Guess how many real life objects we slapped in the making of Thank Goodness You're Here! How do you create comedy out of sound design? Check out this little exploration to hear the sound of a long sausage moving around town, or a giant pie exploding out of a shop. Or, for some insight into how the music was implemented, and how the cut-scenes were designed. We also have a little peek into the design process of some rodents eating cheese and how we went about mixing the game to make sure each and every detail brought the town to life in just the right way.

The sound of Pacific Drive is all about enveloping the player in this mysterious and unpredictable place. Learn about how we created a contrast between the chaotic zone and the peace and safety of the car with ambience and many different parameters, and just how much overwhelming detail went into this game. We then break down a couple of extra creepy hazard designs involving shrieks, horses, and camels, as well as all the recording and technical work we did for the station wagon!

If you've ever wanted to understand more about the process of Game Audio or how to collaborate with a Sound Designer, this is the talk for you. Through the context of the games Em has worked on, she runs through the basics of how we categorize sound into foley, ui, ambience, vo, music, and sfx. She shares ideas on how sound can add a unique voice to your game, and how to communicate what feelings you'd like to evoke with your designers, as well as how to start thinking about it right from the beginning of your project.

Millie's talk is a deep dive into the design process behind the hazards of Pacific Drive, and how everything is built from layers of field recordings and experimentation. She explains how she combined recordings of jungle debris, puddles and mud, manipulated vocal layers and other organic textures to give creatures a haunting, embodied presence that really feel alive. The talk is all about turning ordinary recordings into otherworldly beings, highlighting the creativity that goes into crafting sounds that players feel as much as hear.

I Was a Teenage Exocolonist has a lot of reading, so most of the sound had to be crafted in a subtle way to support and not distract from the story. The key element that brings you into this weird world are the ambiences. This breakdown takes you inside each layer of all the stretched out animals and ideas behind the seasons on the planet, as well as how a bit of randomness in the overall soundscape goes a long way to help with storytelling.