Issue link: https://digital.copcomm.com/i/1538144
devices that incorporate Boolean logic are interfacing with each other, creating dynamic soundscapes. Right now, entertainment is still very segmented into movies, TV, and games. Business leaders are trying to bridge that gap, and I think there is a lot of potential there. Unfortunately, my generation and the one before it is not really the audience for that shift—but younger generations are. That is why video game adaptations are becoming the new comic book movies. Comic books still have a following, but that audience is aging. The entertainment that will drive things forward needs to reflect what new audiences care about. At the core, great stories are still about people and conflict. Every generation deals with the same themes like loss, ambition, love, and betrayal. The difference is how those stories are told. Some will be interactive, some will be passive, but they will continue to evolve. One concern I have is the shortening attention span. Instead of making three-hour movies, we may see more episodic formats, like four episodes at 45 minutes each—something designed to keep you moving forward, like dropping another quarter into an arcade machine: just one more. Television has already started to adapt. It used to sit at the bottom of the entertainment hierarchy, with film at the top and streaming somewhere in between. Now streaming has taken over both. TV today is split between prestige storytelling and what I would call passive or background entertainment, including reality shows and quick escapes. Studios are even spinning these categories into separate business units. It is becoming clearer which content is considered premium and which is simply time filler. I also think we will see more theme park tie-ins and big IP crossovers. Look at what Minecraft and The Last of Us did as properties. Video game-based content is huge. Some companies will get it right, some will not—but the studios that created the games, such as Riot with Arcane (based on League of Legends), understand their IP and can create something really meaningful. Now, games seem to be where those darker, more layered stories are thriving. Think of shows like Severance or Barry, which are dark, smart, and nuanced. People are hungry for that kind of depth, and games are matching that tone. We are no longer in the era of television made for 12-year-olds. Audiences want complexity. So yes, the industry is evolving— and it already has. Writers are more important than ever. I have never seen so many well-written shows at the same time. It used to be that maybe four good shows existed at once. Now there are dozens. The bar has been raised. Advice for Emerging Sound Artists "If you want to stand out, learn your tools, train your ears, and learn how to articulate why something works." For newcomers in interactive sound, what advice would you give? Scott: I would broaden that to anyone getting into sound, whether it is design, dialogue, or mixing. The first thing I always say is this: Learn your instrument. Whatever your tool is— whether it's REAPER, Wwise, Radium, or Pro Tools—you need to know it inside and out. You cannot join a band and say, I am learning guitar. You need to show up ready to play. Technically, you need to speak the language. Creatively, you will evolve over time, but you should already be able to join the conversation. If we are talking about a plug-in, you should be able to say something like, This one has a sharp transient I don't love, or I like how this one warms the upper mids. That level of awareness is like a guitarist knowing how using a pick, fingers, or nail technique changes tone. It's part of developing your craft. • Marvel Ultimate Alliance (2006) • Onimusha: Dawn of Dreams (2006) • Transformers: The Game (2007) • Crysis (2007) • Unreal Tournament III (2007) • Gears of War 2 (2008) • Monster Hunter Freedom Unite (2008) • Bayonetta (2009) • DJ Hero (2009) • League of Legends (2009) • Monster Hunter Tri (2009) • Epic Mickey (2010) • Fable III (2010) • Final Fantasy XIV (2010) • Skylanders: Spyro's Adventure (2011) • Halo: Combat Evolved Anniversary (2011) • Resident Evil 6 (2012) • The Last of Us (2013) • The Wonderful 101 (2013) • Sunset Overdrive (2014) • Final Fantasy XV (2016) • Quantum Break (2016) • Spyro Reignited Trilogy (2018) • Crash Bandicoot 4 (2020) • Doom: Eternal (2020) • Valorant (2020) • Stormgate (2024) Companies or Divisions Founded • Soundelux Media Labs • Soundelux Design Music Group • Formosa Interactive • Sound Lab (a Keywords Studios) Core Roles • Sound Designer • Supervising Sound Editor • Re-recording Mixer • Actor (Creature Vocal Creation) • Audio Innovator • Musician • Aspiring Quantum Astrophysicist (yes, really) Sound Studios and Facilities Worked At •Vitello and Associates •Modern Video/Sound •Glen Glenn Sound •Todd-AO •Soundelux •Formosa Group •Technicolor •Keywords Studios (Sound Lab) 54 M PS E . O R G