The Mark 2 Lancer Assault Rifle created by Epic Games
What is your favorite sound effect from a video game? Reminiscent sounds from arcade, Atari and Nintendo games often come to mind, but effects from a few modern games have also become classics. Yet it is not from their nostalgic qualities that they join Mario’s square waves but rather from their versatility and ability to evoke sensations of skin-raising, visceral empathy. I am, of course, referring to a sound on my own list, the Mk2 Lancer with its chainsaw bayonet from Gears of War.
This summer the franchise gets an upgrade, and in this short video, development team The Coalition shares how they not only translated the game to Dolby 7.1 Surround, but also how they remastered the orchestral score and overhauled the sound design with new Foley while maintaining the distinctly crunchy character of the original game.
Broken Age launched Act I in January 2014. Funded through Kickstarter with it’s development the subject of an epic (and ongoing) documentary courtesy of 2 Player Productions, the game was noteworthy for a number of reasons. I personally really enjoyed the games sound and music so in August 2014 I caught up with Camden Stoddard, the lead sound designer on the game for a chat. I was lucky enough to catch up with him again in March 2015 and also meet the other members of the audio team, Ashley Coull and Paul O’Rourke, as they closed in on the end of Act II
Designing Sound: Hi Camden. Thanks for taking the time to chat to me today. How are things going?
Camden Stoddard: Well, we’re in a weird place right now. I’m in Broken Age Act II land now. There’s a lot of layouts being done and there’s a whole bunch of work coming my way and I can’t really touch it until it’s locked. So now I’m kinda sketching and guessing what they’re going to do. So right now, I’m actually helping out on a couple of other projects, working on Costume Quest 2 and Massive Chalice.
Registration details have been announced for the third annual Games Music Connect, which will take place on Tuesday 14 September, at the Purcell Rooms in London. 2014’s edition featured composer Olivier Deriviere (Assassin’s Creed IV: Cry Freedom) and Audiokinetic’s Simon Ashby, among many others. Whilst speakers have not yet been announced, this year’s event looks set to focus heavily on the emerging creative and technical practices surrounding Virtual Reality (VR).
Tickets cost £130.00. Early bird price £90.00 (until 31 May 2015).
Ever considered using the built-in speaker in the PS4 controller in a sound design? Or are you just curious about some creative approaches to special-case speakers for games? Check out this post by the Rev. Dr. Brad Meyer on the subject over at his blog for some quick info on effective approaches to controller speakers.
Jessica Curry is a Director and Composer at The Chinese Room, a game development studio based in Brighton, UK. The studio shipped their first game, Dear Esther in 2012 and are currently hard at work on their third, Everybody’s Gone to the Rapture.
Designing Sound: Tell us a little about how you got started out as a composer? What kind of projects did you start out with?
Jessica Curry: I started composing when I was a little girl. I begged for piano lessons and loved it from the outset. I was always writing little songs; the first Mozartian classic being “Jessica Curry is in a hurry, she’s going on holiday/Hip hip, hurray, she’s going on holiday.” I think you can spot the innate talent right there. Then a fun three years reading English Literature and Language at University followed by a “what the hell are you doing with your life, you’re working at the Warner Brothers store” talk from my amazing late step-dad who gently pushed the National Film and Television screenwriting Screen Music course application under my nose. From then on, a vast and pretty bizarre array of projects. I often say that I’ve had a desperately unstrategic career but I wouldn’t have it any other way. I always follow my heart rather than my head and this has led to some phenomenally interesting collaborations, ranging from a Requiem for a Second Life character for the Royal Opera House to writing lullabies for Great Ormond Street Hospital. So although I’ve very probably sacrificed recognition in one particular field, to me what I’ve gained is the most wonderful and unusual collection of projects and that to me has been worth far more.