About the game
Abronium is a party game with up to 16 players and you can play five different game modes such as soccer, race, fetch, capture the flag or chase. The graphical setting is a science fiction universe on the planet of Abronium.

Audio Design
The graphical environment of the planet Abronium gives player associations to a cartoon science fiction environment. I decided that the sound design had to be a mixture of synthesised, natural and analogue mechanical sounds. The whole audio design for the weapons, feedback and jingles are inspired from science fiction and action cartoons such as Ben10 and Secret Saturdays. The sounds were implemented using XACT.

One of the things that can be surprising during the work proces for interactive media is that you might have to cut out or simplify some sounds, so it does not create ‘annoyance’ during game play. When I – for instance – created the sound for the rope gun, I designed separate variations for when player did the following actions: release, pull out and pull back. But because it was someting that player was going to do continuously – I decided that there was only going to be one sound that was going to support players interaction with the ‘rope gun’. Below you can see some ingame trailers:

Abronium Party Ingame 1:

Abronium Party Ingame 2:

Abronium Party Ingame 3:

MUSIC DESIGN

The in-game music score in BioShock is based on composition techniques inspired from the 20th Century Western classical music. The score is recorded using a live orchestra and according to composer Gary Schyman (from Audio Talk on GDC 2007), the musicians have partly been given the freedom to contribute with their own interpretations during the recording sessions. The music score is written by Gary Schyman, but it has also evolved through experimentation and collaboration with musicians during the recording sessions.

Uploading the game and entering the main menu – I am immediately set in the nostalgic mood of Rapture. The subtle piano sounds when navigating on the main menu create a small melodic piece. The combination of this melody and the mellow ambience sounds in the background enhance game player’s sense of being put in a kind of ‘dream world’.

The underlying music score is used very subtle during action sequences, where player has to battle enemies. Meaning that the action music score is low in volume and varied. The variations work well in the sense that you do not hear the score being repeated continuously when playing the same sequence over and over again.

The background and action music also blends well with the ambience sounds – meaning that there is a clear link between the character of ambience sounds and music score. This helps game player to sense subtle emotional tensions during the whole game play. So when player is confronted with new challenges – the action music is perceived less ‘in your face’.

As I said earlier the music score of Gary Schyman is inspired by composition techniques from 20th Century music composers such as Xenakis, Pierre Boulez, Ligeti and Messiaen – just to mention a few. The intention of these composers was to work with atonality to create new music scales, tonal centres, timbres and spatiality in music perception and interpretation. And the reason why these composition techniques work so well in Schyman’s music score, during the in-game battle sequences, is because they help player to establish a perception of tension and ‘chaos’ during game play.

The combination of popular jazz music from the 20th Century combined with the use of a classical live orchestra establishes another dimension in the acoustic ecology of BioShock. The two distinct music genres create a contrast in game players perception – not only in instrumentation, tonality and medium (pure digital live recording vs an old analogue record player) – but also in the in-game narrative. Assuming that player knows or has heard the popular jazz songs from the 20th Century, then s/he might listen to the lyrics during game play. If we assume that s/he is listening to the lyrical content of the songs – then s/he may also be able to acknowledge the re-contextualisation of the lyrics in the in-game narrative that s/he is in, as an active player character. In other words – the popular jazz songs suddenly has a new meaning.

SOUND DESIGN & DIALOGUE

The sound design in BioShock is based on sounds related to real life, while others are interpretations of the  visual reality. One of the SFX that caught my attention as not being either was the SFX for the wooden doors with glass windows that slides up and closes appearing on the level ‘Medical Pavilion’. The audio sounds like a recording of a ‘metal archive drawer’ that slids open and closes. The sound does not correspond to the ‘wooden’ material that the doors seem to be made of – and therefore it caught my attention every time I passed the doors.

The high quality dialogue performance in BioShock has a considerable effect to the overall perception of game play. The use of audio diaries and the dialogues performed by the various Slicer characters make the game more ‘alive’, as they slowly reveal fragments of the story line during game play. This also makes the dialogue serve the purpose of ‘inviting’ the player deeper into the story line by adding a ‘past’ dimension to the narrative – and creating a link between past and present.

After a while – just before halfway through the game – I start noticing the repetitions of the dialogues from the Thuggish, Spider and Leadhead Slicers – and that annoyed me a bit. The first time I noticed the repetitious Slicer dialogues in the game, I thought it had a powerful effect to the narrative that was going to be revealed to me as a player. I thought of the Slicer dialogues as a mean to reveal the fragments of character stories in the game – the characters being ‘mentally disturbed’  and ‘unhappy’ people. But when the repetitions continued without adding more content to the story apart from giving me hint of an alarm cue to prepare myself to kill the Slicer – the repetition then had no further purpose for me. And as a player – repetitions without further purpose – creates a momentum of annoyance.

Another issue that I noticed, was the use of piano-roll jingle at the vending machines. The purpose is to lead players attention to the vending machine, where s/he can buy more bullets or health. It is a ‘happy tune’ and gives player associations to a merry-go-round. For every level the tune is the same and after a while I tried to ignore it. From an audio design perspective – it would have been very obvious to make – for instance – scale variations on this tune. Meaning that for every level player progress to – the tune is slightly varied.

CONCLUSION

The high quality audio design in BioShock is mainly reflected in the music design – the combination of a live orchestra and licensed music – and the way that it is used during game play. The use of audio diaries to reveal the story in fragments serves the purpose of ‘inviting’ the game player to be a part of an emotional story.

It is important to notice that the sound designer Emily Ridgway had an active role in the process of additional story writing. This also means that audio design – on this project – has been a high priority all the way in the development process from pre-production to production.

There are so many talents and the Nordic Game Jam is a perfect opportunity for people to meet across universities and industries – professionals, students and hobbiests. The best part of NGJ 08 was to see how many different design ideas, graphics and game play concepts people could contribute with – all based on the subject of ‘taboo’. I did not sleep much during the game jam, but it was all worth it!

I was responsible for sound design on the following 3 games:

Yum Me

Taboo Tiles

Torturama

All the game concepts that were developed during the event can be viewed at Nordic Game Jam 08

Enjoy!

The theme of the computer game competition was ‘Ocean Odyssey’. The challenges for composers were to create different themes and functionalities taking place in an underwater gaming world environment.

The music scores below are composed using string section, orchestral percussion, synthesisers, horn and wood sections. Additional sounds have been mixed with the music score to create an underwater ambience.

Below are the themes – each with their own function during gameplay in an imaginary underwater gaming world environment:

• Ocean Odyssey – Main Theme is the attract music – a 3 minute loop that introduces the underwater world environment. In a computer game this would be the menu music.

• Ocean Odyssey – Ambience is a neutral theme. The function of this 1 minute loop is to create an ambience with no potential danger during game play.

• Ocean Odyssey – Tension + is a 1 minute loop that creates tension and enhances the drama of potential danger during game play.

• Ocean Odyssey – Tension ++ is also a 1 minute loop that enhances the drama of potential danger during gameplay. The idea with a 2nd ‘tension’ theme is that the danger/enemy/situation is different than the above.

Enjoy!

It was created by recordings of a wood toy from Thailand that was sculptured as a frog (the first land animal with a vocal chord) – and that gave me the inspiration to the ring tone Insects

My aim is to develop audio design documents that communicate to the sound designer, composer and the audio programmer.

Audio design documents are usually only used on big budget game developments, but I find them quite important due to the fact that they can be used as ‘to-do’ – ‘to-add’ – ‘to-develop’ documents. Most importantly they be can used as a way to secure production quality and deadlines - while keeping company mile stones in mind.