Audio

Composer Olivier Derivière explores the thought process behind the game's music and how it supports the emotional depth within its universe.

Adding comedy to the mix makes doing the wrong thing in McPixel 3 feel so right.

From boss design to controls, here's how developer Lily Valeen made the game's collaborative one-player combat work.

Music producer and composer Jessica Mao, who worked as an intern at Santa Monica Studio, claims they worked on the sequel but haven't been credited.

Emphasizing brand identity using game music - 3rd in an article series on music for trailers, cutscenes, and cinematics, by composer Winifred Phillips.

Following composer Mick Gordon's allegations about the handling of Doom Eternal's music, Bethesda Softworks has put its support behind id Software.

For the first time ever, video games have a specific category at the annual Grammy Awards.

Solo developer Airdorf walks us through the visual and audio effects that helped the series make its mark.

Gordon alleges a crunch-heavy schedule and creative clashes led to him losing control of Doom Eternal's music.

"I don’t see any path forward," wrote Schachner about her departure from Infinity Ward's shooter.

Here's how the team coordinated the tricky combination of FPS and rhythm game to keep the combat on beat.

Using linear music to support information-rich sequences - 2nd in an article series on music for trailers, cutscenes, & cinematics, by composer Winifred Phillips.

The new site is incredibly easy for seekers to search, view, and apply for jobs for free—while employers enjoy flexible and easy job postings, as well as intuitive dashboards and applicant tracking.

Summerfall Studios is creating a uniquely interactive soundtrack through a trait-based dialogue system.

What two of the creators of Monkey Island brought from the original series into the modern era--and what they left behind.