For sounds that are independent of animations, life is much easier. But for sounds that will need to sync perfectly to in-game animations, you can never really be sure of how they will work unless you have some version of the animation - however primitive - to work with. Given that sounds and animations are often developed in parallel, you need some careful manoeuvring.


sync perfectly to in-game animations, you can never really be sure of how they will work unless you have some version of the animation - however primitive - to work with. Given that sounds and animations are often developed in parallel, you need some careful manoeuvring.


In my opinion, it all comes down to teamwork and synergy. I might be tucked away in my music ‘cave’, composing music like a mad artist and living on caffeine, but at the end of the day, what makes this job worthwhile is the people I am fortunate enough to work with inside the Kalamba family. Tat applies across the board: the C-level execs that set the tone and create an environment that fosters creativity; the creative team that push their own limits with each new game; the developers who implement the sounds; the quality assurance managers and quality testers that make sure everything is perfect; and of course the studio manager who goes to great lengths to orchestrate all the madness into a well-oiled machine!


What games are you particularly proud of?


In all honesty, I think that Kalamba’s content is becoming better and better with each game. Just when I say that ‘this’ is my favourite game, the next one turns out to be even better. It’s really hard to choose one or two, but I have to say that Firedrake’s Fortune and our latest, Goblins and Gemstones are particular favourites.


Stellita Loukas, Composer and Sound Design, Kalamba Games


NEWSWIRE / INTERACTIVE / MARKET DATA P87


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