“We’re going to be highlighting some of Kill Screen’s most interesting content here on Pitchfork on a regular basis, and this week, we have two pieces on the third-person shooter Dead Space.” Read the full article.
“Dead Space can be thanked for causing nightmares, unease, terror, insomnia and — of course — a brilliant ride for gamers.” The New York Post sat down with Jason to talk about composing for the Dead Space franchise. Read the interview.
“…without a doubt, one of the creepiest scores ever written for a game.” Jason talks about all things horror and suspense, including his ground-breaking scores for the Dead Space franchise, in this new interview.
Gamemusic.net has announced Jason as their first “Western Composer of the Month,” including a new exclusive interview with Jason and a review of his award-winning soundtrack to EA’s horror opus, Dead Space.
Jason will be speaking at M.I.G.S. on November 16 about the ground-breaking score to Dead Space, his experience composing music for games and how interactive development is shaping the future of game audio.
Jason speaks about his background, Dead Space, Section 8 and more in this interview on the film and game music website Inter-Activities.
This month’s Audio Media magazine has a feature article on the sound and music of Dead Space, including details about Jason’s score from Dead Space Audio Director Don Veca.
Dead Space took home the coveted “Audio of the Year” and “Sound Design of the Year” awards at the 7th Annual Game Audio Network Guild Awards. This year’s awards mark seventeen G.A.N.G. nominations and four wins for Jason’s music over his seven year career in games.
Transcending consumer fads, the Game Developers Choice Awards feature games and developers that are truly worthy of recognition. The recipients are chosen by those who know games best – their creators. Dead Space was honored with the all-inclusive “Best Audio” award.
Film composer David Arnold presented Jason the British Academy Award for “Original Score” for his music to Dead Space at the annual BAFTA Awards in London. Jason’s music was honored with a second BAFTA for “Use of Audio” (sound effects/dialog/original score), which he accepted on behalf of the entire audio team at EA Redwood Shores.