Working with Sound: The Future of Audio Work in Interactive Entertainment Rob Bridgett 9781032406930

• Timely contribution to literature on game development, considering working patterns and collaboration in the industry in light of the pandemic
• Written in an accessible tone, making it suitable for a wide variety of game development professionals both inside and outside of audio departments, as well as aspiring professionals, students and a general interest audience
• Author is an extremely well regarded professional, now working at one of the most recognisable development/console brands in the world, with many impressive credits for AAA games

Rob Bridgett is a British-Canadian Audio Director, Mix Supervisor, Sound Designer and Recordist based in Newfoundland. In 1993, Rob attended Derby University to study cinema and media and was one of the first to graduate from the 'Sound Design for the Moving Image' Master's degree programme at Bournemouth University in 1999. Having worked as a director in the games industry since 2001 (Vivendi Games, Activision Blizzard, Square Enix, PlayStation), Rob has become a committed advocate for 'leading with sound' and 'sound as design'.

'This is a much needed book and I can think of no one better or more appropriate than Rob Bridgett to have written it. Working with Sound is essential reading in its field for students, audio professionals and anyone with an interest in how sound creates narrative and emotional pictures in the mind. After all, as Bridgett reminds us, "sound is the invisible art department".'

Sean Street, Emeritus Professor of Radio, Bournemouth University

'Rob Bridgett's book paints an amazingly detailed, broadly informed and inspiring vision of the future for anyone working with sound in the interactive world of entertainment...This outstanding book is an invaluable resource for both seasoned professionals and emerging sound designers and directors.'

Wieslaw Woszczyk, Distinguished James McGill Professor, McGill University

'While providing a wealth of practical tips and tricks, Bridgett looks beyond the day-to-day tasks and envisions a paradigm shift where audio becomes integral to game design and development. Acknowledging that this fundamental change needs to come from the inside, Bridgett suggests a plethora of strategies in Working with Sound that game audio practitioners can adopt to inspire and cultivate collaboration with other disciplines, leading to a future with more meaningful game audio.'

Martin Stig Andersen, Composer, Audio Director (LIMBO, INSIDE, Control)