3DSS: Thanks again for taking the time to do this interview. Perhaps you can start out by telling our readers a little about Slave Zero and your background and your current role with Accolade?

Scott: Wow, that's quite a start. ;-{)}

Slave Zero is giant robot action game in the style of Japanese Anime. The city will remind you of Bladerunner in places, and the robots owe a lot to famous Anime robots, especially Evangelion. The city in Slave Zero is alive. As you walk around, you actually feel that you are every inch of your 65 feet, watching tiny people flee from your giant feet. Tiny cars swerve to avoid colliding with you. You can even pick up the cars and people and fling them at your enemies. Of course, all these little things make noise. S1-9 (the name of the giant city Slave Zero stomps around in) is a very noisy and bustling place.

My official title is Sound Designer, and that's a fairly accurate description of what I do. I spend as much time in concept and implementation solutions as I do in actual audio engineering. I started down the sound road at 4 years old when I got my first guitar. That led to the obligatory bands and rock –n--roll fantasies throughout high school and into college. I actually hooked up with a guy with an ARP Axe and a Teac 4 Track Reel to reel. The two of us made hours and hours of recordings in a carpet-lined room. I loved the recording process. After a few years I ended up in the US Army as a Broadcast Journalist, doing an on-air radio show in Korea, as well as audio and video production. I left the Army after 10 years and went back to school, eventually earning a Master of Fine Arts degree in Theatre Sound Design from the University of Illinois, Urbana-Champaign. A job opened up at Accolade (now Infogrames North America) at just the right time, and here I am.

 3DSS: So how long was Slave Zero in development?

Scott: Total development time has been about two years. I've been on the project a little over one year.

The Music of Slave Zero