[2] While attending high school at Bellarmine College Preparatory in San Jose, California, Korb met his longtime friend and collaborator Logan Cunningham.

[9] A childhood friend of the studio's co-founder Amir Rao, Korb was selected to write the music for Bastion, the developer's first game.

[5] After signing on to work on Bastion, Korb was tasked with all of the game's audio, including its music, sound effects, and voiceover recordings.

[21] Korb stated that his work on Bastion's sound design was a "trial by fire", as it was the area of the game's audio production he had the least experience with.

[6][10] On Bastion, a long-time friend of Korb's, Ashley Barrett, provided the voice of Zia, as well as the vocals on the soundtrack.

[4] These constraints helped originate the acoustic nature of Bastion's soundtrack; he explained in an interview with Spin that "all of the music that I made had to be stuff that I could make in my apartment.

[34] On their collaboration, Korb stated, "after working with Ashley on a couple projects now, I feel like I've gotten a better sense of how to write for her voice.

[9][40] Kirk Hamilton of Kotaku wrote that Pyre "feels organically built around [Korb's] playful, tonally varied soundscapes," and added that the game's visual novel storytelling approach "allows for a much more clear-cut use of the interlocking segments of Korb's music, which gives the listener a better appreciation for all the clever ways he layers additional voices and instruments onto each tune's foundation.

[4][42] As the game leaned heavily into a Mediterranean sound, the soundtrack of Hades included traditional instruments such as Greek bouzouki, as well as the Turkish lavta and baglama.

[41][12] Notis wrote on the Hades soundtrack, calling it a natural progression for Korb's musical career, writing " It's all there: the industrial electric drums, the string instrument harmonies, the delectable crunchy tone that's so baked-in you can practically taste it.

"[5] Austin Wintory, a contemporary of Korb's, collaborated on the Hades soundtrack, helping with the orchestral arrangements for "On the Coast" and "In the Blood".

[43][44] Including the soundtrack on their list of best video game soundtracks and scores of 2020, IGN wrote that "Korb's masterful movements are finely tuned to meet every moment – from the rocking, frenetic energy of battle scores to the more calm, meditative, and wistful pieces that underscore some of the story's most emotional moments.

[11][50] Inspired by the Greek mythological figure of the same name, Korb's interpretation of Zagreus features a "crisp, understated British accent.

"[11] Elizabeth Ballou of Vice commented that "hints of both sarcasm and warmth keep the protagonist relatable," and added that many fans of the game found the character's voice attractive.

[14] Natalie Clayton of Rock Paper Shotgun wrote that Korb "has an extremely playful, unique approach to genre, from Bastion's acoustic trip-hop to Hades' Ancient Greek metal riffs.

"[54] When beginning work on a game's composition, Korb mainly focuses on the "vibe" of its sound, stating "if I start with a particular feel in mind, this dictates a lot of things about the piece right away, such as tempo, production aesthetic, tonal palate (happy, sad, major, minor, and so on), and gives me some useful constraints for how to proceed.

"[32] Representative of Korb's work on video game soundtracks is the usage of song lyrics to let the player "into character's emotions and motivations.

"[55] Korb has cited Weezer, They Might Be Giants, Radiohead, Björk, Ozma, Spiraling, and Led Zeppelin as artists and bands he listened to frequently during his adolescence.