So You Want To Make Audio For Games Part 3 – Summing Up

Summing Up

While I appreciate that this article represents a mere wafer-thin skim of the vast pool of varied experiences that  game audio professionals have, and continue to have, every day of their careers, I hope it has given you some idea of the kinds of roles we occupy, and where similarities to your own audio skills or experiences might exist.

If that makes you think you might like to try getting some work in the industry then I’d say go for it! Its a fascinating and ever-evolving market place, and doesn’t have to be a catch 22 situation where you are unable to get your first job because you have no industry credits to your name. You will need to demonstrate an understanding of the processes involved in making good game audio,and be able to show examples of your own work. Wether you are lucky enough to land an in-house trainee position, or convince a start-up indie dev company that you are worth a shot, you are only a finite distance away from getting your name in the credits of your first game, and that’s a great feeling.

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About Alistair

Described by Edge Magazine as ‘one of the best minds in British games sound’ Alistair Lindsay has been making audio for games since 1999. Working in both the mainstream AAA, and Indie game development worlds his game-ography takes in many and varied titles including several awards and accolades for his signature sound, most notably for Introversion’s games; Defcon, Darwinia, and Prison Architect. 

Sometimes described as a maverick, Lindsay has always striven to marry basic concepts of human psychology with game audio sound and music, where the massaging and manipulation of the player’s own unconscious mind is a crucial ingredient in making games ever more immersive. He now works freelance from a lead lined bunker in rural Suffolk, UK.

 

 

 

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