Posts Tagged: game audio

Back to work

I started working on some sound effects for Swordy over semester break.

Recording effects is a fun process, as it’s more tactile and immediate than trying to synthesize everything in software. I can use my voice or whatever objects I can find as foley.

The toughest part of recording, is the realtime aspect of it. If I have 10 minutes of audio, I have to spend 10 minutes listening to it, and the time increases exponentially as I clean up, tweak EQ, try to extract pieces, cut and export individual effects.

Audacity is the best tool there is for super fast edits, I always revert back to it for splicing and crossfades.

Sound Test

Finally I got to do some experimentation and play.

Here I have 6 loops, of varying density and intensity low to high, for a simple tribal drum beat. The idea is at first to make a test of these 6 separate stages blending with one another based on some parameter in Unity.

FMOD is a big industry standard middleware for video game audio engineering, and is also already driving Unity’s native sound engine, though it obfuscates all access to FMOD.
Luckily however, FMOD.org just released FMOD Studio Pro, license free for indie developers, and offer an integration package for Unity that provides a wrapper to interface Unity with FMOD directly. It gives full access to effects, filters and custom event structures in a project.

These loops so far, have been composed in Ableton Live, using a Kontak 5 “West Africa” instrument set from Native Instruments. I used the inbuilt pattern maker to create the rhythms.

West Africa gif

I found this process a massive exercise in play itself. The pattern set to loop, would constantly play back, as I was editing instrument states (rombus, square, x). Often I would get carried away by the organic nature of what I was doing, completely destroying the loop. I would make it incompatible with previous intensity settings and run way off the rhythm, often having to start again using the previous stage as a starting point. It was productive kind of fun.

Notes: Otocky

Otocky (available using an emulator) is a 1987 music game that was released on a Famicon (Nintendo Family Computer Disk System).

It’s one of the first games to feature dynamic procedural game music.

The gameplay is a basic sidescroller/shooter, who’s modern equivalent would be something like Jetpack Joyride.
You fly forward automatically, avoid monsters and shoot everything.

The game however, has a rhythm, to which everything gets quantized, that way, whenever you shoot, every shot plays a note, and everything fits in with the rhythm. (I explore a similar idea in my look at Plink).
Different weapons manifest different sounds and shooting behavior, that fits in with the sound (volume, longevity of the note feels similar to bullet behavior).

At first, I felt like the gameplay is “broken” just because I felt it was awkward that the character moves along with shooting, because you have to select one of the 8 directions and press shoot button to fire, which also moves the character in that direction. I felt like I should be able to align my shot with static pickups to shoot them, but instead that input mechanic interferes with accuracy of my shots. It was frustrating.

Later on, talking with Phil, I started to open my mind up a bit more that the game was released almost 30 years ago, and that current gameplay expectations don’t apply. Its an 80’s game, games were hard back then, it’s a known fact, and I was struggling to accept it. I had to realign my thinking much like I should’ve realigned the position of the character with move/fire mechanic in mind to get the pickups I wanted.

It’s an interesting way to look at this. I can see this game being an attempt to being a “casual” game, a game designed for a wide demographic, perhaps even a game for “girls as well” given a greater male dominance of the market in the 80’s compared to now. It employs much of the mechanics of the time – side scrolling, shooting, lots more shooting, monsters, pickups, special weapons, capturing the likes of Metal Slug, Megaman and R-Type, and giving it a casual skin, yet the game is hard by today’s standards.

Another way I’m looking at it is musical. What does it mean, that shooting and movement are linked? Shooting is the musical and rhythmical essence of this game, yet it is directly linked to player override over automatic scrolling WAIT A SECOND!

…I just paused typing this to go back and play it again, and I’ll be damned.

The direction of movement/shooting specifies the note that is played, which changes with the instrument that you get, and the tempo of the song increases with your success / progression. Smart, feels good.

I need to readjust the way I look at games and judge them when I try to quantify specific parts I’m investigating. I need not to just look at sound/graphics/gameplay as a separate thing, and then say “good/bad/5 out of 10”, but consider the sum of all parts. Every piece has a reason for being (unless it’s a bad design), and needs to be considered in the greater scope of the whole game, It will explain why it’s there and why it needs being, just like my eureka here with Otocky. This thinking will also in turn, lead to designing better games.

Notes: David Kanaga’s writings

initial notes on David Kanaga’s “Structure & Alchemy in New Fractal Playspaces, taken from his blog summary.

Is a collection of essays concerned with “the infinite macrocosmic canvas of Games as a Whole.” by David Kanga, (creator of Proteus and composer for DYAD)

“The relations between gamefulness and artfulness and playfulness”

He has a very philosophical definition of “game” and “play”, which spans a vast scale of thought, which I am yet to comprehend, as his texts are very fluid and hard to follow, and require a lot of external dependencies to make sense of.

Kanga sees dynamic and static medium like games and images, as products of the same dimension with only semantic differences in modes of absorption.

He especially describes a lot of these dimensions as music, where music is rhythm, represented by scale while deprived of the audio element.

He proposed that the games, among other art mediums, exists in between dimensions of rational and irrational, computable and incomputable, between the system and structures of software itself and the meaning of the games or other mediums.

Even the essay itself, is a commentary on the thinking process behind the essay as a game on a microscopic scale of subsystems of this universe.

“Play is considered as becoming as opposed to being. All becoming considered as play. Play is motion.”

He explores ideas of “all possible games” as a notion of fractal existence, that “everything is a game” and “everything is a payer”, and transient states between possibility spaces between them.

Crazy text, it will take me some time to go over and reflect on his ideas, therefore it is only initial notes, as I find his work enticing to dig deeper into.

Notes: Plink

plink

First things first, I’ve experienced Plink when it just came out more than a year ago, coming back to it today, the only thing that has changed, is that there are no people playing it anymore.

Plink is a web based audio play space.
It has 8 instruments to choose from represented by colors, a predetermined tempo with a metronome, and a predetermined scale represented by the vertical axis, separating notes by lines.
The user controls their “character” up and down, and click to activate notes, which are arpeggiated if held down.

I would say that from a musical point of view, it’s a very limited and controlled environment, and one wouldn’t be able to make a full swing song out of it.

However the focus isn’t at all the credibility of Plink as a sound design tool, it is about it’s merits as a play space, and the experience it delivers.

having up to five users connected into the same room, and having a live collaborative sound experience with a stranger is a magical thing.
Everyone is free to choose the instrument they want (even same one as anyone else, creating chords). Given that it’s a multiplayer experience with free choice, the limitations of the play space are instantly justified – you want to create something musical together, not incoherent noise and cacophony, therefore, it is made sure that players are always in tune and always hit the rhythm.

I played the game in 3 ways – with a mouse (as intended), with a tablet, and with a touch screen (pretty much cheating).The three modes of interfacing with it brought great differences into my experience.

Using the mouse was a baseline experience.
It was unwieldy, and hard to hit multiple notes in succession accurately. It was more about rhythms and bass.

Using the stylus, was more about dance.
It was more accurate, faster, but i was “drawing” music onto the canvas, even more so, using Wacom’s distance recognition, being able to play notes in the air without touching the surface, by pressing the click button on the stylus itself.

Using the touch screen was about precision.
I was able to hit desired notes fast, with high accuracy, being able to create melodies and expressions, and repeat those in quick succession.

The greatest thing about Plink however, is that these forms of play, greatly changed not only my experience of it, but of other participants, which reflected in their responses.
When someone stood out in the way they played, everyone else followed, harmonized, and tried to play along.
I’ve even been able to communicate to other players what I wanted them to do, by hovering over their circle and moving to where I wanted their instrument to sound with limited success. (reminds me of language learning process in Journey, talking through silence, pattern, frequency and duration).

Plink is a great example of limitations used well. It creates working dynamic relationships between participants without language, based on their choices, behaviors and patterns.

Notes: Luftrausers

Luftrausers is a sidescrolling 2d bullet hell game, in an “Iron Sky“-esque setting.

Main feature of the game is the customizable “rausers”, which have 125 combinations according to the developer.

Customization includes a choice of a weapon, body, and engine.
All customization choices are based on advantages and drawbacks, for example you would sacrifice rate of fire for massive damage, slower speed for stronger hull, and maybe handling for super speed.

The range of options is great, and it offers a great variety of gameplay. You might focus on evasion, or spread your damage, or line up your shots.
Something I noticed however, that is quite intuitive and unnoticeable, but has a huge impact on the way the game feels and the state of flow, is the music, which also changes based on your customization options.

Different weapons change the rhythms
Different Bodies change the melody track
Different Engines change the bass track

Which is quite fitting-
Weapons – rapid fire, rhythms
Body – stronghold, embodiment, self, identity
Engine – hum, drone, intensity

To further investigate, I peeked into the game data folder in Program Files (x86)/Steam/SteamApps/common/Luftrausers/data/bgm, and surely enough, there are separate .ogg files for different tracks, that get assembled by the game when you make your custom rauser selection.

The way customizable music affects the game experience is uncanny. It is both intuitive and up front, yet almost unnoticeable and taken for granted, one may even think it’s just background music without giving it a second thought, where in fact, the player is even given a custom background music based on their choice of play style.

Kudos to Vlambeer and for crafting such an awesome, seamless arcade gaming experience, and Kozilek, for making it sound the way it feels it should.