Audio, Quality Assurance (QA), and Afterword: Return with the Elixir

How is the collaboration between narrative and audio for your game, and in what ways could it be improved?
When it comes to voice overs, where can you specifically improve narrative’s role in the following areas for your game?
1. Casting
2. Performance/Recording
3. Takes selection
What are ways you can establish or improve collaboration between your game’s mission designer, narrative designer, and audio designer to collaborate regarding scripted (mission) voice overs as described in chapter 14?
What type of barks system is needed for your game, and how can you implement preventing barks from repeating too often in your specific scenarios?
Do you use audio placeholders? If you do, what can you do to ensure they are high-quality so that they can be useful and not ignored? If not, what next steps should you take to begin creating and integrating them?
What types of environmental voice overs and diegetic sounds are needed for your game, and how can you develop them so they convey the narrative and story world?
How does the music in your game make the player feel, and how can you improve it if there are areas where it is not affecting your players’ emotions?
If you have QA testers for your game, how can you help ingest their narrative feedback and prioritize their “bug-like” issues?
When it comes to storytelling in your game, what are your hopes?

Video Game Storytelling