Follow Steve on Twitter @fullbright, and keep track of Tacoma @TacomaGame or on Tacoma’s official website. Follow us on Twitter @VGChooChoo, @JohnMichonski, @Lauren_Boley, & @finaldasa.

Go Coast to Coast with Chooch via iTunes, Hipcast, or Direct Download.

The post VGCC Episode 90: Steve Gaynor appeared first on Gamesline.

In the comments below, write some ideas on who you want us to get in contact with for an interview. Keep it reasonable. I’m not going to be able to get Phil Spencer or Hideki Kamiya, but I’m sure we could get in contact with some indie devs or other personalities! We can’t promise anything, of course, but I’d like to see who YOU think is interesting, and not base Guest Month on people only we want to talk to. It’d be a good challenge for us, and it’ll broaden our horizons.

You have all of July to get recommendations in, so take your time.

The post So, Guest Month, Huh? appeared first on Gamesline.

Conrad can be found on his Twitter, YouTube, or the magical Sup, Holmes internet show!

You can get the episode from iTunes, Hipcast, or direct download. Also, here’s an RSS? Please download the episode if you can! It’s a big help.

The post VGCC Episode 45: Conrad Zimmerman appeared first on Gamesline.

(This interview was conducted over skype text chat, we’ve cleaned it up somewhat.)

VGCC: So, you’ve gotten involved in a lot of stuff since you were on our podcast last year! Would you mind giving us a quick overview of what you’re working on?

Benjamin Prunty: Sure! I’ve actually been working on the soundtrack to Gravity Ghost since 2010, and it should be releasing this fall. http://gravityghost.com/ and I’m nearly finished with Star Crawlers, a first-person sci-fi RPG. http://starcrawlers.com/

VGCC: Since 2010? That was before FTL even came out right?

BP: Yeah, I didn’t start on FTL until late 2011.

VGCC: You mentioned that you were using an old song you wrote as the base of the Gravity Ghost soundtrack. Is that what you mean when you said 2010, or has Gravity Ghost just been in production that long?

BP: Yeah, it’s been in production for a while. Erin Robinson, the creator, took a hiatus on the game midway through production. It’s looking pretty great these days. I’m excited for it to finally release. I wrote some pretty neat stuff for it. So besides Gravity Ghost and Star Crawlers, I’m also working on FranknJohn, which is currently running a Kickstarter.

VGCC: Oh? I didn’t actually hear about that one.

BP: It’s lagging behind in funding right now. I really hope they can make it. It’s been really fun to work on. The Kickstarter can be found here. (Editor’s note: the game was unsuccessful, but we’ll come back to it should it go for a second round)

VGCC: So you do music for games obviously and I’ve been curious: Why games? Are they just what pays the bills?

BP: It’s a culmination of many factors. When I was 11 or 12 I played EarthBound for the first time and it showed me that games could be an artistic medium. I’m sure everyone has had a game that did that for them. Mine was EarthBound. I thought working in games would be really cool, though I was a terrible student and didn’t know how I would get into it. When I was a teenager I discovered bad German trance music and thought it would be pretty cool to make music with computers. So I bought a copy of Sonic Foundry’s ACID music program from a paper catalog. I feel old.

VGCC: Oh god, catalogs…

BP: Yeah. I just kept making music and eventually decided that making music or sound for games would be cool. I wanted to go to school for game development, but at the time the only schools that offered it were DigiPen and Full Sail, and they were both clearly schools for rich kids. There was no way I was getting in. So I went to a two year Audio Engineering program in Bangor. I grew up in Maine, by the way. Then I spent the next ten years working random jobs while I practiced the hell out of making music. I tell you all this because it’s important to note that I didn’t have some sort of epiphany or divine calling, as we so often attribute to successful people.

VGCC: Random jobs? I heard you got a gig at Google?

BP: I did work at Google for a few years. I had a friend who worked there and I told him I hated my job at GameStop. He said, “Do you know Linux?” I said “No.” and he said “Do you want to work at Google?” and I said “Hell yes”.

VGCC: That’s a helluva way to land a job.

BP: This was in 2005, when Google was much smaller, right after they went public. I tend to interview well and they all thought it was cool that I made music. It was much easier to get a job there back then.

VGCC: I see. Still, cool to be able to say you worked there.

BP: It was really fun.

VGCC: So, you have a background in audio engineering. Do you only ever do the soundtracks for games or do you do the sound effects as well?

BP: No, I hate doing sound effects. I did the sound effects for Gravity Ghost, FTL, and Dungeon Hearts, and that’s it. Audio Engineering mostly meant recording rock bands. I didn’t quite belong there.

VGCC: Not enough people who’d get your God Hand references? (Ben Prunty is very public about loving the PS2 title God Hand)

BP: Haha, that’s a good way to put it. Most of the students there were openly hostile to electronic music. Rock is the only REAL music, if you know what I mean. Or punk, or metal, or whatever they happened to like.

VGCC: Oh, ouch. I’ve been hooked on electronic music ever since my sister brought home a Daft Punk album.

BP: Nice! Daft Punk’s first album was a pretty big inspiration for me when I was a teenager. It’s interesting how they went from ‘just another electronic band’ to ‘well-respected veterans’. They really seem to keep challenging themselves.

VGCC: So, I’ve been wondering how working on FTL and Gravity Ghost were different. Is being on a kickstarted project different from one that isn’t?

BP: From my end, not really. My job is mostly the same either way. Though when there’s a kickstarter happening, I do as much as I can to support it. I send out an email newsletter and spam twitter about it.

VGCC: What’s the actual production pipeline look like? Do you just compose the music and send it over to get OK’d by whoever’s in charge? Do they ever send it back and ask for changes? Etc.

BP: You pretty much nailed it. Though these days there’s less and less sending back. I talk with the developers about what needs to be made, and then I make a to do list out of it. Then I just get to work. Most of the time it’s a pretty simple job.

VGCC: How’s it different from composing your own albums?

BP: That’s a good question. My last two albums are actually just compilations of random stuff that I made, either for unreleased games or personal experimental projects. Back when I had less work I would come up with exercises for myself to challenge my music writing abilities. I’m currently working on a standalone album, however, where everything is written specifically FOR the album. This is new for me. It’s interesting to see how it takes shape. I guess it’s not too different from writing for games, except that I have more freedom to change gears midway through, both on the song level and on the album level.

VGCC: So, if say, FranknJohn doesn’t get funded you’ll keep the rights to its music?

BP: I actually keep the rights to all my music. I own FTL’s soundtrack and everything I make. This is one of my conditions as a composer for games. It’s my main source of income.

VGCC: I’ve heard you’ve made some pretty awful music before learning music theory… I must know. Does any of it survive?

BP: Haha! Pretty much all of it survives. I think there’s only one old track of mine that went missing somehow. I’ve kept everything. It reminds me of how far I’ve come. Rich Vreeland recently released an album of his really old stuff, and I’m considering doing something similar, though I haven’t decided for sure yet.

VGCC: Hahaha, I was about to ask!

BP: There are a couple of fun tracks in there. It’s a question of whether I really want this super-unprofessional stuff out there with my name attached to it.

VGCC: It’s kind of embarrassing in a way huh?

BP: More like I’m afraid of getting self-indulgent.

VGCC: Self indulgent? How so?

BP: Well, it’s making the assumption that people actually want to listen to my old, less-developed stuff. I was thinking of simply putting it all on SoundCloud, but I’m old-fashioned and like the album format. But then being on an album implies value, or worth. It’s subtle, but it still makes me hesitant.

VGCC: You don’t want to suggest it’s good basically?

BP: I have a policy of only releasing something if I think it’s stellar.

VGCC: Rumor has it that you *really* love God Hand. I’m curious whether it’s just that game or whether it’s a hard-games thing in general?

BP: I do tend to love hardcore action games. Really I just love anything Shinji Mikami makes. The guy’s a genius. Resident Evil 4, God Hand, Vanquish. God Hand just has the distinction of also being absolutely hilarious.

VGCC: You play Devil May Cry 3?

BP: Nope. I played the first one and didn’t really enjoy it. I might enjoy it more these days, I’m not sure. I played the recent American one a bit too. It had an amazing presentation. It was all really well designed, but I just couldn’t get into it’s groove.

VGCC: Oh, the reboot? I didn’t play it, but the impression I got was that it was OK. (Editor’s note: that game is rad as hell) Someone thought it was a good idea to have platforming sections apparently. (Editor’s note: yeah because they were RAD)

BP: Whoops, not American, Ninja Theory made it. UK. The game was definitely high-quality and had a thoughtful combo system. It’s probably worth checking out if you’re a fan. It looks incredible, if nothing else.

VGCC: So, it seems things are winding down. You were on our podcast last year, and ah… The readers need to know. How awful *were* Mike and John?

BP: Haha, it was a while ago, but I seem to remember having a good time. They talked a lot about Pokemon, which is definitely not my area of expertise.

VGCC: I see haha. Alright, thanks for speaking with us today!

BP: No problem! It was fun.

[Afer the interview, Ben also mentioned that he’s considering releasing a single track from Gravity Ghost as part of the marketing campaign leading up to release.]

The post Guest Month 2013 Followup: Ben Prunty appeared first on Gamesline.

(This interview was conducted over skype text chat, we’ve cleaned it up somewhat.)

VGCC: So, a lot has happened for you since you were on our podcast last year! Would you like to tell us a bit about it?

Sam Prell: Well, the biggest change would have to be that I’m no longer Sophie Prell, but Sam Prell. There was a fair bit of drama in that and definitely some hurt feelings, not just my own.

VGCC: Oh, sounds rough. Yeah, I remember you mentioning over twitter that you wanted to live as Sam for a full year to give it a chance. How’s that going?

SP: It’s looking like it will stick. I’ve been working out to get stronger, I’m growing facial hair, getting dude clothes, etc. The other day, when I took all my old girl clothes to Goodwill, I was like, ‘Let’s see how much difference there’s been’ and I tried on not even like a super girly top or anything, but a vest. I could barely fit.

VGCC: So you’re feeling comfortable with it?

SP: Yeah, it took awhile, but I’m actually happy as Sam. It sucks that I gave up a bit of my audience and now I’m another straight white dude in a sea of straight white dudes, but it is what it is.

VGCC: Happiness comes first right?

SP: Yeah. And to be clear, I don’t think companies were looking at me as a female voice and recognizing me for that, it was the audience. I had readers who looked up to me, specifically because I was a woman games writer and outspoken. I hope those people don’t feel let down, but I’m afraid some of them do.

VGCC: Well, I know I’ll at least keep valuing you as a voice who knows what it’s like to live in my shoes. Anyways, you’re a games journalist by trade, and people have been talking a lot recently about how there’s not enough money to pay everyone. John Walker recently took down a blog post about this. As someone who’s been in the field for a good while, what’s your take on this?

SP: I don’t know about being in the field for “a good while.” The thing is, I don’t like talking for other peoples’ experiences. I never have. When I was a visible trans person on Iowa State’s campus, I had trans people come up to me and ask me what they should do in their particular situations, and I never had an answer, because I couldn’t possibly know their life and their struggles. So when people get upset over the money situation in games journalism, it’s the same thing: I don’t want to speak for anyone but myself. And for myself, I know that the reality of things is very hard, and often not the balance I wish it was. I have a job because I treat it like a job, and sometimes that means acknowledging that you don’t get to write or be creative in ways that you want to. Sometimes you have to write about Love Hina Boyfriend Xrd/365 RE:mix Monster Battle All-Stars, or whatever it is, because that’s what the job is. It doesn’t mean you never get to be creative or never get to fight the establishment, or the patriarchy, or whatever your personal vendetta may be, but it means that there’s your work and there’s your agenda, and I personally don’t find it healthy for ME to mix the two. If other people want to do that, god bless ’em and more power to ’em, but it’s not for me.

VGCC: That’s a sensible way to view things.

SP: I try to be sensible. It very, VERY rarely does good to get super-angry and yell at people. Have you ever heard the Tumblr reaction to Mackelmore’s “Same Love” song?

VGCC: I must confess I have not.

SP: So Mackelmore writes and has the song “Same Love,” which is all about supporting gay people and the gay community. Tumblr explodes over it and starts getting pissy with Mackelmore, saying he has no right to speak for them, and that the money he’s getting should go to gay artists. Like… this guy is trying to support you! Why are you angry? What’s the end goal of that hatred? What good does it bring? That’s why I try – TRY – to be a calm voice and talk sensibly about these things.

VGCC: You try? It isn’t always easy?

SP: I don’t like making absolute statements. I can’t pretend I’m perfect, so even if I’ve always in my life done Action A, when I talk about it, I will say that I TRY to do Action A instead of saying I ALWAYS do Action A. I don’t ever want to come across like I think I’m better than anyone. I’m no better than the kid working a 9-5 at Subway, so why would I act like it? Give people respect, and they tend to give it. Give them hostility or arrogance, they’ll respond in kind. Speaking of Subway, It shook me a little bit, the first time I got it with one of my friends. She ordered by saying “I want lettuce, and tomato, and I want… And I was just like, “Man, that’s not how I order.” When I order, I’m like, “Can I please get some lettuce, and onion, and stuff” She didn’t say it in a MEAN way, just the phrasing was off. How I order at Subway is how I try to live my life.

VGCC: Back in August of 2013 you tried to Kickstart a webseries, “Sincerely, Sophie” and that didn’t pan out. Do you have any advice to other journalists trying to kickstart something?

SP: Well, there were quite a few ways in which I failed at that. One, I didn’t reach out to a support network to help foster funding. I’m not sure I really even had the network in the first place. Two, I should have had an example episode or something to show, instead of speaking conceptually. Three, and this is the ONE piece of advice I would give to journalists looking to Kickstarter or Patreon or what-have-you: I didn’t factor in the emotional toll. I was so nervous leading up to launch, and hopeful, too. Overly so. I think my hope clouded my judgment and that prevented me from launching a quality Kickstarter. I was more focused on just getting it done, putting myself out there, that I didn’t think about what the audience deserved. And then, once it was out there and the money wasn’t coming in, I was super depressed. But again, it was a kind of self-centered emotion, where I didn’t stop and think, “I failed because X and Y.” It was just “I failed, I’m a failure.”

VGCC: You did seem like you took the failure pretty hard.

SP: Oh, I totally did. I took it super hard. It made me crazy. I think that’s a moment where I definitely lost sight of my, let’s call it “Subway philosophy.” I stopped thinking about other people and just started thinking about what I was owed, what I wanted, what I needed.

VGCC: That’s a pretty dark place to be.

SP: It was. Susan Arendt, managing editor of Joystiq, helped snap me out of it. I mean, so did other people, but she in particular was a great voice of reason to have.

VGCC: So I remember that in your pitch, ah, you talked about how performing was a passion of yours?

SP: Yeah! I used to do theatre and drama stuff all the time in high school and college. I really do love it, wish I could do more.

VGCC: With games journalism becoming more video oriented, do you have any plans to get into the video space?

SP: If the opportunity arose, definitely. I’ve also considered the idea of performing via video game voice acting. But the latter is something I definitely want to take time and think about, because I don’t want to jump from thing to thing. It probably will just stay something I do at parties: make funny voices. I’m okay with that.

VGCC: I remember that, at one point you were sad that when you transitioned to being Sophie that you had to give up on game-related performing. I was curious if being Sam has opened any doors there.

SP: Yeah, being Sam lets me open my vocal range without weirding people out. I can sing “Old Man River” in key without making people gasp.

VGCC: So, you’ve been playing alot of Wildstar lately! Being a games journalist is really busy though! How do you find the time to review MMO’s?

SP: Well, it’s not quite a review. We’re talking impressions, so it’s not a final word. But being a weekend editor definitely helps. I mean, you budget your time as best you can. But yeah, people are always surprised when you tell them you’re a games journalist and you don’t have a lot of spare time for games.

VGCC: MMO’s often change alot after launch. Does that factor in at all when you offer impressions of them?

SP: Well, that’s why we’re talking impressions and not reviews. And the areas I choose to talk about are things that are more general, like character creation, the way classes work, the feel of the game at early levels and endgame, that sort of thing. If a patch were to come along that DRASTICALLY changed things, like the NGE and CU patches did to Star Wars Galaxies, I’d like to think that the game would be worth re-visiting, but these MMO impressions are a fairly new thing for Joystiq, and for myself as well. It’d be something discussed with senior editors.

VGCC: That’s fair. So, one last question, and this one is very important. You were at E3 recently, and there is a *rumour* going around that you may have met our Mike Cosimano.

SP: Ha! I did!

VGCC: So, on behalf of all of our readers, I think we need to know: How gross, really, is Mike?

SP: He smells like a freshly-picked rose gliding down an alpine stream.

VGCC: Disgusting. Alright, thanks for talking with us!

SP: No problem!

(You can follow Sam on Twitter or read his Joystiq stuff right here)

The post Guest Month 2013 Followup: Sam Prell appeared first on Gamesline.

You can get the episode from iTunes, Hipcast, or direct download. Also, here’s an RSS? Please download the episode if you can! It’s a big help.

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