In Game Sound, Karen Collins draw on a variety of sources? Including composers, sound designers, voice-over actors and other industry professionals, Internet articles, fan sites, industry conferences, magazines, patent documents, and, of course, the game itself to offer? broad overview of theory, history, and practice of video game audio production. Game Sound has two basic themes: how and why the game is different from or similar to a movie or a linear audiovisual media, and technology and the constraints have been placed on game audio production. Collins focuses first on the historical development of game audio, from penny arcades through the rise of home games and rapid development recently in the industry. He then examined the production process to the contemporary game at a major game company, discussing the role of composers, sound designers, voice talent, and audio programmers; considers the growth of the licensed intellectual property (particularly popular music and films) in games, and explore the function of the audio in the game in theoretical terms.