete, without traces of anything, no history. No background. A world with no influences, music which was never played by anyone, a beautiful summer forest, puzzles and gems and orbs. Now, I start to think about how the soundtrack is structured and that perfect being of Spyro starts to fracture. So I stop thinking because it is not worth the value lost to question the most deep art experiences.

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Isn’t there something disingenuous about a philosopher searching for arguments, as such, to prove a point? Surely they should be just looking closer at the way things work? But pragmatically a good, graspable argument is often hard to find.

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