Sincere thanks to everyone who provided feedback on the Composing for Games unit. I’m really excited to know that there’s a cohort of people entering my industry who have such wonderful ideas for musical system design, as well as skill; you. The positive comments were very motivating. 2020 was a tough year for everyone. It wasn’t until I stopped over Christmas that I realised how exhausted I was from having to teach AIM remotely (and reactively), then my first ever Con unit remotely, too, with only a few months' notice. I’m teaching at AIM again from next week and your encouragement is a very welcome boost to my morale. I’m also very appreciative of the students who provided critical feedback. I really liked one point that was raised about a missed opportunity to look with more detail inside my workflow. Interestingly, over the holidays, I had already started planning something in my broader sphere of teaching with this in mind; running a weekly, optional-attendance dev stream for a Unity project I’m working on that’s tangential to what my Game Ensemble will be making. If it works out well, I’d love to try to integrate this into my Con unit too, for the next group. Another point that was raised related to much of the unit content being videogame focused, rather than composition focused. It’s certainly my opinion that being a videogame composer requires a vast amount of game/industry knowledge, in many contexts. I wonder if I could perhaps better make sure this idea is conveyed, alongside additional, relevant composition techniques. A student mentioned that they liked the unit’s slant on collaboration and community. In future, I hope you’ll stay in contact with me. I’m here to help, when you’re working in games. I believe Beer and Pixels is resuming soon, too, so I’ll email the group when that happens and hope to see you there. Best of luck in the future. Thanks for your feedback and your conscientious work in my class.