As sound designers, our jobs usually entail creating a vivid sonic world to accompany a narrative. But often, the nature of the worlds we are creating presents some unique challenges; there’s no doubt this was the case on ABZÛ, an upcoming underwater exploration game from Giant Squid Studios.
In a recent blog post, Giant Squid’s sound designer Steve Green delves into their approach to creating the sonic elements that would accompany and enhance this underwater world, with some special attention to how the audio would help create the narrative experience the team was looking for. Head over to the blog to read more!
In an appropriately seasonal blog post over at A Sound Effect, Asbjoern speaks to Saro Sahihi of SoundBits, a boutique SFX library and sound design company. Saro, who has released some excellent gore SFX libraries, goes in-depth on how to achieve some truly squishy, wrenching, and disgusting gore sounds for all your horror needs. He even touches on some other horror mainstays, like how to achieve a good jump-scare sound, or crafting dark ambiences.
Head over to A Sound Effect to check out the whole article!
Considering the newest Plants vs. Zombies 2 release has the word “mixtape” in the name, there was never any doubt that music would play a big role in the game’s experience. And as anyone who closely follows PopCap Games and their audio obsession, they’re not a company that does something halfway when it comes to sound or music. That’s why its a real treat that PvZ2 Neon Mixtape Tour audio lead Damian Kastbauer sat down with EA to discuss in depth how the team approached the variety of musical styles that appear in the new release. As always, the PopCap audio team has gone to great lengths to make a fun and immersive audio experience within the game, so be sure not to miss how they did it!
In addition, Damian has included some examples on his Vine page of some of the beat-syncing in action, both sounds-to-beat sync and animations on-the-beat.
Rob Bridgett is an audio director at Eidos-Montréal.
Leonard Paul is the president of the School of Video Game Audio.
Images courtesy of Rob Bridgett & Leonard Paul
Nine years ago, we collaborated on an article on the idea of limitations for Gamasutra and wanted to see where our thoughts would take us. This time around, rather than produce another article, this submission is a set of our musings meant to be used as starting points or inspiration when working with the limitations of game audio.
Allowing a view of the long-term in our art gives a certain freedom but it can also be paralyzing unless we set limits on ourselves.
An exciting, creative challenge is one with well defined limits: a well defined brief; a box to play in.
Not only do technical limits advance but also creative limits as well.
Working within a genre is a form of self-limitation (style and structure, for instance, “we’re going to write a 3 minute pop song”). A platform/format is a limitation: 12 inch, an LP (two sides), a CD (long running playlist). We need to consider the equivalent boxes and structures in games (menu, mission, genre, format, art style).
Earlier this month on a rare rainy Bay-Area day, I sat down with composer and musician Rich Vreeland (aka Disasterpeace) to discuss last month’s theme of “Restriction”. Rich is best known for his work in video games having composed music for “Fez”, “Bit.Trip Presents: Runner2”, “Gunhouse” and the forthcoming “Mini Metro” and “Hyper Light Drifter”. Most recently his score to the critically acclaimed motion picture “It Follows” received unanimous praise.
Rich Vreeland (Disasterpeace) – photo credit Nika States