Tchia was a really big game with a lot of sounds! In this breakdown, we talk about the many challenges we faced, including the overwhelming amount of cut-scenes, impact sounds (due to being able to 'possess' any object in the game), or ukulele recordings (since you can play it like it's the real thing). We also share some insight into some really gross sound design that takes you inside a cavernous belly, or behind the scenes of a worm vomiting out an entire population.

A Shell in the Pit's studio director, Gordon, walks through how the Pacific Drive radio soundtrack came together, and how he wrote his own song Ghost on the Road to fit the game’s dark folk vibe. He also talks about the challenges of licensing and assembling the soundtrack into a cohesive whole that sits naturally in the game’s world. Read the full interview here.

Within each layer of the process of game audio there is a deep connection to how we feel, from how we piece together individual elements like ambience or foley, to the frequencies we use in each asset. In this talk, Em covers how frequency range, density, loudness and balance all affect how we are feeling as we are listening, and how they can all make us feel agitation or relief as we're playing games. Em also explores how all of us as game developers can understand and communicate this connection to feeling as we create, so we can adapt to the character of each game, and make it resonate.

In this Save & Sound session, Gordon gives us a deep dive into the music of Rogue Legacy 2, breaking down the dynamic boss fight tracks. Using FMOD, he demonstrates how he layers percussion, guitars, and evolving bass loops so the track adapts to the boss’s health, regardless of how long the fight takes. It’s a peek at how implementation can keep chaotic action alive and seamless.

An interview about the sound of Untitled Goose Game!