12 M PS E . O R G
ne of the biggest differences between working
in linear media and working in games is that, in
games, we never really know exactly how the
audience is going to experience the work. Of
course, linear work has its own complexities,
especially when it comes to how a mix translates across
different rooms and environments. But that is not quite what I
am talking about here.
In film and television, we are usually building sound on a
fixed linear timeline. Every cut, camera move, line of dialogue,
transition, and musical moment is tied to a sequence that has
already been decided. That work is incredibly creative and
complex, but the audio path through the story is generally
already known.
O
THE EVOLVING CRAFT
OF AUDIO
GA M E AU D I O
BY GARRETT MONTGOMERY MPSE
