Going for a virtual reality approach with one of the biggest names in action games doesn’t just provide a more pulse-pounding experience, it throws you right into the thick of the greatest war of the 20th century. It’s a story based on real history and battlefields that you won’t just see but you’ll hear it as well.

Developer Crystal Dynamics needed a Hulk on their team for the audio challenge of their ambitious game, and they found just the right gamma-powered maestro to helm the soundtrack: Bobby Tahouri.

Sucker Punch's samurai simulator has layers of raw emotion bubbling beneath the surface, turbulent explosions of emotion that manifest throughout the journey and a soundtrack that enhances those themes with its own audio journey that is both subtle and explosive when it needs to be.

While the two-for-one collection's main selling point is a massive visual upgrade that retains its gameplay DNA, the other selling point on this project is that it'll include a soundtrack that you can rock out to while defying gravity with generation X attitude.

I had some questions for the music-wizard about how he created the sound of horror, and Graves was only too happy to wax lyrical about finding his groove, the sheer genius of how his music was used and the power of psychology.

I recently got a chance to have the fattest of chats with Coker on his work for Ori and the Will of the Wisps, his guiding philosophy for crafting a soundtrack, defining the melody of horror and the final push to nail the landing for this momentous sequel. Here’s what he had to say.

Tony Hawk’s Pro Skater may have brought skateboarding to the masses in a fashion that didn’t result in a tsunami of twisted ankles, flattened faces and missing testicles after a rail grind attempt gone tragically awry, but it’s a series that also lifted the lid on some of the greatest punk rock bands and tracks of all time. There’s a …

Action! Family! And of course, a kickass soundtrack from renowned composer Pinar Toprak, who was given the responsibility of establishing the musical atmosphere of Stargirl. I recently had a chance to chat to her, about finding the right sound, grabbing a full orchestra to create a cinematic soundtrack and the delicious fun of coming up with the devilish themes for the Injustice Society of America.