Amidst feedback from some that the sense of game audio community is stronger now than it ever has been, it's my hope that we can extend those good feelings into all of the dark corners of game audio and optimize our organizations.
Composing music for VR games on the Morpheus, Oculus Rift and HTC Vive could be tricky. Using Nick Ward-Foxton's GDC talk as a jumping off point, I'll explore the problems (and some possible solutions) for making music fit into the VR experience.
In this long and detailed post I will lift the curtain on what employers look for in video game audio staff, distilling 15 years of experience on both sides of the employment fence to give aspiring video game sound designers and composers a head start.
Here's a log of the ~100 GDC talks I've watched with fellow game developers, with ratings and tags so you can find the best ones and the free ones. tinyurl.com/gdcvault
The controller speaker in the Playstation Dualshock 4 can be an effective way to communicate information to the player. Rev. Dr. Bradley Meyer, audio director at Sucker Punch, provides some tips and tricks to make it work well.
What does a Games User Researcher attending GDC for the first time (along with the Games User Researcher Summit) think of the whole thing? This is an attempt to catalog and describe my experiences, with summaries of every talk I attended.