Podcast appearances and mentions of jesse harlin

Will Porter, former PC Zone editor turned game developer, is our guest this week. Hear about Zone's epic rivalry with PC Gamer and how it gradually died down over time, and learn about how Will ended writing for games like Alien: Isolation and Mafia: Definitive Edition. This week's music is from the Mafia: Definitive Edition soundtrack by Jesse Harlin. Hosted on Acast. See acast.com/privacy for more information.

The old Gods aren't always as forgotten as you might think.Story by Joe LansdaleClosing song by Jesse Harlin and Jim BonneyCity of DanaWelcome the post-scientific City of Dana. A scripted comedy series.Listen on: Apple Podcasts SpotifySupport the show

Louise Blain with gaming music designed to underscore the murky world of crime and punishment. Louise's guest is the composer Richard Wilkinson who talks about his score for the forthcoming Peaky Blinders game. The programme also features music from Sherlock Holmes: Crimes & Punishments, Austin Wontory's Assassin's Creed Syndicate, Jesse Harlin's Mafia, Woody Jackson's Red Dead Redemption 2, Thief by Luc St-Pierre, Jesper Kyd's Hitman: Blood Money, and Michael Hunter's music for Grand Theft Auto 4.

Ben and Tao prove their '90s credentials and try not to drop the ball as they get happy flappy paddle slappy in 2D micro-adventure, Yoku's Island Express. They talk pinball, completionism, sound effects, map modes, and what makes a ‘phone game' a ‘phone game'. There's some nostalgia, some gentle and not so gentle mockery, and very minor story spoilers (flagged in advance) towards the end of the ep. Hop on the bug wagon.   Content Warning: PEGI 7. Druidic rituals and balls, balls everywhere. Fruity balls. Suitable for kids? You tell me.   Clarifications: Yoku's Island Express official soundtrack is composed by Jesse Harlin. The Wolverine game Tao is referring to is X-Men Origins: Wolverine Uncaged, and yes Ben got completionist on it. He still brags about it. I mean, it's pretty cool, right? DJ Jumps has now, sadly, left The Cat Empire. Hopefully it wasn't anything Tao said. Audio extracts: Metamorphosis (Original Game Soundtrack) - Music by Garry Schyman and Mikolai Stroinski Skype SFX Harry Nilsson - Everybody's Talkin' from Midnight Cowboy College & Electric Youth - A Real Hero The Who - Pinball Wizard The Ricky Gervais Show - Rockbusters Microsoft's 3D Pinball Space Cadet ‘Beautiful butterfly' - A Bug's Life Ralph Wiggum - The Simpsons GTA Vice City - Tommy Vercetti Worms Armageddon Hollow Knight OST - Enter Hallownest X-Men Origins: Wolverine game Rayman 1 OST Chronicles of Riddick: Escape from Butcher Bay Portal The Cat Empire - Beanie feat. DJ Jumps The Who - My Generation Patreon: https://www.patreon.com/pixelvisionpod Twitter: @pixelviz Email: pixelvisionpod@gmail.com

Welcome to Dev Game Club, where this week we continue our series on The Legend of Zelda: Ocarina of Time. We dive into the Water Temple (see what I did there?) as well as elaborating more about some topics we touched on last time. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Through the Water Temple Issues covered: what Tim means when he talks about Hyrule Field, lack of prior art for 3D hub and spoke, the beginnings of an open world, sight lines for blocking and enticing, breaking the prior structures, physically representing the choice space of macro decisions, looking at a level in a tool to get a sense of scale, getting different perspectives, seeing the DNA of 3D Zelda, getting a sense of a space, a return to Goron City, revisiting areas with new tools, stealing object-oriented quest design, filling in the slots and a sense of accomplishment, gaining levels or using an economy for reward, hybrid systems, allowing for player choice, renting tools in later versions, getting to Breath of the Wild and having all tools fairly early, not caring about remaining progression stuff, what happened to Jabbu-Jabbu?, dabbling with buoyancy and friction on the ice, having a tool that's only useful in one dungeon/Domain, having to give up something in a bottle, having a need for that analog stick, having to make decisions about how you'll use a container, concretizing the abstract, an area of effect key, how they devised their rules, Navi's... cryptic hint, using stores as a clue mechanism, a usability feature, replacing lost items, how many hearts Dark Link have, a camera problem with the Forest Temple boss, taking off the boots as soon as you get in the temple, the water level as a state you can change many times, the floating platforms as an item of interest, hookshot anchors, the potential influence of Tomb Raider and The Cistern, a quick aside on which versions we're playing, the creepy reveal of Dark Link, how we each defeated that boss, the evolution of wearables as also bindable in the future, upgrading a tool instead, making it clearer that you need another means of solving a puzzle, the cold hard truth about fishing games, variant gameplay should be easy, a preference for Tim's explanation for all the Legends of Zelda. Games, people, and influences mentioned or discussed: Dark Souls, Demon's Souls, Super Mario 64, Disney World, LucasArts, N64, Shadows of the Empire, Dark Forces, Rogue Squadron, DOOM (1993), TIE Fighter, World of Warcraft, Republic Commando, Dave Collins, Jesse Harlin, GTA III, Metroid, Horizon: Zero Dawn, Troy Mashburn, Arkham (series), Link Between Worlds, Skyward Sword, Kingdom Hearts, Diablo, Path of Exile, Torchlight II, Tomb Raider, 3DS, Chrono Trigger, Milo Kent, Sonic Adventure DX: Director's Cut, Okami, Jak and Daxter, Ben "from Iowa" Zaugg, Link to the Past, Switch, Dungeons & Dragons, Sam Thomas, Brian David Gilbert, Polygon, Halo, Vlad, Kirk Hamilton, Strong Songs, Ultima Underworld, Final Fantasy, Aaron Evers. Links: Brian David Gilbert's total Hyrule timeline Next time: The next two Temples Twitch: brettdouville, instagram:timlongojr, Twitter: @timlongojr and @devgameclub DevGameClub@gmail.com

Hear composer Jesse Harlin talk about his music for Mafia: Definitive Edition. The game is a remake of the first Mafia game, which came out in 2002, but with completely new music written by Jesse. We’ve had Jesse on the show twice before; once was for Yoku’s Island Express in 2018 and in 2016, Jesse was on Level to talk about his work on Mafia 3. That was mostly a blues score, but the score for Mafia: Definitive Edition is entirely orchestral. Support Level with Emily Reese and see a playlist on Patreon.

Mafia Définitive Edition, le test par Yohann Lemore Sortie: 25 Septembre 2020 Développeur: Hangar 13 Editeur: 2K Games Genre: Action aventure Plateforme: PS4, One, PC Age: 18+ Crédits audio: Mafia: Definitive Edition Soundtrack - Nothin We Couldn't Handle Composed by Jesse Harlin

The turf war between the Morello and Salieri crime families in the 1930s has been brought stunningly back to life in Mafia: Definitive Edition by Hangar 13 and 2K. Composer Jesse Harlin incorporated a whisper of the game's original theme, then expanded his soundtrack to reflect the Old World history of the two mafia dons as well as the younger generation of the characters, including taxi-driver Tommy Angelo, who gets pulled into working for the families. Because Don Salieri and Don Morello had settled in America from the Old World, Jesse incorporated some unexpected instruments to reflect their heritage: a mandolin and a traditional Eastern European cimbalom. Jesse told me that the COVID-19 pandemic threw a spanner into recording the last few cues of the soundtrack. Since large orchestras were not allowed to perform, Hangar 13's audio director Matt Bauer came up with a painstaiking way of recording players of the Brno Philharmonic Orchestra a few at a time and layering their

Joining Leon Cox for Sound of Play 269, is the composer for Mafia: Definitive Edition, Jesse Harlin. Jesse’s career in interactive audio spans two millennia. He is currently the freelance composer behind DunderpateMusic.com. Before that, […] The post Sound of Play: 269 – Jesse Harlin appeared first on Cane and Rinse.

Jesse Harlin chats with Austin Wintory to discuss his formative years in music, his history with LucasArts and Star Wars, becoming an independent composer, and  delving into new music genres with Valorant.  Jesse is best known for being the composer for Mafia III, Star Wars: The Old Republic, Star Wars: The Force Unleashed, and Riot's recently released competitive shooter, Valorant.  Are you a fan of the show? We need your help! Please take a moment to fill out this >>quick listener survey. Follow us on Twitter @Official_AIAS, Facebook or visit us at interactive.org.

Welcome to Dev Game Club, where this week we delve deeper into audio and music on Republic Commando, via our interview with David Collins and Jesse Harlin, the audio lead and composer for the game, respectively. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Podcast breakdown: 0:48 Interview 1:45:20 Break 1:45:56 Outro Issues covered: going from film scoring to games, writing a column, dealing with the suits, getting the games at a discount, getting exposed to the hard work of audio and games, interviewing the composer, the turnover at LucasArts in the early 00s, being focused on audio and music in games, Redbook audio, having no one to learn from, having to figure out how to fit all the music on different consoles, parallels to silent film and MIDI, the development of iMUSE and having to replicate it, trying to find middleware for audio, hot-rodding the engine for audio, splitting sound and voice and the history, having lots of departments that had built up their own silos, being a service group at even a greater scale, the costs of switching, burnout and lack of downtime, having to crunch on multiple games at a time, the physical costs of burnout, having to hide that you're working on multiple projects, "see a dog hear a dog" sound design, shifting to being fully involved with one team, integrating departments earlier, having a fully immersive proof-of-concept level with audio, being able to hand off more to audio, still chasing what you'd like from audio, the non-Star Wars Star Wars game, systemic audio vs a more curated experience, the implementation of the Assault Ship, having different musical cues for different approaches, the game finding its own way from the Star Wars musical soundscape, not knowing what the movies would sound like, injecting more personality, having developed based on what we knew, the wonders of the ring modulator, a signature Star Wars sound, having the LucasArts audio available at Skywalker Sound, choosing a language for choral music (and not having Wookiee available), embedding your sister's name in a piece of music, training up the choir on how to sing Mandalorian, having the gall to invent Boba Fett's language, getting away with more because of timeline distance, slipping a thing to be low-key, wanting to use a talking dog, having a thing die because Business Affairs holds onto it for a long time, adding in Russian/Slavic dipthongs, knowing what fans were going to want to know, planning ahead for the meaning of the content, having The Battle of the Trees in Sanskrit for Duel of the Fates, slipping Doctor Who character names into The Old Republic, the audioscape of the "battle beyond," pulling in the audio for a developer diary, having the opportunity to widen the Universe, going nuts with the audio, having time to think about what a space should sound like, "this is my level too," integrated audio storytelling, the invisible art form, people not knowing how to describe audio, "you know, audio's cheap," the small size of the audio team, the high efficiency of audio, where the Ash video came from, having a weird coda to the game like that, critics thinking the game had rock in it, how mistakes happen in reviews, having had a deal, the only rock song ever to be in a Star Wars game, guitars and Star Wars, line items in a budget, Foley as a performance, having raw material for days for blasters and such, having clacky armor in front of the camera the whole game, having a footstep level, having to retag geometry, meeting with a fan, missing out on a multiplayer balancing issue, having networking break the music system, the airing of grievances, making a music map for QA, how to test audio effectively, the problem with music, what these guys are up to now, scores that don't work, knowing that things had to change, iterating on team makeup and process. Games, people, and influences mentioned or discussed: Star Wars, Marvel, Mafia, Avatar, Futurama, Counterspy, Yoku's Island Express, LucasArts, Escape from Monkey Island, Star Wars: Demolition, Starfighter (series), Sony, PlayStation, Uncharted 3, Journey, The Last of Us, Celebration, Skywalker Sound, Rage Software, Space Debris, Starfox, Paul Stroud, Game Developer Magazine, Electronic Musician, Larry the O, USC, The 7th Guest, Xbox, GameCube, Michael Land, Michelle Hinners, Unreal, Naughty Dog, Sony Santa Monica, The Force Unleashed 2, Troy Mashburn, Kevin Schmitt, John Hancock, Nathan Martz, Dave Bogan, Jenny Huang, Wwise, Daron Stinnett, Alien, Event Horizon, J. White, Obi-Wan, Resident Evil, Philip Sousa, Steve Matulac, George Lucas, Ben Burtt, Knights of the Old Republic, BioWare, Justin Lambros, Cindy Wong, Doctor Who, The Longest Day, Tales of Jabba's Palace/Tales of Mos Eisley Cantina, Creative Audio, Harrison Deutsch, Jedi: Fallen Order, Respawn Entertainment, Andrew Cheney, Julian Kwasneski, Bay Area Sound, Aaron Brown, Ash, Chris Williams, Full Throttle 2, The Gone Jackals, Halo, Marty McDonnell, John Williams, Michael Giacchino, Clint Bajakian, Mercenaries, Peter Hirschmann, Jana Vance, Dennie Thorpe, Tony Shalhoub, GalaxyQuest, Battlefront II, ComiCon, Joss Whedon, Riot Games, Valorant, Mafia Remake, Haden Blackman, Matthew Wood, Star Wars Resistance, Galaxy of Adventures, Forces of Destiny, Ahmed Best, Star Wars Jedi Temple Challenge, Jason Sudeikis, Rise of Skywalker, Boss Baby: Back in Business, Netflix, The Soundtrack Show, Ladyhawke, Mutiny on the Bounty, Akili Interactive Labs, EndeavorRx, Metal Gear Solid, Raiders of the Lost Ark, Epic Mickey, Kirk Hamilton, Aaron Evers. Links: SWRC Developer Diary about audio The Battle of the Trees Next time: Another interview! Twitch: brettdouville, instagram:timlongojr, @brett_douville, @timlongojr, and @devgameclub DevGameClub@gmail.com

Welcome to Dev Game Club, where this week we welcome Kirk Hamilton, composer, podcaster, and retired writer/editor to the podcast to talk about music composition, working with licenses and licensed music, the way music and play work on our brains, and a host of other topics. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Podcast breakdown: 0:16 Interview 1:10:31 Break 1:11:00 Next game, announcement, etc. Issues covered: Kirk's early writings, using your ear training, picking up a saxophone, Brett's saxophone solo, getting a broad mandate, modeling on NPR podcasts, geeking out about NPR podcast intros, aerophone, jingles as condensed composition, working with synthesizers, programmer art for the theme, remembering the old themes, the hard work of working with composers as a non-musician, talking about intangibles, level reviews and music, working on established IPs, breaking the music, repeating music in older games, composing for player actions, iMUSE and music blending in between states, game audio with multiple sound cards, preserving game audio, CD-ROM game audio/Redbook audio, the excellent audio and voice department of LucasArts, the many cool influences of Peter McConnell, artists at play, the evolution of the human brain, playing with your prey, the mix of lyrics and music and story and game play, the need for technical understanding in game composers, writing for an environment, adding data to music tracks, scheduling audio to play at the exact right moment, building a dynamic game play system and finding a way for music to match that, how Zelda music has changed over time, being aware of the creative vision of the game, Japanese game development, the mismatch of the opening vs the play of a game reflected in its music, feeling the play, the Tomb Raider menu music, Lara Croft in media vs Lara Croft in the game, the loneliness and promise of the menu music, the exploration of Tomb Raider vs the pulp of Raiders, licensing music, matching a soundtrack to the game's moment, using the right soundtrack that reflects the music, dropping in some Miles Davis or Sonny Rollins, Brett overshares his saxophone history, Kirk's projects, feedback about how we should set up each episode, going from game/book club vs discussing and analyzing games, what's next, Tim's big adventure. Games, people, and influences mentioned or discussed: Gamer Melodico, Kotaku, Strong Songs, Kotaku Splitscreen, Maddy Myers, Jason Schreier, Red Dead Redemption, Aaron Evers, NPR, RadioLab, Fresh Air, This American Life, Morning Edition, All Things Considered, World Saxophone Quartet, Matthew Burns, JukeDeck, Slate Culture GabFest, Succession, Nicholas Britell, Star Wars, Tomb Raider, Halo, Jason Graves, Republic Commando, Jesse Harlin, John Williams, David Collins, Ludwig Göransson, MIDI, Michelle Hinners, iMUSE, LucasArts, Monkey Island 2: LeChuck's Revenge, Dark Forces, Nintendo, GameBoy, The Secret of Monkey Island, Michael Land, MYST, Curse of Monkey Island, Grim Fandango, Full Throttle, George Lucas, Peter McConnell, Psychonauts, Double Fine Entertainment, Metallica, ProTools, David Byrne, How Music Works, Austin Wintory, Journey, That Game Company, Flower, Uncharted, Zelda (series), Legend of Zelda: Link to the Past, Koji Kondo, Legend of Zelda: Breath of the Wild, Manaka Kataoka, Crypt of the Necrodancer, Cadence of Hyrule, Danny Baranowsky, Super Meat Boy, Mario (series), Super Mario Sunshine, Super Mario Odyssey, UFO: Enemy Unknown/X-COM, John Broomhall, Timothy Michael Wynn, The Avengers, Morgan Grey, Indiana Jones, Crystal Dynamics, GTA (series), UbiSoft, Watch Dogs, Martin Scorcese, Birth of the Cool, Miles Davis, Saint Thomas, Sonny Rollins, The Lost Boys, Phillip from Copenhagen, Pokemon, World of Warcraft, Kingdom Hearts, Shenmue, Eternal Darkness, Rebel FM, DDR, Civilization III, SimCity, Sid Meier, Alpha Centauri. Next time: Civilization III Links: Kirk and the Secret of Monkey Island Gameplay and Story Are Exactly Like Music and Lyrics Strong Songs Patreon https://twitch.tv/brettdouville, @timlongojr, and @devgameclub DevGameClub@gmail.com

Today’s episode on the CINEMATIC SOUND RADIO network is episode five of our orchestral video game show, THE 1UPBEAT with Eric Silver. We are still a few weeks away from the premiere of STAR WARS: THE RISE OF SKYWALKER, however, if you want to satisfy your STAR WARS sweet tooth, today host Eric Silver will be exploring the vast catalogue of STAR WARS video game music. In part one of this two-part series you’ll hear selections from such games like STAR WARS: KNIGHTS OF THE OLD REPUBLIC by Jeremy Soule, STAR WARS: REPUBLIC COMMANDO by Jesse Harlin, THE FORCE UNLEASHED I & II with music by Mark Griskey and KINECT STAR WARS with music by Gordy Haab & Kyle Newmaster. May The Force Be With You! —— Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

On this episode of WART Radio, Deku Skrub hits the Switch Jams a second time! 2 hours of more great Switch tunes!  Let's get snapping! www.nintendomainpodcast.com   Song list: 1:07 SoccerSlammers: Title Theme Composed by Unknown 3:52 Mutant League Football: Theme Composed by Brian Schmidt Covered by Sykodx469 6:23 Enter the Gungeon: Gungeon Up Gungeon Down Composed by Doseone 9:43 Floor Kids: Lazer Tag Composed by Kid Koala 12:04 Taiko No Tatsujin: Splatoon Composed by Toru Minegishi or Shiho Fujii 14:16 Just Shaped and Beats: Corrupted Composed by Danimal Cannon and Zef 20:33 Pocket Rumble: Keiko Stage Composed by Ash Wednesday 23:51 Bloodstained Curse of the Moon: Level 3 (The Brilliant Void) Composed by Michiru Yamane 28:06 The Messenger: To Break the Curse (Music Box) Composed by Rainbowdragoneyes 30:09 Mulaka: The Corrupted Bullfrog Composed by Lienzo 34:57 Octopath Traveler: Battle Theme Composed by Yasunori Nishiki 38:15 Ys VIII: Night Survivor  Composed by Falcom Sound Team 40:11 Valkyria Chronicles 4: Childhood Friends Composed by Hitoshi Sakamoto 42:51 Arms: Ramen Bowl (Min Min Stage) Composed by Atsuko Asahi or Yasuaki Iwata 46:38 Splatoon 2: Ver 4.0 Trailer Composed by Toru Minegishi, Ryo Nagamatsu, or Shiho Fujii 48:13 Snipperclips: Retro Reboot B Composed by Calum Bowen 55:17 Puyo Puyo Tetris: Across the Distant Space Composed by Hideki Abe 58:22 Tumbleseed: Cure  Composed by Joel Corelitz 1:03:10 Blossom Tales: Runestone Temple Composed by Visager 1:04:44 River City Rampage: Running Around Composed by Kazuo Sawa 1:08:12 Double Dragon: Black Warrior's Hideout Mission 4 Composed by Kazunaka Yamane 1:09:57 Undertale: Dummy Composed by Toby Fox 1:12:23 Street Fighter 2: Ryu's Theme Composed by Yoko Shimimura 1:14:56 Overcooked 2: Map Composed by Oliver Wood 1:17:17 Shantae and The Pirate's Curse: Arctic Justice (Frostbite Island) Composed by Jake Kaufman 1:21:12 Runner 3: Cogs and Jogs Composed by Matthew Hardwood 1:23:45 Yoku's Island Express: Flight of the Space Monks Composed by Jesse Harlin 1:27:05 Mega Man X: Spark Mandrill Composed by Makoto Tomozawa 1:28:52 Armored Warriors: Win Back Composed by Takayuki Iwai 1:31:33 Captain Commando: Stage 5 (Sea Port) Composed by Masaki Izutani 1:33:38 Morphie's Law: Title Theme Composed by Unknown 1:35:17 Batman The Telltale Series: Tech Composed by Jared Emerson-Johnson 1:37:47 Dead Cells: The Ramparts Composed by Yoann Laulan 1:44:39 Into the Breach: Old War Machines Composed by Ben Prunty 1:47:50 Shining Resonance Refrain: Ryuujingar Composed by Junpei Fujita, Evan Call, Hitoshi Fujima, Tomohiro Kita 1:50:03 Legend of Zelda Breath of the Wild: Dark Beast Ganon Composed by Manaka Kataoka, Yauaki Iwata, Hajime Wakai 1:55:33 Super Mario Odyssey: Honeylune Ridge Escape (Japanese) Composed by Naoto Kubo, Shiho Fujii, Koji Kondo        

Composer Jesse Harlin talks about his music for Yoku's Island Express from Villa Gorilla. You can see a playlist and support Level with Emily Reese on Patreon.

Jesse Harlin has been a composer for video games for over 15 years. His music has been played by the London Philharmonic at Abbey Road's Studio 1, but has also has his music blasted among crowds in New York's Times Square. He is an interactive music designer building music systems with some of the top audio engineers in the industry. Some video game titles to his credit include: THE FORCE UNLEASHED, MONKEY ISLAND 2, STAR WARS: THE OLD REPUBLIC and MAFIA III. One of his most recent original scores has been for the video game, YOKU'S ISLAND EXPRESS.Yoku's Island Express, a pinball platform adventure game, launched on Xbox One, PlayStation 4, Nintendo Switch™ and PC on May 29th 2018 from Team17 and developer Villa Gorilla. Yoku, the dung beetle, has arrived on Mokumana Island to take over the role of postmaster and he's ready for the easy life, soaking up the sun and delivering parcels on a tropical paradise! However, an ancient island deity is trapped in a restless sleep - and it's all down to Yoku to traverse the island using a unique blend of pinball mechanics, platforming and open world exploration.In this episode Jesse Harlin talks about how he focused creating strange and unique instrumentation mixtures in the score: from odd toy sound pairings to percussion via beat-boxing, mixed with soft female vocal work + turntablism … run through ring modulators. He also talks about his use of language as the score starts in French but morphs into Polynesian-like-skatting to other spontaneous sounds he formed into fictional vocabulary. ANNOTATED TRACKS AND SEGMENTS02:13 - "Welcome to Mokumana Beach"05:44 - "Welcome to the Space Monks"09:46 - "What Lies Beneath"OTHER TRACKS00:09 - "The Slug Gardener"13:18 - "Gorilla Woods"SOUNDTRACKThe original score was released on May 28, 2018 and is available digitally on Amazon.com, iTunes, and streaming on Spotify and Apple music. MORE ABOUT THE COMPOSERYou can also hear more music and find out more about Jesse Harlin on his official site: http://dunderpatemusic.com. You can also follow him on Twitter @oogewABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed

Euan recovers from the horrors of last week, but we are all still dying in the heat. Even video games are harder to play. On this episode… Intermission Music… What Lies Beneath – Jesse Harlin – Yoku’s Island Express (Original Video Game Soundtrack) Amazon | Steam DLC | Apple Music We Played… Euan finishes pinball-vania […]

I talk to composer Jesse Harlin about his history working on various musical projects and video games. We also talk a lot about the work he put in on Yoku's Island Express. That was covered here: https://tinyurl.com/ydhuncpr The music during the episode is from Jesse's work "RV Alpha" From Star Wars: Republic Commando and "No One is Untouchable" from Mafia III  https://twitter.com/oogew https://www.dunderpatemusic.com/ Support on Patreon - https://www.patreon.com/jhammondc T-Shirts - https://tinyurl.com/yanv8x4n Sponsored by: http://www.tweakedaudio.com/ For more Beyond the Playlist with JHammondC https://twitter.com/JHammondC https://www.facebook.com/groups/Beyondtheplaylist/ Theme music by Magnus Sellergren featuring The Jimmy C and the New York Brass Cover art by Phil Rood  

Welcome to Dev Game Club, where we are discussing 1999 Black Isle classic Planescape: Torment. We talk about how the overwhelming nature of the beginning acts might have come about (again), Brett hits a game-breaking bug, and needles are sought in haystacks. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Through Ravel's Maze Podcast breakdown: 0:43 Segment 1: PST (2:21 Aw Jeez) 1:08:00 Break 1:08:28 Segment 2: Feedback (1:10:10 Aw Jeez) Issues covered: May Day, how the breadth of quests of Hive might have come about, setting a bar for development, vertical slices, tutorial levels, taking a Starfighter level to alpha, trickle-down videogame economics, proving things to the money men, playing the high intelligence character, wererats and Brett's crash bug, Brett starts over with the Enhanced Edition, the Dead Nations and the Silent King, people of interest vs points of interest, needles in haystacks, intrinsic reward vs the extrinsic reward, quest items and characters, items being forced out of inventory, "what's in the box," how much do you let players explore, usability problems, missable trophies, making a developer's life easier vs a player's life easier, dangling quests, living with consequences, wanting a grey area vs clearly telegraphing to the player, watercooler talk, Nameless as a cipher for a player, being immortal, four factions in Fallout 4 and the end game, pen and paper vs computer RPG, "it's just text," systemic and forgettable vs specific and memorable, focusing on the macro at the expense of the micro, gif/jif, specificity of character, art direction, music composition. Games, people, and influences mentioned or discussed: Stairway to Heaven, Led Zeppelin, nambulous, Chris Avellone, Baldur's Gate, Icewind Dale, Beamdog Entertainment, Interplay, Obsidian, Fallout: New Vegas, Bethesda Game Studios, Skyrim, Republic Commando, Troy Mashburn, Starfighter, Harley Baldwin/White-Wiedow, Tomb Raider, Factor 5, Totally Games, Dungeons & Dragons, World of Warcraft, Fallout, It Follows, Soul Reaver, Breath of the Wild, Darksiders, Fallout 3, Mass Effect (series), Dragon Age (series), The Witcher (series), Reed Knight, Star Trek: The Next Generation (obliquely), Fallout 4, Far Cry 2, Final Fantasy (series), Jade Empire, marcus, Jesse - if that is my real name, Rorytheperson, James Taylor, Henry and June, Jen and Lia Longo, Dave Collins, Jesse Harlin, Arrrrrrjay, Fargo, Kotaku Splitscreen, Jason Schreier, Kirk Hamilton, LucasArts, Eric Johnston, Mark Blattel. Next time: Through Ravel's Maze Links: Brett appears on Kotaku/Splitscreen @brett_douville, @timlongojr, and @devgameclub DevGameClub@gmail.com

Welcome to the first episode in our series examining the first two works of Fumito Ueda: Ico and Shadow of the Colossus. We situate it in time a bit, and then turn to the opening few rooms and the design, technical, and narrative departures already visible. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Through the windmill TTAJ: ??! Podcast breakdown: 0:38     Segment 1: Ico 59:33   Break 1 59:58   Segment 2: Themes for next time, feedback Issues covered: situating Ico's release in 2001, other games focusing on character control and repetition, passion for or against, focusing on different elements, feeling like a young boy, introduction to the game, the spice shop of little boys, economical storytelling, recognizability, space occupied by the character, environment as character, lack of player agency in the camera, showing the player the environment, what does the camera want me to know, camera as drama/emotion rather than mechanic, spiraling up and down, dream sequence, greasy oily shadows, language barrier between them and to the user, usability issues, lack of instruction on the controls, contextual R1, press and hold, tenderness and humaneness, mechanical connection, assuming responsibility, inverse kinematics, animating the character to IK to solve problems, balancing fidelity and responsiveness, impact of the game on game developers, giving permission to try different things, game dev economics, separating Yorda from the inanimate, press R1 to feel emotion, set dressing plausibility and mystery, non-interactable stuff, passive interactions, consistency in interactability, overtelling and lore, moral questions, trophy hunting, soaking it in, robot testing, various automated tests in AAA dev, that one time* we blew it, why we blew it, breakout success of Myst. Games, people, and influences mentioned or discussed: Mafia III, The Last Guardian, Fumito Ueda, Shadow of the Colossus, Devil May Cry, Halo, Silent Hill 2, Metal Gear Solid 2, MGS 4, Pikmin, Baldur's Gate Dark Alliance, Luigi's Mansion, Hideki Kamiya, Platinum Games, Capcom, Konami, Max Payne, Hitman 2, System Shock 2, King Kong, Jessica Lange, The Arrival, Resident Evil, Final Fantasy IX, Legend of Zelda, Tomb Raider series, Journey, Velvet Underground, Prince of Persia, Sony, Jesse Harlin, Don DeLillo, Zero K, @TheHanna, TIE Fighter, Reed Knight, Darren Johnson, Bethesda Game Studios, Starfighter, Microsoft, Noel Llopis, Cameron Hass, Day of the Tentacle, Grim Fandango, Myst series, Riven, Uru, Obduction, LucasArts, Sierra, The 7th Guest, Curse of Monkey Island**, The Room, The Witness, Cthulhu. Links: Noel Llopis, Monkey Testing Next time: Finish Ico! @brett_douville, @timlongojr, and @devgameclub DevGameClub@gmail.com * not one time ** I said Monkey 4, but this is the game I actually meant.

Welcome to our third episode examining 1996's survival horror classic 3. We discuss the major story beats of the section, delve into the puzzles, discuss how spaces like these are made, enemies, a whole cornucopia of topics. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Up through the Tunnels Podcast breakdown: 0:32      Segment 1: Story beats, Puzzles 54:30    Break 54:54    Segment 2: Feedback Issues covered: C.O.L.D., story beats and "wacky Japanese stuff," meeting Lisa more than once, military industrial complex, Barry's story and splitting up, puzzle battle with Lisa, knowing what to do and be unable to do it, weaknesses of the camera and controls, bending the verbs to do a different thing, thinking things won't work as a game developer, examination puzzles, sham object puzzles, spider reveal, Lisa creature design, Brett's former fear of spiders and how it differs from Tim's, bringing your own history to a game, using simplest collision detection, carrying the Zippo, walk boxes to restrain character movement, abstracting the space, enemy choices and design, shark fears, monsters out of place, diving in and trusting the game's save system, not every game is for every person, audio and its unique way to cut into us because it has no frame, use of silence to accentuate environmental sounds and build tension, use of windows in the game. Games, people, and influences mentioned or discussed: Starfighter, Metal Gear Solid, Back to the Future, rest of Resident Evil series, Ken Levine, System Shock 2, Skyrim, Shaun of the Dead, 28 Days Later, The Evil Within, SOMA, Amnesia, Neverwinter Nights, Lord of the Rings (obliquely), Day of the Tentacle, Dave Grossman, Grim Fandango, Thimbleweed Park, Ron Gilbert, Killzone 2, Final Fantasy IX, Assassin's Creed, The Shallows, The Muppet Movie, Jaws, Tomb Raider, Indiana Jones and the Last Crusade, Nathan Martz, Dark Souls, Blair Witch Project, The Exorcist, Robin Sakai, Michael Lewis, Republic Commando, Dave Collins, Jesse Harlin, TimmyMcCoy, Fastpaced350, Cameron Potter. Next time: Finish the game! Links: Walk boxes in Thimbleweed Park @brett_douville, @timlongojr, and @devgameclub DevGameClub@gmail.com

Composer Jesse Harlin talks about the all-blues score he wrote for Mafia III, which comes out tomorrow. You can support Level with Emily Reese on Patreon.

Karak and Jesse Harlin sit down and discuss Mafia 3, SWTOR, SW 1313 and working in the industry as a composer and artist. Jesse's Work includes Mafia 3, Star Wars Old Republic Online, various LucasArts titles, and some new games he is working on now. Mafia 3 discussion includes no spoilers but does include some music samples.  I am not IGN or Gamespot, no 2 minute reviews here only details. I cover videos games on  ps4, xbox one, pc, steam, xbox 360, Wii, Wiiu, and NX as well as companies  like Microsoft, Sony and Nintendo ►Subscribe to ACG goo.gl/2bxGPa Use the following links if buying this game or other games. It helps my channel ►My Amazon Affiliate Link http://amzn.to/1Lzl37q ►Donate to the channel paypal.me/ACGsponsor ►https://www.patreon.com/AngryCentaurGaming Social Stuff & Reddit ►My Twitter: https://twitter.com/JeremyPenter ►Subreddit: https://www.reddit.com/r/ACGVids/ ►My Itunes: https://itunes.apple.com/la/podcast/angrycentaurgaming/id966781846?mt=2 Patreon Stuff ►http://fbit.co/u/AngryCentaurGaming ►https://www.changetip.com/tipme/acg Any game supplied by PR is purchased as well upon its release Buy, wait for a sale, rent, or never touch it. The Patented Karak review system to see if a game is worth a buy. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/acg/support

On this episode of GHR, we have the multi-talented Jesse Harlin. You may know his work from many of the hallowed games released by Lucas Arts over the past 10 years, which include Star Wars the Old Republic, Republic Commando and The Force Unleashed. He tells us about the work behind the scenes in crafting the music that fuels our gaming experiences. He also discusses his creation of the Mandalorian Language and what some of the words were crafted to mean. Finally, we tease our next contest and give details as to how you can get entered! You missed it live, now download the newest episode of Geekhead Radio! Link to download