This was a long time coming. We started chatting about making this episode with Josh back in early September last year. This was a month before we even announced Audio Logs. So finally, episode 14 is all about Sucker Punch Productions' latest, as we met with Rev. Dr. Brad D. Meyer, Josh Lord and Chris Walasek to chat about their work on the massive Ghost of Yōtei.Open world game design often rhymes with systemic approaches. And the team here absolutely came prepared with smart systemic designs that allowed them to craft such a wide range of sonic experiences at a gigantic scope without ever sacrificing quality in the process as a trade-off. We talked ambiences, foley, cutscenes, combat, quests, and a whole lot more. We hope you enjoy!_____For more on the sound of Ghost Of Yōtei: On Foley: How This Woman Creates God of War’s Sound Effects https://www.wired.com/video/watch/obsessed-foley-joanna-fang A Sound Effect's interview with the team: https://www.asoundeffect.com/ghost-of-yotei-game-audio/ Brad's Blog: https://bradleymeyer.com/wp-core/

In this episode, we got to chat with Chase Combs, Jennie LaBonte, Jeramy Koepping and Keith Sjoquist from Bungie's audio team about their brand-new extraction shooter, Marathon.This is the type of games that is extremely demanding from an audio perspective, and so we knew that this would make for a wildly interesting subject to tackle on the show. We dive deep into the needs that came from the genre, explore how the team got to create its very distinct sounding aesthetics.Our guests were extremely generous when it comes to sharing their approaches and reasonings behind. This openness led us to talk about how they included mixing into their workflows, how they iterated on concepts and used feedback to balance things, how they've kept their aim set on player perceptions throughout the development of Marathon and so much more. We got pretty deep into the weeds here. Hope you enjoy!

We recently got the opportunity to chat with Raphaël Joffres, Maxance Playez and Olivier Penchenier from Sandfall Interactive to dive into the making of Clair Obscur: Expedition 33's audio!The game needs little to no introductions at this point, having gathered critical and commercial success since its launch almost a year ago. Our conversation explores how things took shape from within through the lens of the sound team. We talk about everything ranging from the creation of made-up languages, music systems design, DnB influences on combat sounds, sounding cutscenes, and event knighthood! We also spend a good chunk of time talking about their paths and how being a relatively young team didn't prevent them from crafting a massive and highly expressive sounding experience!For those who might be wondering, we did our best to avoid spoilers without preventing us from tackling topics. So while we talk about a bunch of things that aren't encountered in the first few hours of the game, we made sure to keep things presented in a light that preserves the elements of surprise as best as we could.If you're curious and want to know more about Clair Obscur: Expedition 33"s audio, once again, here's a link to Jennifer Walden's (A Sound Effect) amazing interview with the team: https://www.asoundeffect.com/clair-obscur-expedition-33-game-audio/

In this episode, we met with Senior Audio Director Mari Saastamoinen Minto, Audio Director David Jegutidse and Lead Technical Sound Designer Gonçalo Tavares from DICE to chat about how the latest entry in the series managed to look back at its legacy while also looking ahead as the team pushed new boundaries while creating the audio experience of Battlefield 6. We dive deep into the design and technical aspects of game audio here, exploring how the team decided to tackle everything related to the creation of an immersive soundscape that works well across all its game modes, the legacy of the Battlefield series, artistic and technological aspirations, what it takes to work as such a large scale, and so much more. We even got some behind the scenes footage from the various foley and field recording sessions! And before you even think about it, yes, we absolutely talk about footsteps. We got the team to break down the multitude of systems and creative solutions they came up with to ensure things felt accurate and in-line with player's expectations. If you're curious and want to know more about BF6's audio, here's a link to Jennifer Walden's (A Sound Effect) stellar interview with the team: https://www.asoundeffect.com/battlefield-6-game-audio/ #gameaudio #podcast #audiologs #gamedev #fps #battlefield #frostbiteengine #gaming #interview #bf6 #multiplayer

Kat Wenske and Chris Rickwood from Team Audio joined us to dive in the creation of Question Games" latest, the horror-deckbuilder The Killing Stone. This is the first time we get some co-workers/friends on the show, and these two brought a lot of fun to the table. While navigating the macabre and occult world of the game, they kept on lightening the mood with good vibes and fun detours all while offering us great insights on how they both crafted this very unnerving sonic experience! We talk foley work, scoring the game, collaboration as outsourcers, what it means to balance tone in horror, and so much more!

Returning guest Pat Tremblay, audio lead at Tribute Games joins us alongside Peter Berkman from Anamanaguchi to shine some light on the creation of Scott Pilgrim EX' amazing music-focused sonic experience!This is our first episode where we take a narrower focus and dive deeper into the weeds of things, in this case video game music. We chat about a lot of topics such as the history of chiptune music in the early 2000's, how tech limitations invited the team to come up with elegant (and musical) solutions to make sure everything came together harmoniously, the many questions that come up when composing a score this eclectic while ensuring nothing ends up feeling out of place and so much more.

In this episode, we're joined by the entire audio team from Double Fine Productions (Camden, Kate, Paul, Michael, Sage and Steve) as we dive into the delightfully strange world of Keeper. Getting everyone in on the chat is something new to us, and it was a blast! This allowed us to explore all topics freely, and so we did. We jump from team dynamics to crafting ambiences and voices for the wild creatures roaming this surrealist universe, to tech and music. We also shine some light on how Double Fine operates and so much more!

We're kicking off the new year with good vibes and lots of energy with Akash Thakkar! We met a few weeks ago to chat about his work on Heart Machine's latest release, Possessor(s).Akash sheds some light on his collaboration with Heart Machine and how they craft their games, how Possessor(s) came to be, how he created signature sounds for the game and how he collaborated with composers, artists, direction, etc. We also chat about the studio's aesthetics and how they carry across releases, how his freelancer status allows him to explore a wide range of things, before exploring note-taking habits, second brains and many more productivity tips!

In our final episode of the 2025, we dive deep into SLEEP AWAKE from Eyes Out, the studio founded by Cory Davis (Spec Ops: The Line) and Robin Finck (Nine Inch Nails).Jordan Guerette, lead audio designer and Clay Westing, lead game designer joined us to explore how the team managed to bring this hallucinatory psychological horror game to life. From their process in designing the impact of sleep deprivation as game mechanics to translating the high-level vision into realized game and narrative elements, we dive deep into the weeds here.

On this episode, we chat with Pat Tremblay, Lead Audio Designer at Tribute Games about his experience working on Marvel Cosmic Invasion.He was the only sound designer on the project, and so Pat's fingerprints can be found throughout all things audio in the game. This led us down a whole bunch of rabbit holes, from how he and the team defined how 'retro' sounding things would be, to how he approached solo vs multiplayer coop in mixing the game, how the team used FMOD to push the use of sound and music into modern-times and so much more!