Was there anything you guys learned while making The Maw that benefited the development of ‘Splosion Man?
MH: On the technical side, we were making our own engine at the same time as we developed The Maw, so in a sense there was nothing we did during that project that didn’t directly benefit ‘Splosion Man‘s development. But in general, there were a lot of the things that we were trying out for the first time on The Maw – working with art outsourcing, having designer-generated levels, and playing with dynamic music are a few examples. We were definitely able to take our experience with those things and make them more streamlined in ‘Splosion Man because of it. GL: The music and sound effects in ‘Splosion Man are fantastic. Did you assign a level of importance in developing both, and do you feel that sound and music can make or break a title? MH: Absolutely. Sound and music both dramatically affect the way a game feels. We actually hired different composers (Joshua Mosley and John DeBorde) for our single player and multiplayer levels in order to give them a different feel from each other, an
