Jennifer Walden interviews Hanger 13’s audio director Matt Bauer about his teams’ work on retro shooty-driver, Mafia III.
John Broomhall speaks to audio director Richard Lapington about pulling together the sound for Remedy Entertainment’s unusual TV show/video game hybrid, Quantum Break.
Andrea Toyias and Joseph Lawrence from Blizzard Entertainment discuss what it was like to work on making every shout, swing and smashing barrel in Diablo III sound just right.
Gilbert and Schafer discuss the current state of dialogue and writing in games in comparison to the Adventure Games they are known for.
Broomers talks to Nick Arundel about his team’s work on the latest Batman game.
John Broomhall talks to the ocean-spanning Fable 3 audio team.
Dan Carter and Michael Worth give a nice overview of interactive audio, looking at sound effects editing, interactive music, dialogue and tools of the trade.
Ben Schneider on why keeping dialogue short and sweet is likely a better solution than subjecting your paying customers to epic reams of self-indulgent pap.
Rob Bridgett spills the beans on the audio for Radical’s Scarface: The World Is Yours. Of particular interest is his discussion of the game’s unique audio post production period.
Marty O’Donnell’s post-mortem analysis of the music, sound and dialogue in Bungie’s Halo.