We tend to think about the “uncanny valley” as something that we can only register visually. But is the it harder to stomach the almost human faces in L.A. Noire or the game’s replica and relic of a soundtrack? Music columnist David Raposa looks at the game’s sound and music design and wonders if historical realism is really effective for a game’s soundtrack.
The upcoming closer in BioWare’s Mass Effect series employs Hollywood composer Clint Mansell (Requiem For a Dream). In our latest sound column, David Raposa argues that something’s been lost as the series has broadened its reach.
In our latest music column, Pitchfork writer David Raposa asks why the late Guitar Hero failed where Rock Band succeeds, with insight from the music industry.
What does an avant-classical composer have to do with a game about dismembering creatures in space? In our first monthly column on sound, David Raposa explores Dead Space‘s debt to one of the 20th century’s great musicians.