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	<title>Touché, bitches! &#187; commentary</title>
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	<description>Beyond the Call of Duty</description>
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		<title>Synaesthetics in Modern Games</title>
		<link>http://www.touchebitches.com/2010/07/synaesthetics-in-contemporary-games.html</link>
		<comments>http://www.touchebitches.com/2010/07/synaesthetics-in-contemporary-games.html#comments</comments>
		<pubDate>Fri, 09 Jul 2010 07:44:48 +0000</pubDate>
		<dc:creator>Touché bitch</dc:creator>
				<category><![CDATA[Features]]></category>
		<category><![CDATA[bloom]]></category>
		<category><![CDATA[brian eno]]></category>
		<category><![CDATA[commentary]]></category>
		<category><![CDATA[electroplankton]]></category>
		<category><![CDATA[game music]]></category>
		<category><![CDATA[hipster games]]></category>
		<category><![CDATA[indy games]]></category>
		<category><![CDATA[osmos]]></category>
		<category><![CDATA[synaesthesia]]></category>

		<guid isPermaLink="false">http://www.touchebitches.com/?p=427</guid>
		<description><![CDATA[Two articles have recently got me thinking about the interactions we are seeing between the visual elements of games and the aural. In this article on Osmos at Create Digital Music [via Critical Distance], Peter Kim discusses with its creators the process behind the sound design of Osmos and how the game&#8217;s mechanics continuously affect [...]]]></description>
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