As creators, we keep asking where we stood, where we stand, and where we want to go next. What pulls us to industry events is the people and their stories, and this is where we share our work, thoughts and discuss the future, plus what we are learning as the industry evolves.
A blast to work on. The trailer was a chance to really play with the picture, and the dream sequences were a highlight, a perfect excuse to lean into the abstract and let the audio turn a little unreal alongside the visuals.
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What does co-development really mean, and is audio only now catching up with the way modern games are actually made? Why shouldn’t an external partner be embedded in a production rather than kept at arm’s length? We put those questions to ProbablyMonsters’ Dan Crislip and sat down for a retrospective on our work together on Crimson Moon, from the first idea through to in-engine, in Unreal and MetaSound.
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An intimate, audio-focused community gathering in the Øresund region, hosted at Massive Entertainment in Malmö. Exactly the kind of room we want to be in, close to the sound designers, developers and dreamers shaping what games will sound like next.
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ProbablyMonsters’ co-op gothic action-RPG, built on metal and divine fury, is in players’ hands. We’re proud to have shaped the sonic world of Gildenarch, boss abilities, player finishers, cinematics and trailers, alongside such a dedicated team.
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We took Palm Tree Audio to Devcom and Gamescom to be among the people shaping where the industry goes next, not a vendor throwing assets over the fence, but a partner who wants to be close to the teams building tomorrow’s games. Augustin Gressier was on the floor to talk audio and partnerships.
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One of the great European conferences, smaller and more developer-focused than the giants, right on the seafront by the pier. We go for the community: to be close to the builders and dreamers of tomorrow, hear what they’re making, and share where the craft is heading.
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Our first time at Guadalindie, to get close to the Spanish indie community first-hand, to hear about the games people are dreaming up, talk sound, and meet the builders behind them.
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An intimate, passionate gathering full of the conversations that matter, surrounded by people who genuinely love crafting games. We go to stay close to the community building the future, and, yes, for some excellent French and Belgian beer along the way.
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Summer in Berlin is hard to beat, and bringing audio people together in this city is always the best. A warm, community-driven Game Audio Meetup, held alongside the Aircon 2026 World Wide Meetup, with a great turnout of sound designers and friends old and new. These are the rooms we live for: close to the people, close to the craft, and plenty of good conversations under the trees.
View on LinkedIn →ProbablyMonsters revealed the Crimson Moon trailer at Summer Game Fest. We helped craft its sound design layer, delivering sound stems for the team to mix.
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A great collaboration with the NetEase team in China. We handled a large share of the weapon audio and character abilities, keeping that signature Destiny weight and impact intact on mobile. The work was recognised with Best Audio for a Casual or Social Game at the 2026 G.A.N.G. Awards.
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Audio design for an extensive set of weapons, plus a contribution to the cinematics, on the final full release for Destiny. A bittersweet, proud moment after years in this universe, glad we got to work with Bungie right through to the end.
View on LinkedIn →A closer look at designing weapons for Destiny, where a gun’s sound has to carry its whole identity: its size, its weight, its rounds per second, the snap of the muzzle, and above all the feeling of firing it.
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A compilation of finishers we’ve worked on across recent Destiny releases. A lot of care goes into the rhythmic cadence, building the sound up to the final punch where it lands as a statement.
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A blast to work on, some of our favourite work was recording original voices and twisting them into monster vocalisations, alongside gameplay audio, fear beats, cinematics and trailers. The announce trailer dropped in August 2025, ahead of the October launch.
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AI is probably here to stay, and we are watching its capabilities closely. Our answer is to double down on originality and authenticity. We are humans making human-inspired sounds, crafted to resonate with a wider audience. We have no taste for AI slop, so we do not use any generative AI software. The emotional, hand-crafted moments stay human, and that craft is what you hire us for.
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More than a showcase, the site represents what we stand for: a mission of collaboration and a dedication to soundcraft above all. The work is never about us or our opinions, it’s about your vision, and our job is to be a helping hand to it.
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It was great diving into the Polish video game industry, and amazing to see how the country has become such a powerhouse in gaming. We met so many wonderful people, with great energy all around. Being close to this community, from the AudioTrack sessions to the panels on music direction in games, is exactly why we come.
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It is always great to travel to San Francisco to catch up with old friends and meet new ones. This trip was a particularly interesting one, with AI at the forefront of nearly every conversation and GDC itself changing things up: 2026 was its 40th edition and a rebrand to the GDC Festival of Gaming, reshaping the week into one unified program. Carsten joined Audiokinetic’s “What’s Next: Development Today and Tomorrow” panel, moderated by Damian Kastbauer, to dig into exactly where the craft and the industry go from here. A lot is shifting, and being in the room for it is why we go.
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Super pleased to have worked with ProbablyMonsters on the official announce trailer for Nekome: Nazi Hunter. It is going to be a great and exciting project moving forward, which we are proud to be part of.
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