INTERDISCIPLINARY 2
Introduction
Game sound design is a captivating discipline that critically immerses players in virtual worlds and enhances their gaming experiences. Aspiring game sound designers aspire to create an impressive portfolio that effectively showcases their skills, creativity, and understanding of interactive audio. Leveraging the knowledge gained from lectures can be a powerful asset in constructing a game sound design portfolio that stands out and demonstrates a comprehensive grasp of the field.
This project is about using knowledge from the Interdisciplinary 2 unit and some academic reading such as what sound effects match the game genre, and contextualising game audio. When it came to building a portfolio, I decided to focus on game sound as much as I could.
Reason and Research
During studying the Interdisciplinary 2 unit, For the project, I took the decision to work with my friend and colleague, Zen, who is the CEO and Game Director of Redsensation company. He had begun work on a short game project titled GemCrusty Game, which required sound design. As this coincided with my research within the Interdisciplinary Practice 2 unit, I felt it was a suitable project for which I could develop practical outputs as part of my portfolio submission.
The idea of this game was inspired by the game named Heltaker. However, the art style of GemCrusty was based on Japanese anime. I have researched the important thing to implement sound in casual games. Balancing Sounds and Music for the Most Polished Effect " Ensuring a remarkable gaming experience heavily relies on striking the right balance and seamless integration of audio assets, including music, sound effects, and voice effects. When physical on-site collaboration with developers is not possible, providing pre-mixed audio assets ready for integration proves highly advantageous. The main goal is to achieve a flawless fusion of sounds and music, contributing to an exceptional final product. To maintain clarity and align with the sound design team's vision, we adopt a standard process of creating detailed video captures that demonstrate how the audio should function when incorporated into the game. These videos serve as reference points for the person responsible for audio integration, enabling them to confidently execute the intended audio experience. The significant differentiator between an average and captivating audio experience in a game is the close involvement of the audio lead during the implementation stage. We understand that game development teams face immense workloads, especially towards the end of the production cycle leading up to a release. Consequently, audio implementation details might be given lower priority during these times. However, considering the substantial enhancement they bring to the overall player experience, it is undeniably worthwhile to prioritize and invest in them."(Somatone Interactive, 2015)
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Catchy and Memorable Music: Casual games often rely on simple and catchy tunes that stick with the players. Focus on creating upbeat, melodic, and easily recognizable music that enhances the overall experience.
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Fun and Engaging Sound Effects: Sound effects play a crucial role in adding immersion and interactivity to casual games. Create a variety of satisfying and responsive sound effects that complement the gameplay actions, such as button clicks, power-ups, rewards, or character movements.
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Seamless Looping: Since casual games are often played for extended periods, it's important to create music that seamlessly loops without becoming repetitive or irritating. Pay attention to smooth transitions and ensure the music loops seamlessly in the background.
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Interactive Audio: Interactive elements in casual games can greatly enhance the player experience. Implement sound effects that respond to player actions, such as collecting items, completing objectives, or achieving high scores. This dynamic audio feedback adds a layer of engagement and satisfaction.
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Polished Audio Integration: Carefully integrate the audio into the game, ensuring that the timing and synchronization align with the gameplay events. Work closely with the development team to ensure a smooth integration of the audio assets.
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Player-Friendly Options: Provide volume controls and audio settings that allow players to adjust the sound to their preferences. Some players might prefer lower volume or the ability to mute specific audio elements, so offering these options can enhance the overall user experience.
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The game's soundtrack should feature simple, upbeat, and easily recognizable tunes that leave a lasting impression on players. Incorporate diverse and responsive sound effects that immerse players in the game world and enhance interactions, such as button clicks, power-ups, rewards, and character movements. Ensure that the music loops smoothly without becoming repetitive or annoying, as casual games are often played for extended periods. Implement sound effects that respond to player actions, providing dynamic audio feedback for activities like collecting items, completing objectives, or achieving high scores, thereby increasing player engagement and satisfaction. Carefully integrate the audio into the game, aligning timing and synchronization with gameplay events to deliver a seamless, immersive experience. Offer volume controls and audio settings that allow players to adjust sound preferences, including the ability to mute specific audio elements, to enhance the overall user experience.(Wu, 2022)
Gameplay with All of my sounds
Conclusion
Sound Library
References
3 THE GAME ENGINE PARADIGM (no date). Available at: https://learning.oreilly.com/library/view/principles-of-game/9781351731126/xhtml/Ch03.xhtml.
Andersen, A. (2022) ‘6 Tips For Creating Your First Sound Design Showreel’:, A Sound Effect, 7 September. Available at: https://www.asoundeffect.com/sound-design-showreel/.
Collins, K.C. (2008) Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. Cambridge, UNITED STATES: MIT Press. Available at: http://ebookcentral.proquest.com/lib/mmu/detail.action?docID=3338949.
Hibbard, M. (2015) Recording Foley and Sound Effects: The Fundamentals, The Beat: A Blog by PremiumBeat. Available at: https://www.premiumbeat.com/blog/recording-foley-and-sound-effects-the-fundamentals/.
Sonnenschein, D. (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. La Vergne, UNITED STATES: Michael Wiese Productions. Available at: http://ebookcentral.proquest.com/lib/mmu/detail.action?docID=6188352.
Zdanowicz, G. and Bambrick, S. (2019) The Game Audio Strategy Guide: A Practical Course. Routledge.
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Ludlow, R - Audio Asset Management (no date). Available at: https://ubm-twvideo01.s3.amazonaws.com/o1/vault/gdc2018/presentations/Ludlow_Richard_Audio%20Asset%20Management.pdf
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Breaking Down 15 Anime Song’s Chord Progressions ⋆ Chromatic Dreamers (no date). Available at: https://chromaticdreamers.com/analyzing-anime-song-chord-progressions/.
Pre-Production
The initial step in the audio workflow involves creating an audio document. This document serves as a supplement to the game design document and provides detailed information about the audio design and implementation for the game. It may include separate sections for music, dialogue, and sound design, although they can also be combined into a single document. It's important to note that not every game necessarily has an audio design document, and even when there is a plan in place, game development often deviates from it(Collins, 2008).
In the pre-production section, creating sound assets list on Google sheet is an important thing for me to scope the direction of sound and time management. When working as a team, having a sound list will help us know how many sounds we have, and what sounds that sound designer is working on right now.
A sound asset list helps you stay organized by providing a comprehensive inventory of all the sound assets you'll need. It allows you to keep track of different categories of sounds such as footsteps, environmental ambience, dialogues, music tracks, special effects, etc.
"By creating a sound asset list, you can assess the scope of your project and determine the required resources. It enables you to plan your budget accordingly, identifying any additional assets you may need to acquire or create. This helps prevent surprises or delays during the production process.
With a well-prepared asset list, you can streamline your workflow and work more efficiently. By having all the necessary sounds at your disposal, you can focus on designing and implementing them without wasting time searching for missing elements".(Rudlow, no date)
Production
Based on the book named Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema by David Sonnenschein, emotions from sound energy transformation are the biggest part of this game. Minning is part of the game mechanic, but the important thing is the story and goals of each character to bring the audience to enjoy the game. In the Gemcrusty game to achieve the game is to bring each gem girl to the hub from the mine and make a gem girl's wish come true by selecting the right choice when chatting with each gem girl. So that means I have to focus on the character's actions and emotions such as the character moving. There would be a sound play on that action and when you select the choice and the character have an emotion like surprise, brushing or hesitation that should have sound in each emotion.
"Gain a clear understanding of the character's actions and emotions within the scene or narrative. This will help you create sounds that appropriately enhance and convey the intended meaning.
Utilize sound to accentuate the character's emotions. For example, you could employ specific musical motifs, atmospheric textures, or sound effects that elicit emotional responses aligned with the character's state of mind".(Sonnenschein,2001)
Refers to character reaction "?"
Refers to character reaction "embarrassed"
Refers to character reaction "..."
Refers to character reaction "!!"
Composing Main Menu Theme Song
"Research on Japanese music theory reveals that certain chord progressions, such as IV-V-vi and IV-V-iii-vi, are commonly used in anime music, evoking distinct emotional and aesthetic qualities. It's beneficial to be aware of these patterns and incorporate them into the song if they align with the desired style.
In Western music theory, each key is associated with a set of diatonic chords constructed from the notes of the corresponding major or minor scale. These diatonic chords create a sense of harmony and stability within the key. However, composers can introduce chords outside the key, known as borrowed or non-diatonic, to add colour and variation to the composition.
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Experimenting with non-diatonic chords can significantly alter the feel of a song and introduce intriguing musical tension. Many composers and songwriters utilize these chords to introduce unexpected twists, enhance emotional impact, and create a unique musical atmosphere. Exploring these possibilities allows for greater depth and creativity in songwriting". (Nostalgia, accessed 21st July 2023)
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"The foundational principles of creating 8-bit music involve understanding the 8-bit waveforms, which include Square, Triangle, Noise, and Pulse waveforms. These waveforms are the building blocks of the sound in this style. Additionally, Pulse Waveform Modulation, which includes Attack, Delay, Sustain, and Sweep, allows for shaping and controlling the sound's characteristics.
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In terms of basic composition, 8-bit music typically consists of three main elements: Leads, Bass, and Noise Percussion. Leads refer to the main melody or instrumental lines that carry the tune. Bass provides the low-end foundation and rhythm, while Noise Percussion adds rhythmic and percussive elements to the composition.
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In summary, composing 8-bit music involves working with 8-bit waveforms, utilizing Pulse Waveform Modulation for sound shaping, and structuring the composition with Leads, Bass, and Noise Percussion to create the characteristic and nostalgic sound of classic video game music.(EliteFerrex, accessed 20th July 2023 ). A Youtube channel named ToffeeBun ( accessed 20th July 2023) said: “ he used triangle waveform for bass and then changed volume envelope.”
Lead 8-bit melody - I started with an 8-bit melody by using NES VST plugin because I used the melody track as a core of the song. After researching, I used a square waveform to get a sound of 8-bit synthesis. The main chord progression was D major, which contains D, E, F#, G, A, B, C#, and D notes.
Then, I needed a variety of the main synthesis. I duplicated the main track into four tracks. I chopped the first part and the second part into two tracks.
Main lead 1: I changed the plugin to SI-Electric piano to get the soft chorus sound.
Main lead 2: The serum plugin was used to get the harsh and a bit of distortion.
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Majestic lead: I used a vital plugin and assigned the majestic preset to get a ringing sound, and then I automated panning left and right like shark teeth to make the melody sweep.
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Dark pad leads: I used the serum plugin and changed the preset to dark pad to get a low and smooth sound. Each melody track was panned in a different direction so that you would hear the same melody in a different tone.
Added three pieces of percussion which were hi-hat, snare, and kick. I also added two bass lines which first was a normal bass line and the second line was a triangle 8-bit bass line and put the 8-bit bass line behind the normal to get the bass room. The other technique was a combination of sound effects. The sound effects were added inside the song, such as water drop, laser, snap a finger, and robot vocal. I heard the sound effects during my research because I listened to many Japanese anime songs to get used to them, and I heard sound effects in their songs
Recording
In terms of limited equipment, a basic setup was the best choice to use in this situation. The equipment that I used was the AT2020 condenser microphone, Sony PCM-A10 Recorder, M-audio M-track 2x2 interface, Protools (Mac), and iPhone 13 (camera). I decided to use Protools DAW as my recording program because it is easy to use, very convenient, and I have a lot of plugins in Protools. "Pro Tools sessions have the ability to be connected across different storage drives, enabling users to work on projects using various control surfaces or even from remote locations. This feature has become increasingly advantageous as audio professionals collaborate online and depend on cloud services to complete their work. By utilizing Pro Tools' networking and cloud capabilities, users can easily share their sessions with others, resulting in enhanced efficiency and productivity"(whippedcreamsounds, no date). For the Sony PCM-A10 Recorder, I spared it for stereo recording. This microphone has three stereo techniques, and it comes with a pop filter to protect against some noise. The sounds that had been recorded from this microphone were really nice.
For the Editing stage, I mostly have plugins for Audio Production. When I wanted to clean the noise from the recorded audio track, I used the Izotope RX trails version. All recorded videos were recorded after the game finished. So this is the reason that I did not have editing the video because the Izotope RX trial version had expired. The techniques that I used were Layering and Combining sound effects because when it came to the casual game genre, some realistic sound was not suitable for the game. For example, Gemcrusty has a system when talking to the Gem girl, and the relationship reaches max. There will be a specific sound to let the player notice it. "One of the most popular sound design techniques is to layer multiple sounds for a more full and complex result. To achieve this, sound effects editors often craft each punch out of multiple elements: the midrange impact of the fist on the body, a higher-frequency rustle of clothing, and often a short low-frequency thump to convey the power of the blow. This approach creates a full-frequency sound effect that feels visceral and satisfying" (Fumo, accessed 23rd July 2023). Layering is the heart of the combination sound effect technique. It involves stacking multiple sound elements on top of each other to create a richer and more complex sound. The other important thing is Time sync. I was aware of a lot because, in the implementation state, I had to assign the sounds that sync the animation. For example, when the lift is coming up after mining, the player gets a gem when the relationship is max, and the animation in a boss stage. Time-sync sound effects technique in games refers to the process of precisely synchronizing sound effects with specific actions, events, or animations happening in the game world. This technique is crucial for enhancing the player's immersion and overall gaming experience, as it ensures that the audio elements are perfectly aligned with the corresponding visual or interactive element.
Real-Time Interaction: Game audio needs to respond in real time to the player's actions and events in the game world. For example, when a player fires a weapon, the gunshot sound effect should be triggered instantly to match the visual effect.
Animation Events: Game developers often use animation events or triggers to signal when certain actions or animations occur. Sound designers can link sound effects to these events, ensuring that the audio is played precisely when the action happens on the screen.
Overall Foley Recording
Mixing
In the mixing process, I used Izotope Ozone 9 as my Equaliser. This EQ is convenient and has various functions. However, this EQ is good for the mastering process. There are so many pros of using Ozen 9, such as "Zotope’s Ozone 9 Elements will transform your unfinished-sounding mix into a studio-quality master. This suite of essential mastering tools is loaded with intelligent processing and a bevvy of new features. Optimize your mix's sound field using Ozone's Imager, which includes an improved Stereoize mode. Sculpt it to perfection with its EQ. Pump it up to professional levels with its acclaimed Maximizer. And if you're having trouble getting started, Ozone 9 Elements' Master Assistant uses your audio's sonic profile to get you to a logical starting point. Retooled for faster performance and smoother workflows, iZotope Ozone 9 Elements is a great way to polish and perfect your mixes"(sweetwater, accessed 25th July 2023). Ozone 9 introduced AI-powered features, like Master Assistant and the Tonal Balance Control. Master Assistant would analyze your audio and offer starting points for the mastering process based on the desired target sound, while Tonal Balance Control helped in achieving balanced frequency distribution by comparing your audio's spectral characteristics to a reference target. Ozone 9 brought enhancements to its low-end processing with the Low-End Focus module. It helped to tighten and clean up the low frequencies, which is especially useful in electronic and bass-heavy music genres.
Boss Stage
5 Reasons Why Pro Tools Is The Best DAW For You (2021) Whipped Cream Sounds. Available at: https://www.whippedcreamsounds.com/why-pro-tools-is-the-best-daw/.
Fumo, D. (no date) How To Use Sound Effects. Available at: https://blog.prosoundeffects.com/how-to-use-sound-effects.
Interactive, S. (2015) ‘Best Practices for Fine-Tuning Casual Game Audio | Somatone’, Somatone Interactive, 9 May. Available at: https://somatone.com/best-practices-for-fine-tuning-and-polishing-in-casual-game-audio-implementation/.
iZotope Ozone 9 Elements Mastering Software Suite (no date) Sweetwater. Available at: https://www.sweetwater.com/store/detail/Ozone9El--izotope-ozone-9-elements-mastering-suite.
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How to make 8-bit Music - Stage 1 (The Basics) (2017). Available at: https://www.youtube.com/watch?v=GI8UEI8JOyk.
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How to Make 8-Bit Music (two free methods) (2020). Available at: https://www.youtube.com/watch?v=w4_qcrM0qIM.
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How Toby Fox Composed the Music of UNDERTALE (2021). Available at: https://www.youtube.com/watch?v=LPCBm59yFfI.
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Top 5 Free Piano VST Instrument Plugins (2019). Available at: https://www.youtube.com/watch?v=P0ukbSEKCZc.
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How to Compose Music for a Video Game: 7 Tips (2022) MUO. Available at: https://www.makeuseof.com/compose-music-for-video-game-tips/
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I was satisfied with this project. I have used Spatialisation and Functionality in gaming from week six. GemCrusty is a 2D game. However, all the sounds do not need to be 2D. The importance of 3D sound in the 2D game is that 3D sound adds depth and realism to the game's audio, even in a 2D visual environment. By positioning sound sources in a virtual 3D space, players can better perceive the direction and distance of audio cues, making the game world feel more immersive. Spatial audio helps provide better gameplay feedback. For instance, players can hear the position of enemies, obstacles, or collectibles in relation to their character, aiding in navigation and decision-making. In summary, 3D sound in a 2D game is not only technically impressive but also crucial for creating a more engaging and immersive player experience. It adds depth, realism, and emotional impact to the audio elements of the game, making it feel more dynamic and alive. By incorporating 3D sound, developers can elevate the overall quality and enjoyment of their 2D games. GemCrusty game inspired by Heltaker game. So the sound references were used in Heltaker base plus other casual games. When composing music, I felt challenged because I used my feeling and emotion more than music theory. I said feeling and emotion; I did not mean random chords or instruments. I always find references first and try to use the same instruments and chords. After that, I adjusted it and added some sound effects to make it like a Japanese anime song. Overall, I felt proud and achieved in terms of sound design in this project. I have learned and challenged many things. In the future, I will improve composing the music, and I will focus on 3D sounds.