Maps are the most common way to guide players around games. Other methods include beacons, landmarks, a compass, trails, and many other things.
Another option I rarely see is what I'll call gradual indicators. By that I mean, a visual feature becomes stronger/weaker or more/less common as the player nears certain places or objects of importance. These gradual indicators can lessen or even negate the need for UI methods which distract from the gameworld.
For example, elevation can be used in this way. In Rise of the Argonauts, the player knows whether he is running towards the palace or the docks of Mycenae by whether the path is sloping upward or downward. The same method can be used in any number of settings, including dungeons and roads. The degree of a slope can be telling, too. If two paths both lead up a mountain, one can be recognizable from the other if it is significantly steeper.
Vegetation can be a gradual indicator. Grass and shrubs might grow tall in one area and shrink or die out toward another. Oaks might dominate one area while mesquite trees dominate another. Both trees might habit an area, but the ratio between them could indicate to the player in which direction he is headed.
Architecture and objects can be used in the same way. The facades of buildings and their relationships to each other (such as how far apart they are) can indicate if the area the player is proceeding toward is wealthy or poor, old or new, damaged or undamaged (by war, weather, or graffiti), and so on. Statues and decorations can change in frequency or in subject through an environment. The type of shops or their names can change in style and tone.
Even audio can lead players. The roar of a waterfall or pounding of waves can gradually rise in volume as the player nears them. Likewise, the sounds of animals, the firing of weapons, the chatter and laughter or shouts of NPCs, or a thousand other things.
Animations and even environmental A.I. can guide players. As a player nears a battlefield, he might increasing notice NPCs crouched over and weeping. Or NPCs might be increasingly erratic and skittish... increasingly distressed as the player nears the source of that distress. The NPCs might pace, look around fearfully, or chatter to themselves. Think of the A.I. in Batman: Arkham Asylum and how the Joker's men act differently as they become more aware of Batman's presence and are afraid.
There are countless forms gradual indicators can take. The goal is to help players navigate environments without having to take their eyes off the gameworld or see anything that takes their attention off the story they're experiencing.
Showing posts with label audio. Show all posts
Showing posts with label audio. Show all posts
Thursday, November 05, 2009
Monday, November 02, 2009
filler
Lately, I've been going back and forth between Borderlands and Brütal Legend. A noticeable difference between them is the effect of music in Brütal Legend to make travel between missions less mundane.
Borderlands has good music. In fact, I've been surprised how many of my friends have mentioned it. But it's environmental music, accompaniment, rather than the rock songs of Brütal Legend which invite more attention.
Plus, Brütal Legend's landscape is full of monuments and amusing objects. There are trees made of exhaust pipes, beer bottle bushes, and giant stone swords sticking out of the hills. Stuff like this gives the player something to laugh and marvel at while driving around.
A little space between events in play isn't a bad thing. But it's good to offer the player something to enjoy in that downtime, so the player's enthusiasm never wanes. This is particularly important in games that are meant to be replayed.
Borderlands has good music. In fact, I've been surprised how many of my friends have mentioned it. But it's environmental music, accompaniment, rather than the rock songs of Brütal Legend which invite more attention.
Plus, Brütal Legend's landscape is full of monuments and amusing objects. There are trees made of exhaust pipes, beer bottle bushes, and giant stone swords sticking out of the hills. Stuff like this gives the player something to laugh and marvel at while driving around.
A little space between events in play isn't a bad thing. But it's good to offer the player something to enjoy in that downtime, so the player's enthusiasm never wanes. This is particularly important in games that are meant to be replayed.
Thursday, October 15, 2009
enemies with personality
One of the reasons I expect Borderlands to be a lot of fun is the dynamic comments that give individual enemies personalities:
The amusing outbursts of enemies makes them more than just faceless meatbags. The Halo series has proven how effective this can be.
Giving enemies dynamic outbursts does two things. First, it adds a personal dimension to combat, making it feel like your actually fighting individuals and not the Borg. Second, it adds variation and replay value. It can make one enemy feel slightly different from another despite both using the same model and the same AI.
This isn't only possible with human enemies. Individual dogs of the same breed can have different barks. Individual skaags or other beasts could have different growls, screeches, etc. Voice variation with animals and monsters has an effect similar to that with humans.
Nor does personalizing individual enemies have to be done only through modeling, AI, and voicing. There's also animations. Slightly different hand motions, ways of walking, relaxed and defensive stances, and so on can make enemies which are otherwise the same feel like true individuals.
Every aspect of NPCs changes the experience.
The amusing outbursts of enemies makes them more than just faceless meatbags. The Halo series has proven how effective this can be.
Giving enemies dynamic outbursts does two things. First, it adds a personal dimension to combat, making it feel like your actually fighting individuals and not the Borg. Second, it adds variation and replay value. It can make one enemy feel slightly different from another despite both using the same model and the same AI.
This isn't only possible with human enemies. Individual dogs of the same breed can have different barks. Individual skaags or other beasts could have different growls, screeches, etc. Voice variation with animals and monsters has an effect similar to that with humans.
Nor does personalizing individual enemies have to be done only through modeling, AI, and voicing. There's also animations. Slightly different hand motions, ways of walking, relaxed and defensive stances, and so on can make enemies which are otherwise the same feel like true individuals.
Every aspect of NPCs changes the experience.
Monday, September 14, 2009
audio palettes
Audio designers should consider the breadth of their "palette" of sounds, similar to how artists consider the range of colors and textures they will use. The number of different audio clips does not, by itself, define the variety of sounds. How greatly the sounds vary in pitch and in texture matters as well.
Humans rely mostly on their sense of sight, which is why players are more likely to notice bland or redundant art than bland or redundant audio in a game. Many players have complained about the drab and repetitive visuals of Fallout 3. I put off buying S.T.A.L.K.E.R. largely for the same reason. Players are less likely to pinpoint their displeasure if sound effects run together, but it can also be a significant issue.
Like with art, audio should have a general style. But shake it up. The sounds of weapons shouldn't just sound cool, but also be distinct from each other. The sound of footsteps is more immersive when the player can occasionally hear a creaky board, a puddle, a bit of hard clay, etc. Shouts and exclamations, like in Call of Duty 4 multiplayer, are more interesting when players hear a variety of voice of different depth and aggressiveness.
Shake it up. Dynamics are important in everything, including sound.
Humans rely mostly on their sense of sight, which is why players are more likely to notice bland or redundant art than bland or redundant audio in a game. Many players have complained about the drab and repetitive visuals of Fallout 3. I put off buying S.T.A.L.K.E.R. largely for the same reason. Players are less likely to pinpoint their displeasure if sound effects run together, but it can also be a significant issue.
Like with art, audio should have a general style. But shake it up. The sounds of weapons shouldn't just sound cool, but also be distinct from each other. The sound of footsteps is more immersive when the player can occasionally hear a creaky board, a puddle, a bit of hard clay, etc. Shouts and exclamations, like in Call of Duty 4 multiplayer, are more interesting when players hear a variety of voice of different depth and aggressiveness.
Shake it up. Dynamics are important in everything, including sound.
Monday, August 24, 2009
strategic audio
I played some Frontlines multiplayer the other day with some fellow CoWs. Somehow, Oak managed to sneak up on Scott with a tank. Yeah, let that sink in a moment.
He was probably able to do so for one of three reasons: (1) Scott was daydreaming, (2) Scott was so focused on something that all else fell out of focus, or (3) the sound of the tank was masked by other sounds.
It's the third possibility that I think designers should think hard about, because it's a trick rarely used. Sound doesn't have to be a subconscious element in combat. It can be a factor in difficulty... something the player must rely on or distrust.
For example, there's such thing as audio camouflage - intentionally mimicking a sound to create a mistaken impression. It can be used to hide dangers or to make the harmless unnerving. It's a power that can be limited to AI and environments or offered to the player as an active skill.
Noise can be distracting and disorienting. I don't recommend setting an entire game level around loud machinery, but the sort of constant noise you hear next to planes or jets can hide enemies.
The cocking of a gun can warn players that something bad is about to happen... or tip off enemies. Imagine sneaking up behind an enemy and cocking your shotgun just so you could see the enemy jump with surprise and scramble for safety.
My point is sound has a lot of strategic potential in games that rarely gets used.
He was probably able to do so for one of three reasons: (1) Scott was daydreaming, (2) Scott was so focused on something that all else fell out of focus, or (3) the sound of the tank was masked by other sounds.
It's the third possibility that I think designers should think hard about, because it's a trick rarely used. Sound doesn't have to be a subconscious element in combat. It can be a factor in difficulty... something the player must rely on or distrust.
For example, there's such thing as audio camouflage - intentionally mimicking a sound to create a mistaken impression. It can be used to hide dangers or to make the harmless unnerving. It's a power that can be limited to AI and environments or offered to the player as an active skill.
Noise can be distracting and disorienting. I don't recommend setting an entire game level around loud machinery, but the sort of constant noise you hear next to planes or jets can hide enemies.
The cocking of a gun can warn players that something bad is about to happen... or tip off enemies. Imagine sneaking up behind an enemy and cocking your shotgun just so you could see the enemy jump with surprise and scramble for safety.
My point is sound has a lot of strategic potential in games that rarely gets used.
Monday, June 29, 2009
musical variety
If you watch many films, you'll be exposed to a broad range of music. Films vary tremendously in musical accompaniment, including within any single film genre.
Sometimes it's the oddest combinations of visuals and music that have the most thrilling effect. Producers of the original Star Wars rejected generations of sci-fi tradition by choosing the classical, symphonic style of composer John Williams to accompany the story. Now, who could imagine the Star Wars saga without it?
Likewise, I believe one of the features which set Diablo 2 apart from the crowd was Matt Uelmen's free-flowing classical score. And who can even categorize Koji Kondo's brilliant Mario Bros theme?
There have been many great musical scores for games. But how much variety have we seen? Any type of music you can imagine has been used in films, but I can think of many types of music I've never heard in games. Why?
Sometimes it's the oddest combinations of visuals and music that have the most thrilling effect. Producers of the original Star Wars rejected generations of sci-fi tradition by choosing the classical, symphonic style of composer John Williams to accompany the story. Now, who could imagine the Star Wars saga without it?
Likewise, I believe one of the features which set Diablo 2 apart from the crowd was Matt Uelmen's free-flowing classical score. And who can even categorize Koji Kondo's brilliant Mario Bros theme?
There have been many great musical scores for games. But how much variety have we seen? Any type of music you can imagine has been used in films, but I can think of many types of music I've never heard in games. Why?
Wednesday, May 27, 2009
replay systems
I recently joined GameDev.net. Lots of good discussion there and good resources for new developers. The following's a carryover of my comments there.
Recordings of player moments (screenshots, video clips, etc) are great both in terms of player enjoyment and marketing. But a distinction should be made between planned and unplanned clips.
On the one hand, you have player-scripted events; machinima. Spore and The Sims 2 offer players in-game tools for this. Alternatively, World of Warcraft is commonly used but through external tools not provided by Blizzard. Such recordings are popular, but the planning and interface know-how required limits their user appeal.
On the other hand are unexpected events which the player discovers and wants to memorialize. Replay systems are more rare, but also, I think, more valuable. NCAA Football '08, for example, automatically records every play and allows players to select from those recordings events for permanent memory. That means that if something unintentional or unexpected excites the player, it can be recorded after-the-fact. The game also allows the player to view the event from different angles. Similar systems allowing cropping and editing, but the simplest systems have the broadest appeal.
Of the two kinds of recordings, planned and revisited, the latter appeals to more gamers. It is more useful for marketing as well, since the recorded events represent actual, unscripted gameplay which any player might hope for.
I wonder if there might also be occasional value in audio recordings. At this time, apart from music, audio in games is rarely worthy of memory. Undoubtedly, some game enthusiasts have favorite lines of dialog and such which they would happily preserve, but game audio is not dynamic enough to offer individual experiences -- the primary basis of personal recordings. How to make it so is worth consideration.
Recordings of player moments (screenshots, video clips, etc) are great both in terms of player enjoyment and marketing. But a distinction should be made between planned and unplanned clips.
On the one hand, you have player-scripted events; machinima. Spore and The Sims 2 offer players in-game tools for this. Alternatively, World of Warcraft is commonly used but through external tools not provided by Blizzard. Such recordings are popular, but the planning and interface know-how required limits their user appeal.
On the other hand are unexpected events which the player discovers and wants to memorialize. Replay systems are more rare, but also, I think, more valuable. NCAA Football '08, for example, automatically records every play and allows players to select from those recordings events for permanent memory. That means that if something unintentional or unexpected excites the player, it can be recorded after-the-fact. The game also allows the player to view the event from different angles. Similar systems allowing cropping and editing, but the simplest systems have the broadest appeal.
Of the two kinds of recordings, planned and revisited, the latter appeals to more gamers. It is more useful for marketing as well, since the recorded events represent actual, unscripted gameplay which any player might hope for.
I wonder if there might also be occasional value in audio recordings. At this time, apart from music, audio in games is rarely worthy of memory. Undoubtedly, some game enthusiasts have favorite lines of dialog and such which they would happily preserve, but game audio is not dynamic enough to offer individual experiences -- the primary basis of personal recordings. How to make it so is worth consideration.
Thursday, May 21, 2009
kinetics
I bought Sacred 2 for my 360 when it was released, and traded it back in only a few days later. I didn't even want to make use of my money before getting rid of it. So I agree with GameTrailers' review, as usual. But I'm surprised kinetics was never mentioned.
I call it kinetics, but there might be a better term. What I'm referring to is the feel of action: the way animations and sound effects combine to bring actions to life.
Timing is key to kinetics. Imagine a baseball game. When a player swings his bat, is the animation slow or fast? Either could be fun, but the speed affects the feel. Now consider the sound. Is the crack of the bat against ball perfectly synched with the animation? Or does the sound come a split-second before or after the animation?
Now imagine there is no sound when bat meets ball. That would suck, wouldn't it? No game would forget to include that sound. But what about surrounding sounds? Does the crowd cheer when the batter gets a hit? Does the crowd's noise change at all depending on whether it's a home run, a grounder, or a bunt? What about the player's footsteps as he's running to 1st base? Does they get any sound?
Does every player throw or drop his bat the same way? Does every player swing the same way? Do they all run with the same gait?
The point is that even simple actions can have surprising potential for accompanying sounds and animations. And, generally, the more visual and aural details included, the more compelling an action feels.
So back to Sacred 2. Play that game, Play Diablo 2, and tell me which has better kinetics. Compared to combat in Diablo 2, combat in Sacred 2 feels like flag football. There are more sounds, including reactive lines of dialogue (not commentary... screams, yelps, and such), and animations are quick enough to keep combat tense and frantic. Titan Quest also fails by slowing animations and creating a slight disconnect between player attacks and enemy deaths and defense. That one's a good game, but the timing is slightly off and dying enemies often float in the air a moment.
All games are limited by time and expense. But pinpoint the actions your players will employ most often and devote as many sound effects and animations to those actions as possible. Other parts of your games can be sketched simulations, but core actions should be represented as fully as possible.
I call it kinetics, but there might be a better term. What I'm referring to is the feel of action: the way animations and sound effects combine to bring actions to life.
Timing is key to kinetics. Imagine a baseball game. When a player swings his bat, is the animation slow or fast? Either could be fun, but the speed affects the feel. Now consider the sound. Is the crack of the bat against ball perfectly synched with the animation? Or does the sound come a split-second before or after the animation?
Now imagine there is no sound when bat meets ball. That would suck, wouldn't it? No game would forget to include that sound. But what about surrounding sounds? Does the crowd cheer when the batter gets a hit? Does the crowd's noise change at all depending on whether it's a home run, a grounder, or a bunt? What about the player's footsteps as he's running to 1st base? Does they get any sound?
Does every player throw or drop his bat the same way? Does every player swing the same way? Do they all run with the same gait?
The point is that even simple actions can have surprising potential for accompanying sounds and animations. And, generally, the more visual and aural details included, the more compelling an action feels.
So back to Sacred 2. Play that game, Play Diablo 2, and tell me which has better kinetics. Compared to combat in Diablo 2, combat in Sacred 2 feels like flag football. There are more sounds, including reactive lines of dialogue (not commentary... screams, yelps, and such), and animations are quick enough to keep combat tense and frantic. Titan Quest also fails by slowing animations and creating a slight disconnect between player attacks and enemy deaths and defense. That one's a good game, but the timing is slightly off and dying enemies often float in the air a moment.
All games are limited by time and expense. But pinpoint the actions your players will employ most often and devote as many sound effects and animations to those actions as possible. Other parts of your games can be sketched simulations, but core actions should be represented as fully as possible.
Wednesday, April 29, 2009
audio nuances
One of the questions I've asked The Saboteur team is whether or not the visual changes of their "Will to Fight" system will be mirrored by changes in audio. Locations heavily occupied by Nazis will be mostly black-and-white, and will be colored more as the Nazi occupation is lifted. I figure this could be accompanied by audio effects, like making the music scratchy (like old records) or distant (reverb, gating) in the black-and-white settings.
Anyway, that general concept of connecting visual events with audio filters can be applicable to many games.
For example, most people have experienced static in radio signals while driving. They know this is due to distance from radio towers or interference. So degrees of static can be used to give the player an impression of entering wilderness, being cut off from civilization, or to suggest looming events... like an alien invasion!
Reverb effects can be connected to events for affective purposes. Suddenly introducing a tight, enclosed audio effect or a cave-like echo while the player is in a wide-open environment, for example, can create tension. Setting audio and video against each other like this can be a useful technique.
Any related ideas?
Anyway, that general concept of connecting visual events with audio filters can be applicable to many games.
For example, most people have experienced static in radio signals while driving. They know this is due to distance from radio towers or interference. So degrees of static can be used to give the player an impression of entering wilderness, being cut off from civilization, or to suggest looming events... like an alien invasion!
Reverb effects can be connected to events for affective purposes. Suddenly introducing a tight, enclosed audio effect or a cave-like echo while the player is in a wide-open environment, for example, can create tension. Setting audio and video against each other like this can be a useful technique.
Any related ideas?
Thursday, March 05, 2009
personal integration
I downloaded a jigsaw puzzle game the other day called Puzzle Arcade. I haven't spent much time with it yet, but I know I will... especially since it's something my non-gaming family can enjoy when we get together during the holidays. One of the game's cooler features (which I can't use yet, since I don't own an Xbox Live Vision Camera) is being able to upload your own images for puzzles. Apparently, you can't save those custom puzzles if left unfinished, but it's still cool.
I love the idea of players introducing unique, personal content in such a simple way.
I've said before that MMO designers should move screenshot viewing in-game.
Audio integration, such as enabling players with mics to record brief clips for character use (warcries, taunts, jokes, etc), is another possibility.
Another example is linking game audio to a gamer's mp3 library so that particular player-selected mp3s are triggered by particular events. It could be as general as this song for combat and that playlist for driving. Or it could be as specific as playing this song when I equip my two-handed maul, playing another song when I equip my bow-and-arrows, another song when I hop on my horse, another when the sun sets, etc.
Face-mapping isn't easy, but seems possible. Allow players to upload a photo of their own faces from a particular perspective. Software finds certain points on the face (nose tip, bridge width, eye spacing, etc), and then recreates the same characteristics in the character creation system. Note that I'm not talking about overlaying a character model with the actual photograph. I'm talking about using a photo as reference for a virtual representation using a creation system like that of Everquest 2 and Saints Row 2.
These personalizations require minimal effort from the player and don't require active input or feedback from developers (past initial production, I mean). What are some other possibilities?
I love the idea of players introducing unique, personal content in such a simple way.
I've said before that MMO designers should move screenshot viewing in-game.
Audio integration, such as enabling players with mics to record brief clips for character use (warcries, taunts, jokes, etc), is another possibility.
Another example is linking game audio to a gamer's mp3 library so that particular player-selected mp3s are triggered by particular events. It could be as general as this song for combat and that playlist for driving. Or it could be as specific as playing this song when I equip my two-handed maul, playing another song when I equip my bow-and-arrows, another song when I hop on my horse, another when the sun sets, etc.
Face-mapping isn't easy, but seems possible. Allow players to upload a photo of their own faces from a particular perspective. Software finds certain points on the face (nose tip, bridge width, eye spacing, etc), and then recreates the same characteristics in the character creation system. Note that I'm not talking about overlaying a character model with the actual photograph. I'm talking about using a photo as reference for a virtual representation using a creation system like that of Everquest 2 and Saints Row 2.
These personalizations require minimal effort from the player and don't require active input or feedback from developers (past initial production, I mean). What are some other possibilities?
Thursday, October 23, 2008
imperfections and details
Again, I'm going to use a comment of mine as my post for the day. I have many good games right now that are demanding my attention (Fable 2, Dead Space, Saints Row 2, Spore, etc).
Savid Daunders asks whether or not imperfections, like flawed architecture of a building, are important to good level design. Well, consider these examples.
My first thought when commenting on his article was of modeling human faces. Modelers learned long ago that old people are easier to simulate accurately than young people, because the skin imperfections make the skin seem more real.
Another example is tree modeling. Trees generally don't look realistic without variation. Each tree is shaped by its response to unique challenges (ex: competing for sunlight) and setbacks (drought, bugs, disease, etc). One might argue that a perfect tree is one unhindered by any obstacle. The variety we see in believable tree simulation replicates the plants' struggles to survive and conquer. In other words, good simulations mimic the results of tree vulnerability to conditions and interactions.
Now consider item placement and arrangement in interior settings. Games started simulating building interiors more accurately when they started to include random objects and messes, like magazines scattered on tables and floors. When an interior setting is entirely neat and orderly, it feels unnatural. This might only suggest that someone recently cleaned it up for a special occasion, like guests coming over, but that's still an impression that should be deliberately created by artists when it exists.
Unlike novels and films, games are still only conceptual presentations. A concept is abstracted enough to lose many particulars. It's used as an inexact representation of actuality, begging forbearance from the reader or listener who is well aware of what detail the abstract omits or blurs.
Compared to best-selling novels and films, games include far fewer and, generally, less accurately rendered details of every setting, object, and character. An average book or film places dozens of high-detailed objects in one room which the audience might only witness a single time in the story. For example: in the film I, Robot, only five minutes of the movie occurs in the AI creator's home office; yet there are bookcases full of unique books (individually titled, colored, shaped, etc), many pictures and framed photographs, loose stationary, and countless other peripheral elements of setting... including a cat.
One of my creative writing instructors used to say that good fiction, like good lying, is in the details. Good storytellers make ample use of peripheral details to project a setting that can't be accurately portrayed with adjectives.
Technical limitations are certainly at the heart of this shortcoming in games, but also production focus. Developers make a conscious choice to focus on expanse, rather than depth and detail. It's a balancing act, and the proper course won't be the same for any two games or teams, but it's a necessary consideration in the process of planning and implementation.
There are many ways to tackle this issue, of course, but I recommend making it the sole concern of one employee to create details for the game's settings and characters. Let one person focus on fleshing out the presentation.
Anyway, the game industry still has a long way to go before our stories and experiences are as detailed as other media. And I say that will due respect for the admirable amount of detailing in games like Dead Space and Mass Effect.
Savid Daunders asks whether or not imperfections, like flawed architecture of a building, are important to good level design. Well, consider these examples.
My first thought when commenting on his article was of modeling human faces. Modelers learned long ago that old people are easier to simulate accurately than young people, because the skin imperfections make the skin seem more real.
Another example is tree modeling. Trees generally don't look realistic without variation. Each tree is shaped by its response to unique challenges (ex: competing for sunlight) and setbacks (drought, bugs, disease, etc). One might argue that a perfect tree is one unhindered by any obstacle. The variety we see in believable tree simulation replicates the plants' struggles to survive and conquer. In other words, good simulations mimic the results of tree vulnerability to conditions and interactions.
Now consider item placement and arrangement in interior settings. Games started simulating building interiors more accurately when they started to include random objects and messes, like magazines scattered on tables and floors. When an interior setting is entirely neat and orderly, it feels unnatural. This might only suggest that someone recently cleaned it up for a special occasion, like guests coming over, but that's still an impression that should be deliberately created by artists when it exists.
Unlike novels and films, games are still only conceptual presentations. A concept is abstracted enough to lose many particulars. It's used as an inexact representation of actuality, begging forbearance from the reader or listener who is well aware of what detail the abstract omits or blurs.
Compared to best-selling novels and films, games include far fewer and, generally, less accurately rendered details of every setting, object, and character. An average book or film places dozens of high-detailed objects in one room which the audience might only witness a single time in the story. For example: in the film I, Robot, only five minutes of the movie occurs in the AI creator's home office; yet there are bookcases full of unique books (individually titled, colored, shaped, etc), many pictures and framed photographs, loose stationary, and countless other peripheral elements of setting... including a cat.
One of my creative writing instructors used to say that good fiction, like good lying, is in the details. Good storytellers make ample use of peripheral details to project a setting that can't be accurately portrayed with adjectives.
Technical limitations are certainly at the heart of this shortcoming in games, but also production focus. Developers make a conscious choice to focus on expanse, rather than depth and detail. It's a balancing act, and the proper course won't be the same for any two games or teams, but it's a necessary consideration in the process of planning and implementation.
There are many ways to tackle this issue, of course, but I recommend making it the sole concern of one employee to create details for the game's settings and characters. Let one person focus on fleshing out the presentation.
Anyway, the game industry still has a long way to go before our stories and experiences are as detailed as other media. And I say that will due respect for the admirable amount of detailing in games like Dead Space and Mass Effect.
Friday, August 08, 2008
a lesson from Beijing
After watching the opening ceremony at the Beijing Olympics, I'm reminded of how a different beauty emerges from large masses of people as from groups and individuals. Over two thousand drummers synchronize their actions to create an awesome spectacle that's simply not possible in any other way.
Games are increasingly able to include vast numbers of objects and characters -- coordinately directly or indirectly, or acting separately. Keep in mind that sheer numbers can change aesthetic and narrative possibilities. Through masses, you can create experiences for players that are essentially different from encounters with individuals and groups.
Games are increasingly able to include vast numbers of objects and characters -- coordinately directly or indirectly, or acting separately. Keep in mind that sheer numbers can change aesthetic and narrative possibilities. Through masses, you can create experiences for players that are essentially different from encounters with individuals and groups.
Wednesday, July 30, 2008
visceral
Diablo 2 is one of the best games of all time. It's the 15th bestselling game on Amazon seven years after its release... and at the price of a new game! One of the elements that made it so is its visceral combat.
Some might dislike the word "visceral" the same way they dislike "immersion", believing such an impression is subjective to the point of being a useless subject. But making experiences visceral seems more objective than making them immersive. The following are some ways in which Diablo 2 makes combat visceral.
If you club a centaur in Titan Quest, its body almost floats. It hovers in the air for a moment before collapsing to the ground. Compare that to the way the body of a dying demon in Diablo 2 immediately slams against the ground. This slight difference in animation makes the latter feel more violent and the former more cartoony. Slight changes in the pace of animations can have profound effects.
Creatures in Diablo 2 die in many different ways. The spirits of dark rangers are released from their cursed bodies. Zombies can be cut in half. A gargantuan beast collapses into a bloody mess. Skeletons crumble into a pile of bones. Such animations encourage an impression that enemies are made of different materials and structures.
Each enemy type also has a different sound that it makes while dying. I'm not sure, but I think Diablo 2 might be one of the only games I've ever played in which absolutely every individual enemy makes a noise when dying. For skeletons, this sound is crumbling bones, but most other creatures scream, gag, or grunt.
There are two sounds played for every killing blow: the sound of death and the sound of impact. Diablo 2 does an excellent job of making every impact felt through sound. The audio designer ensured that every impact is satisfying, rather than merely realistic or intriguing. Some weapons have sounds beyond impact. Swing a two-handed sword and here it swoop through the air.
Countless other sounds engage the player without him or her even realizing it. Every step the character takes is heard. Rats squeak and make a squishing sound when stepped on. Flies buzz around corpses. If you've got a copy of Diablo 2, play it while being attentive to sound and you'll be surprised how much there is. There's great attention to details.
I've started writing three or four posts about Diablo 2 and Diablo 3 ever since 3 was announced. Blizzard did and is doing many things right with that series. It should be required material for game design students, regardless of whether or not they're interested in hack-and-slash games. I'll probably post some other important lessons I've learned from that game.
Some might dislike the word "visceral" the same way they dislike "immersion", believing such an impression is subjective to the point of being a useless subject. But making experiences visceral seems more objective than making them immersive. The following are some ways in which Diablo 2 makes combat visceral.
If you club a centaur in Titan Quest, its body almost floats. It hovers in the air for a moment before collapsing to the ground. Compare that to the way the body of a dying demon in Diablo 2 immediately slams against the ground. This slight difference in animation makes the latter feel more violent and the former more cartoony. Slight changes in the pace of animations can have profound effects.
Creatures in Diablo 2 die in many different ways. The spirits of dark rangers are released from their cursed bodies. Zombies can be cut in half. A gargantuan beast collapses into a bloody mess. Skeletons crumble into a pile of bones. Such animations encourage an impression that enemies are made of different materials and structures.
Each enemy type also has a different sound that it makes while dying. I'm not sure, but I think Diablo 2 might be one of the only games I've ever played in which absolutely every individual enemy makes a noise when dying. For skeletons, this sound is crumbling bones, but most other creatures scream, gag, or grunt.
There are two sounds played for every killing blow: the sound of death and the sound of impact. Diablo 2 does an excellent job of making every impact felt through sound. The audio designer ensured that every impact is satisfying, rather than merely realistic or intriguing. Some weapons have sounds beyond impact. Swing a two-handed sword and here it swoop through the air.
Countless other sounds engage the player without him or her even realizing it. Every step the character takes is heard. Rats squeak and make a squishing sound when stepped on. Flies buzz around corpses. If you've got a copy of Diablo 2, play it while being attentive to sound and you'll be surprised how much there is. There's great attention to details.
I've started writing three or four posts about Diablo 2 and Diablo 3 ever since 3 was announced. Blizzard did and is doing many things right with that series. It should be required material for game design students, regardless of whether or not they're interested in hack-and-slash games. I'll probably post some other important lessons I've learned from that game.
Thursday, July 24, 2008
companion milestone
In a hands-on preview of Fable 2 at Kotaku, Michael McWhertor notes that the game's combat is fun "especially when the dog comes to your aid, gnawing on the limb of some recently dispatched foe". That's a sort of enjoyment that is common in games, but the potential is largely unexplored.
I'll venture to say that what Molyneux's team has done with canine companions is a monumental achievement; a stepping stone toward an important trend in future games. He's capitalizing on the joy of love.
As the philosopher Peter Kreeft once said, love is about "with-ness". It's a desire and/or choice to be together with something; in presence, in experience, in ideas, etc. Love is about communion.
When you love any being, you take joy in simple exposure to it. A newborn baby can't even focus its eyes, yet family and friends are captivated by anything and everything he or she does. Likewise with pets and wild animals. There's joy in merely watching and listening to them.
The deeper, more complex NPCs become, the more potential they have to entertain the player through exhibitions of personality, quirks, and dynamic experiences. In McWhertor's Fable 2 experience, the dog in combat is doing nothing very different from companions in Diablo 2, yet the player's interest in the dog's actions is significantly deeper. A well-rendered, clever (AI), dynamic pet evokes a stronger emotional response than a 2D, simple-minded skeleton without a name.
One of Bungie's brilliant moves with Halo was giving NPC companions dynamic comments. The player kills an enemy and a soldier behind him says, "Aww, man. That one was mine!" (or something like that).
NPC mistakes can be made endearing, rather than frustrating. Trivial dialogue can be made more memorable than story arcs. It can be done through deepening characters... adding individuality and dynamicity. Fable 2's dog is an important step that barely hints at things to come.
I'll venture to say that what Molyneux's team has done with canine companions is a monumental achievement; a stepping stone toward an important trend in future games. He's capitalizing on the joy of love.
As the philosopher Peter Kreeft once said, love is about "with-ness". It's a desire and/or choice to be together with something; in presence, in experience, in ideas, etc. Love is about communion.
When you love any being, you take joy in simple exposure to it. A newborn baby can't even focus its eyes, yet family and friends are captivated by anything and everything he or she does. Likewise with pets and wild animals. There's joy in merely watching and listening to them.
The deeper, more complex NPCs become, the more potential they have to entertain the player through exhibitions of personality, quirks, and dynamic experiences. In McWhertor's Fable 2 experience, the dog in combat is doing nothing very different from companions in Diablo 2, yet the player's interest in the dog's actions is significantly deeper. A well-rendered, clever (AI), dynamic pet evokes a stronger emotional response than a 2D, simple-minded skeleton without a name.
One of Bungie's brilliant moves with Halo was giving NPC companions dynamic comments. The player kills an enemy and a soldier behind him says, "Aww, man. That one was mine!" (or something like that).
NPC mistakes can be made endearing, rather than frustrating. Trivial dialogue can be made more memorable than story arcs. It can be done through deepening characters... adding individuality and dynamicity. Fable 2's dog is an important step that barely hints at things to come.
Tuesday, July 22, 2008
competing audio
A common problem in games on all platforms is competing audio tracks. Two sounds are activated simultaneously, and the result is either noise (garbled playback) or a sudden and annoying leap in volume.
I have no idea why the latter occurs, but it just happened for the Nth time as I was playing Civ: Revolution. In this case, construction of two wonders completed the same turn, so the sound for completing a wonder played at a volume far beyond normal.
In the case of a duplicated sound like this, the solution is simple: code the game so that only one copy of any (or particular) sound can play at any given time. I would think that'd be simple to code, but I suppose I could be wrong.
In the case of separate audio files competing for the same space, all I can say is that it's a potential problem that needs to be accounted for during production.
I have no idea why the latter occurs, but it just happened for the Nth time as I was playing Civ: Revolution. In this case, construction of two wonders completed the same turn, so the sound for completing a wonder played at a volume far beyond normal.
In the case of a duplicated sound like this, the solution is simple: code the game so that only one copy of any (or particular) sound can play at any given time. I would think that'd be simple to code, but I suppose I could be wrong.
In the case of separate audio files competing for the same space, all I can say is that it's a potential problem that needs to be accounted for during production.
Thursday, April 17, 2008
the seventh day
God rested on the seventh day of creation. Why? He's ominpotent, right? So why would God need rest?
He doesn't. The point of that part of the story, and the reason many of our grandparents did not work on Sundays, is that no work is complete until it is appreciated. A crop is worthless until it is eaten. A symphony is worthless until it is heard. Work has no inherent value. Labor without reward is nothing more than good intentions.
Players need time and encouragement to reflect on their experiences and accomplishments. Cinematics, as they appear today, do not accomplish this. While they effectively pause gameplay, they also require rapt attention. The player is still working. Even a cinematic flashback of the player's own choices and experience is not good enough, if the player must remain actively attentive and cannot pause/review the sequence.
Players need downtime. By that, I mean players need time that is free of any demand on them, that lets them relax and lets the mind wander, reflecting and absorbing those memories at its own individual pace.
The developer's challenge is to encourage such downtime (even demand it) without disrupting the player's immersion in the game. Old films sometimes had intermissions accompanied by music and a static picture. The music helped keep the audience focused on the movie setting, but the removal of dialogue and visual action allowed people to reflect (yes, I know that wasn't the primary purpose of those intermissions). Likewise, game intermissions keep the player focused on the game setting, but offer respite from interaction.
One of the things the original Everquest game did right (though, perhaps, too severely) was to force rest. Resting not only encouraged chatting between players, it also encouraged reflection on each and every experience. Honestly, I complained about it at the time I played EQ. Being used to console games, I disliked the forced pauses. But it grew on me, as it did on thousands. Notice that the resting EQ character (and so, also, the player) remains surrounded by the moving gameworld during rest.
I'm constantly talking about dynamics, and there's one more use for them: scenery. To simply absorb and enjoy one's surroundings is something we all experience at times. Smartly placed and presented, it's a pleasure that makes downtime not difficult to bear.
I'm posting this a little early because I won't have internet access tomorrow.
He doesn't. The point of that part of the story, and the reason many of our grandparents did not work on Sundays, is that no work is complete until it is appreciated. A crop is worthless until it is eaten. A symphony is worthless until it is heard. Work has no inherent value. Labor without reward is nothing more than good intentions.
Players need time and encouragement to reflect on their experiences and accomplishments. Cinematics, as they appear today, do not accomplish this. While they effectively pause gameplay, they also require rapt attention. The player is still working. Even a cinematic flashback of the player's own choices and experience is not good enough, if the player must remain actively attentive and cannot pause/review the sequence.
Players need downtime. By that, I mean players need time that is free of any demand on them, that lets them relax and lets the mind wander, reflecting and absorbing those memories at its own individual pace.
The developer's challenge is to encourage such downtime (even demand it) without disrupting the player's immersion in the game. Old films sometimes had intermissions accompanied by music and a static picture. The music helped keep the audience focused on the movie setting, but the removal of dialogue and visual action allowed people to reflect (yes, I know that wasn't the primary purpose of those intermissions). Likewise, game intermissions keep the player focused on the game setting, but offer respite from interaction.
One of the things the original Everquest game did right (though, perhaps, too severely) was to force rest. Resting not only encouraged chatting between players, it also encouraged reflection on each and every experience. Honestly, I complained about it at the time I played EQ. Being used to console games, I disliked the forced pauses. But it grew on me, as it did on thousands. Notice that the resting EQ character (and so, also, the player) remains surrounded by the moving gameworld during rest.
I'm constantly talking about dynamics, and there's one more use for them: scenery. To simply absorb and enjoy one's surroundings is something we all experience at times. Smartly placed and presented, it's a pleasure that makes downtime not difficult to bear.
I'm posting this a little early because I won't have internet access tomorrow.
Saturday, October 07, 2006
Audio in MMOs
Some random thoughts from old discussions on Sigil's boards...
BACKGROUND
Most game music should be elevator music; that is, music that affects the listener without becoming the main attraction. Star Wars themes like the Imperial march definitely grab attention during the movies, but not enough to distract from the action.
LEIT MOTIFS
One of the things that makes John Williams so great is his use of leit motifs. The heroes (Luke Skywalker, Indiana Jones) have their own themes. The villains have their own themes (Darth Vader, Valdemort). Each setting has its own theme. Then he goes one step further and adapts the themes a little bit to the situation. More and better use of this in games would go a long way in augmenting gameplay.
EPIC QUESTS
To ensure players truly feel that the different legs of an epic quest are part of a grander scheme, use a musical motif. The player hears that epic's theme every time they are engaged in some action that helps to complete that quest (usually combat). Think in terms of Indiana Jones. The main theme plays throughout each movie, calling up a feeling of adventure and getting you actively rooting for Indiana. If done with multi-legged quests, the player's feeling of grand adventure could be heightenend in the same way.
EPIC MOBS
Truly epic mobs could have motifs. The music would be unique in that it is tied to the mob's movements and actions. When the epic giant, for example, raises his hammer, the music rises. When the hammer comes down, the music comes down and slams with the impact. If the mob casts a spell, then the music builds up while it's casting the spell. It creates a cinematic game experience. And , in a sense, it's tailored specifically to that group's unique battle experience. If they interrupt the mob's spell, the music is interrupted.
MEMORABLE SCENES
In places you're sure players will go, views you're certain they'll see, give those scenes their own wonderful theme. A road with high walls on either side might lead up a mountain. When the player reach the top, you give them a wondrous view of the valley below and a sweeping musical theme just for that spot. If the view was memorable walking in both directions on the road, then the top of the mountain could act as a trigger for the music, and would play regardless of whether the player was just standing there, admiring the view, or if they were walking down the other side of the mountain, looking as they go. Things like this create memorable moments for players...moments they share with other players and remember fondly long afterward, reinforcing a pleasant perception of the overall game.
SILENCE
Sometimes silence should be deafening, as the saying goes. A dungeon is a great example. A dark, damp dungeon might have creepy, nearly-silent music; or no music at all. You hear every drop of water from the ceiling, every crackle of the lamp, and get goosebumps when you hear movement around the corner. When the attack comes, a lack of combat music forces you to concentrate on the horrible sounds the monster is making while it howls and claws; or you might hear the necromancer chanting a curse, or a cleric praying for intervention, etc.
NOT JUST ZONES
Divide environment music by semantic setting, rather than bland zoning. Don't just give a theme to the whole zone of Butcherblock or Mos Eisley. Have a main theme for when you're following the beaten path, a theme for woodman's shack along the road, etc. Change the theme expectantly as the player nears the goblin camp. If the music suddenly drops out, that will create expectation too.
PLAYER SPECIFIC
If audio is used for cues and clues, you might make player actions and abilities affect the volume of sound effects. Perhaps one race has better hearing than another, so hear particular sounds when others don't. By keeping it about particular sounds, and not all sounds, it prevents players from just cranking their volume to hear as well (they still might, but when the sounds their character hears normally come around, those sounds would blare in their ears and discourage the player from trying to cheat again; they would be warned in the manual). Wearing particular shoes might lower the volume of footsteps. An archer power shot might make a louder thud than a quick shot.
FOLK MUSIC
In taverns and similar settings, I'd like to hear folk music. Folk music can take many forms (lively, laments, protests, etc), but it acts as a cultural and historical identifier. This might be something as simple as a lone NPC musician or there might be a full band of locals playing in a corner.
MINSTRELS AND NON-PERFORMANCE MUSIC
If you've seen Gangs of New York, you might remember the part where the Irish lady slowly walks by singing a sad Irish tale. Imagine having the occasional character like that in a game. The NPC might walk around town or they might walk up and down a road. You might even have the NPC following a road from one side of a continent to another. The NPC carries a sort of bubble of music. They walk around singing or maybe playing a fiddle or something; if you get close to them, then the environment music fades away and you hear that NPC's singing/playing. Then, when the NPC continues on, the environment music picks up again. It's a good way of making the world dynamic. A player usually walks by NPCs without a glance. But if an NPC is playing music, singing, then the player is sucked in. Such NPCs could include stuff like gypsy wagons rolling from town to town. Or it might be bards sitting on some steps, trying to win some coppers from passers-by. Or it might be a young boy whistling to himself as he fishes on a lakeshore.
PERSONAL MUSIC (mp3, wma, etc) PLAYER
Maybe you want to have the additional option of, or focus on, the player's own music. Then picture a system where you add tags to tracks, or download pre-tagged keys for songs (in addition to a standard set of genre tags like grunge, rock, rap, trance, classical, etc). You have tags for gameplay scenarios like exploration, combat, victory, conquest, etc, and an music player integrated within the game which would pull tracks that were contextually appropriate for whatever was going on within the game - cross referencing the music genre with the gamestyle. So someone that likes Metallica might get Enter Sandman as a musical backdrop to big battles. Someone who likes classical music might choose Flight of the Valkyries for their combat music. Of course, each music scenario could have more than one song to shuffle between.
There's a financial opportunity here as well. Assuming your game becomes popular, you can now contract with major record labels to create and sell scenario-music compilations; like a "best of [musical genre or era]" for combat, or for exploration, etc. I hope that's clear.
SETTING INSTRUMENTATION
Use variations of ambient sounds to create, or enhance, the environment music. In Diablo 2, Matt Uelmen does this in the swamp town (the third starting town, whatever it was). You're walking along rotten wood, rope bridges and the music is done on marimbas and other wooden sounds. If you were actually walking in a swamp, I would probably use an oboe (it can have that murky sound) or a didjeridoo. If a player is walking a high mountain trail with shrieking winds, use airy flutes. Work in actual sound effects, if possible.
This goes for combat music as well. Combat music, if you have it, should vary in style like any other setting. Imagine something quick and eerie on a sitar while fighting a scorpion in the desert. Military encounters might include wardrums.
VOCALS
Games shy away from this, but it can be extremely beneficial at times. I want to hear understandable drinking songs, laments, hymns, etc. I want to hear reverent choirs. An ancient order might sing chants. There are dozens of choir styles (I'm particularly fond of Russian choirs). You don't have to hire professionals for this. Most people know at least someone with a decent voice, some of them quite beautiful or otherwise compelling.
COMMAND MUSIC
Music and sounds can signal action or cause it. Belltowers signal time, and sometimes are the cue for events to begin. Ancient armies used horns signal attacks.
TRUE AND FALSE CUES
Audio cues like the environmental music dropping out in anticipation of danger can be made uncertain by false cues, like the music dropping out when there is no danger. Crying wolf too much will undermine cue music, but it might prove useful sporadically. True cues can be used toward many types of scenarios. A group might be wandering around a large, dark castle chamber in awe when a character passes by a hidden door and some noise, like the scuffling of a rat, hints at its location. The sound can be made subtle by occurring only the first time that character passes the door's location.
True cues can be made uncertain by the inclusion of false cues, like the music dropping out when there is no danger. Crying wolf too often can undermine the use of true cues, but it might prove useful sporadically. Also, music should not mislead players by having sounds that could be part of the environment. The best example I can think of is when I'm driving and the CD I'm listening to has a honked horn, causing to look around and see who's honking.
IMPRESSIVE FOLEYS
Sound effects should often not draw much attention at times, but it should at other times. The sound of the ringwraiths in LOTR was comprised of grating steel (gut-wrenching sound), little kids screaming (gut-wrenching sound), and dry ice among other things. For the Baalrog's roar, the foley designer mixed stone being crushed and fire. Innovative foley design for characters and creatures can be particularly important in creating immersion. Expectation plays a major role. If the player expects a beast to growl in a particular way and you offer just that sound, then that player might take no notice or might mildly think "cool". But if you offer a sound strange and far more terrifying that expected, the player's experience is significantly improved.
SOUND AND PHYSICS
It would be cool to hear the muffled music of the tavern hall while I'm in the inn room upstairs. A lion or elephant can be heard from over a mile away. Imagine hearing something like that, knowing a fearful sounding monster is somewhere not far off in a particular direction. Do you go that way to see what is making that awesome sound? or do you head in the opposite direction, steering clear of danger?
MISLEADING FOLEYS
Some animal sounds are misleading. Here, in the subtropical region where I grew up, we've got tons of birds and bugs alike. But an untrained ear often can't distinguish between some of the bugs and birds. Some bugs are as loud as a dog barking. Some birds make a bug-like, scratchy croaking noise. So imagine a player hearing a non-aggressive animal noise and thinking "you're mine!". But, when they finally find the creature making the noise, it's not something they want to mess with (too late!). Or vice versa. Players move the opposite direction from a scary sound, which is really just a small animal (you must hear a Tasmanian devil; those things sound truly evil). Or how about a mockingbird or parrot? Some creatures might mimick the sounds of other creatures to lure players or scare them away.
CLICK!
How many times have you watched a movie or read a book where the main character steps on something, moves something and hears that horrifying "click"....and they just know something bad's about to happen (a boobytrap, perhaps). Foleys like this can be very memorable.
There's other stuff I could talk about, like combat music shifting with the turn of the tide in battle, but I'll stop there.
BACKGROUND
Most game music should be elevator music; that is, music that affects the listener without becoming the main attraction. Star Wars themes like the Imperial march definitely grab attention during the movies, but not enough to distract from the action.
LEIT MOTIFS
One of the things that makes John Williams so great is his use of leit motifs. The heroes (Luke Skywalker, Indiana Jones) have their own themes. The villains have their own themes (Darth Vader, Valdemort). Each setting has its own theme. Then he goes one step further and adapts the themes a little bit to the situation. More and better use of this in games would go a long way in augmenting gameplay.
EPIC QUESTS
To ensure players truly feel that the different legs of an epic quest are part of a grander scheme, use a musical motif. The player hears that epic's theme every time they are engaged in some action that helps to complete that quest (usually combat). Think in terms of Indiana Jones. The main theme plays throughout each movie, calling up a feeling of adventure and getting you actively rooting for Indiana. If done with multi-legged quests, the player's feeling of grand adventure could be heightenend in the same way.
EPIC MOBS
Truly epic mobs could have motifs. The music would be unique in that it is tied to the mob's movements and actions. When the epic giant, for example, raises his hammer, the music rises. When the hammer comes down, the music comes down and slams with the impact. If the mob casts a spell, then the music builds up while it's casting the spell. It creates a cinematic game experience. And , in a sense, it's tailored specifically to that group's unique battle experience. If they interrupt the mob's spell, the music is interrupted.
MEMORABLE SCENES
In places you're sure players will go, views you're certain they'll see, give those scenes their own wonderful theme. A road with high walls on either side might lead up a mountain. When the player reach the top, you give them a wondrous view of the valley below and a sweeping musical theme just for that spot. If the view was memorable walking in both directions on the road, then the top of the mountain could act as a trigger for the music, and would play regardless of whether the player was just standing there, admiring the view, or if they were walking down the other side of the mountain, looking as they go. Things like this create memorable moments for players...moments they share with other players and remember fondly long afterward, reinforcing a pleasant perception of the overall game.
SILENCE
Sometimes silence should be deafening, as the saying goes. A dungeon is a great example. A dark, damp dungeon might have creepy, nearly-silent music; or no music at all. You hear every drop of water from the ceiling, every crackle of the lamp, and get goosebumps when you hear movement around the corner. When the attack comes, a lack of combat music forces you to concentrate on the horrible sounds the monster is making while it howls and claws; or you might hear the necromancer chanting a curse, or a cleric praying for intervention, etc.
NOT JUST ZONES
Divide environment music by semantic setting, rather than bland zoning. Don't just give a theme to the whole zone of Butcherblock or Mos Eisley. Have a main theme for when you're following the beaten path, a theme for woodman's shack along the road, etc. Change the theme expectantly as the player nears the goblin camp. If the music suddenly drops out, that will create expectation too.
PLAYER SPECIFIC
If audio is used for cues and clues, you might make player actions and abilities affect the volume of sound effects. Perhaps one race has better hearing than another, so hear particular sounds when others don't. By keeping it about particular sounds, and not all sounds, it prevents players from just cranking their volume to hear as well (they still might, but when the sounds their character hears normally come around, those sounds would blare in their ears and discourage the player from trying to cheat again; they would be warned in the manual). Wearing particular shoes might lower the volume of footsteps. An archer power shot might make a louder thud than a quick shot.
FOLK MUSIC
In taverns and similar settings, I'd like to hear folk music. Folk music can take many forms (lively, laments, protests, etc), but it acts as a cultural and historical identifier. This might be something as simple as a lone NPC musician or there might be a full band of locals playing in a corner.
MINSTRELS AND NON-PERFORMANCE MUSIC
If you've seen Gangs of New York, you might remember the part where the Irish lady slowly walks by singing a sad Irish tale. Imagine having the occasional character like that in a game. The NPC might walk around town or they might walk up and down a road. You might even have the NPC following a road from one side of a continent to another. The NPC carries a sort of bubble of music. They walk around singing or maybe playing a fiddle or something; if you get close to them, then the environment music fades away and you hear that NPC's singing/playing. Then, when the NPC continues on, the environment music picks up again. It's a good way of making the world dynamic. A player usually walks by NPCs without a glance. But if an NPC is playing music, singing, then the player is sucked in. Such NPCs could include stuff like gypsy wagons rolling from town to town. Or it might be bards sitting on some steps, trying to win some coppers from passers-by. Or it might be a young boy whistling to himself as he fishes on a lakeshore.
PERSONAL MUSIC (mp3, wma, etc) PLAYER
Maybe you want to have the additional option of, or focus on, the player's own music. Then picture a system where you add tags to tracks, or download pre-tagged keys for songs (in addition to a standard set of genre tags like grunge, rock, rap, trance, classical, etc). You have tags for gameplay scenarios like exploration, combat, victory, conquest, etc, and an music player integrated within the game which would pull tracks that were contextually appropriate for whatever was going on within the game - cross referencing the music genre with the gamestyle. So someone that likes Metallica might get Enter Sandman as a musical backdrop to big battles. Someone who likes classical music might choose Flight of the Valkyries for their combat music. Of course, each music scenario could have more than one song to shuffle between.
There's a financial opportunity here as well. Assuming your game becomes popular, you can now contract with major record labels to create and sell scenario-music compilations; like a "best of [musical genre or era]" for combat, or for exploration, etc. I hope that's clear.
SETTING INSTRUMENTATION
Use variations of ambient sounds to create, or enhance, the environment music. In Diablo 2, Matt Uelmen does this in the swamp town (the third starting town, whatever it was). You're walking along rotten wood, rope bridges and the music is done on marimbas and other wooden sounds. If you were actually walking in a swamp, I would probably use an oboe (it can have that murky sound) or a didjeridoo. If a player is walking a high mountain trail with shrieking winds, use airy flutes. Work in actual sound effects, if possible.
This goes for combat music as well. Combat music, if you have it, should vary in style like any other setting. Imagine something quick and eerie on a sitar while fighting a scorpion in the desert. Military encounters might include wardrums.
VOCALS
Games shy away from this, but it can be extremely beneficial at times. I want to hear understandable drinking songs, laments, hymns, etc. I want to hear reverent choirs. An ancient order might sing chants. There are dozens of choir styles (I'm particularly fond of Russian choirs). You don't have to hire professionals for this. Most people know at least someone with a decent voice, some of them quite beautiful or otherwise compelling.
COMMAND MUSIC
Music and sounds can signal action or cause it. Belltowers signal time, and sometimes are the cue for events to begin. Ancient armies used horns signal attacks.
TRUE AND FALSE CUES
Audio cues like the environmental music dropping out in anticipation of danger can be made uncertain by false cues, like the music dropping out when there is no danger. Crying wolf too much will undermine cue music, but it might prove useful sporadically. True cues can be used toward many types of scenarios. A group might be wandering around a large, dark castle chamber in awe when a character passes by a hidden door and some noise, like the scuffling of a rat, hints at its location. The sound can be made subtle by occurring only the first time that character passes the door's location.
True cues can be made uncertain by the inclusion of false cues, like the music dropping out when there is no danger. Crying wolf too often can undermine the use of true cues, but it might prove useful sporadically. Also, music should not mislead players by having sounds that could be part of the environment. The best example I can think of is when I'm driving and the CD I'm listening to has a honked horn, causing to look around and see who's honking.
IMPRESSIVE FOLEYS
Sound effects should often not draw much attention at times, but it should at other times. The sound of the ringwraiths in LOTR was comprised of grating steel (gut-wrenching sound), little kids screaming (gut-wrenching sound), and dry ice among other things. For the Baalrog's roar, the foley designer mixed stone being crushed and fire. Innovative foley design for characters and creatures can be particularly important in creating immersion. Expectation plays a major role. If the player expects a beast to growl in a particular way and you offer just that sound, then that player might take no notice or might mildly think "cool". But if you offer a sound strange and far more terrifying that expected, the player's experience is significantly improved.
SOUND AND PHYSICS
It would be cool to hear the muffled music of the tavern hall while I'm in the inn room upstairs. A lion or elephant can be heard from over a mile away. Imagine hearing something like that, knowing a fearful sounding monster is somewhere not far off in a particular direction. Do you go that way to see what is making that awesome sound? or do you head in the opposite direction, steering clear of danger?
MISLEADING FOLEYS
Some animal sounds are misleading. Here, in the subtropical region where I grew up, we've got tons of birds and bugs alike. But an untrained ear often can't distinguish between some of the bugs and birds. Some bugs are as loud as a dog barking. Some birds make a bug-like, scratchy croaking noise. So imagine a player hearing a non-aggressive animal noise and thinking "you're mine!". But, when they finally find the creature making the noise, it's not something they want to mess with (too late!). Or vice versa. Players move the opposite direction from a scary sound, which is really just a small animal (you must hear a Tasmanian devil; those things sound truly evil). Or how about a mockingbird or parrot? Some creatures might mimick the sounds of other creatures to lure players or scare them away.
CLICK!
How many times have you watched a movie or read a book where the main character steps on something, moves something and hears that horrifying "click"....and they just know something bad's about to happen (a boobytrap, perhaps). Foleys like this can be very memorable.
There's other stuff I could talk about, like combat music shifting with the turn of the tide in battle, but I'll stop there.
Subscribe to:
Posts (Atom)
