LCL

Lost Chocolate Lab Blog Has MOVED

http://blog.lostchocolatelab.com

Thanks Blogger!

Stick With it, see you on the other side.
-lcl

Gamasutra: The Next Big Steps In Game Sound Design

In an attempt to summarize some of the cool things I've uncovered during my time reading between the lines in the game industry, I've pulled together a crop of current generation trends and standout examples of technical Sound Design. While this is a more generalized overview than my Implementation Greats series, the hope is that by raising the awareness of these techniques and the forward thinking interactive audio pioneers working to raise the bar, we can all learn from them and go on to push the boundaries of whats possible in games. Toward reality, toward abstraction, toward whatever suits the game.

Hope this finds you well,
-lcl

I'll say it again: Game of the Year - Every Day the Same Dream
Like a familliar novel slowly unfolding, at once recognizable but always keeps you guessing.
I don't want to debate what makes this a "game", just that I was engaged throughout with a sense of glee at every turn.

Wow,
-lcl

-lcl

2009 is drawing to a close, the year is slowly slipping into memory.

The Saboteur recently shipped, and as I'm looking back on the last year I can't help but reflect on my involement with the now defunct Pandemic Software Inc.

During the almost 2 years of my involvement with the audio production traversing the early pre-production "get something in there" phase, through to the final finesse and polish of the systems we retained responsibility over, it was a conitunal pleasure working with the individuals responsible for bringing the sound of the world to life. Some of those sounds have been captured in various sound related gameplay video's that I've captured to highlight the involvement of Bay Area Sound on the project and can be found over in the Saboteur Video Album.



I'm wishing the best to those of you who might have found your particular boats rudderless in the current economy, and wishing everyone the best in the new year.

Into the future with 2010!

-lcl

There's a nice post over at Stories from a Sound Guy that fills in some of the successes and failures involved in the creation and iteration of the physics sounds from TFU. Sound Designer Erik Forman did a great job of working with David to make sure the content sets were dialed in to the level of detail necessary to represent the system as it evolved over time. He does a great job outlining some of the technical challenges from a Sound Design perspective that he was able to overcome through iteration and top quality communication. Keep your ears peeled for some of his sounds in the TFU2 trailer!

Erik Forman - Stories from a Sound Guy: The Force Unleashed

-lcl

Is real life turning into some kindof Videogame?
Make: Online - The bloop of Cthulu?

We did something interesting with the impacts and deflection for the 9 weapons and 8 melee types used in the X360/PS3 title Conan for Nihilistic Software.

For the uninitiated, Conan is a brutal hack and slash combat game that combines scalable abilities upgrades with strategized battle interactions. You can get an overview of the gameplay in this article: Edge Review - Conan

I'm attempting an overview of the melee specific weapon system we implemented using FMOD Designer and other Nihilistic proprietary in-house tools. Throughout the process, the overarching goal was to add diversity and brutality to what is the main focus of the game. The use of content level variation, pitch and volume randomization, and elemental layering allowed us tomake the sounds of combat non-repetitive over the course of the game.

In the system that we built, weapons were able to perform the following actions:

Blocked Break
Blocked Heavy
Blocked Light
Deflect
Hit Heavy
Hit Light
Parried
Swing

In a game so heavily focused on combat where you spend each level mowing down enemies from start to finish, we knew that we had to make a combat system that reflected the core gameplay objective of giving the player diversity while making the sound varied enough to prevent fatigue.

Hit's are defined as actions that impact an NPC and cause damage, and we were tracking both Light and Heavy hits.

We used a game parameter for surface type that was passed from the games collision detection to FMOD in order to track what surface was being impacted. The FMOD Event that was triggered was based on the weapon type being used by either the player or NPC and whether the hit was Heavy or Light or Deflected, it then received it's material type parameter and jumped to it's correct position within the FMOD event where it then layered the impact sound depending on weapon and material type.

For a Hit Light or Heavy we layered the following things where applicable:
Base Layer (Weapon type specific)
-Axe Dull Heavy

-Axe Dull Light

-Axe Metal Heavy

-Axe Metal Light

-Axe Solid Heavy

-Axe Solid Light

-Sword Dull Heavy

-Sword Dull Light

-Sword Metal Heavy

-Sword Metal Light

-Sword Solid Heavy

-Sword Solid Light

-Sword Wood Heavy

-Sword Wood Light


Hit Accent (Material Specific)
-Flesh Heavy

-Flesh Light

Hit (Thud) Actor Specific
-Flesh Boss Specific


Hit Ringoff (Weapon type specific)
-Axe

-Sword


Hit Blood level
-Blood Splash Small

-Blood Splash Medium

-Blood Splash Large

-Blood Splat Small

-Blood Splat Medium

-Blood Splat Large


Hit Special Ringoff (Weapon specific)
-Used for special Conan ringoff


Hit LFE
-Generic


Piling up the above elemental content into an audio middleware tool where everything is recombined at runtime the effects of different weapons and material hit's randomized when trigered sound like this:

Combined Weapon Hit Impacts
-Axe Light Flesh

-Axe Heavy Flesh

-Axe Heavy Stone

-Axe Heavy Armor

-Sword Light Flesh

-Sword Heavy Flesh

-Sword Special Flesh

-Sword Light Stone




For non-damage causing hit's usually specifically involving weapon interaction with the environment, we used a different Event for deflections.

Similar to the Hit system outlined above, we layered the following things when a weapon type deflected off a surface:

Base Layer (Weapon type specific)
-Axe Dull Heavy/Light
-Axe Metal Heavy/Light
-Axe Solid Heavy/Light
-Sword Dull Heavy/Light
-Sword Metal Heavy/Light
-Sword Solid Heavy/Light
-Sword Wood Heavy/Light

Deflect Accent (Material Specific)
-Armor

-Bramble

-Cloth

-Cloth Rip

-Debris

-Glass

-Thicket

-Wood


Deflect LFE
Deflect Additional
-Used for extra heavyness

These were combined at runtime each time the sword deflected off a material in the environment. Additional limiting of the number of voices for the deflect event helped to prevent "stuttering" as the weapons blade tracked through an object. FMOD's Event limiting system is well equipped to handle this aspect of implementation by providing mulitple max playbacks, and max playback behaviors.

Deflect Combined
-Armor

-Bramble

-Cloth Rip

-Debris

-Glass

-Stone 01

-Stone 02

-Stone 03

-Stone 04

-Thicket

-Wood



The system we built for Conan built to the strength of the IP and the genre.

Conan - Melee Combat Sound from d k on Vimeo.

Fable2 - The Way of Layered Weapon Sound

Another game that successfully used the layered Weapons approach was Fable2 by Lionhead. (Microsoft game Studio's) In a talk given by Kristofer Mellroth at GDC 2009 titled: The Audio of FABLE 2: Large Scale Collaboration for Next Gen Games, the weapon system for Fable2 was outlined to illustrate the decisions that were made regarding content, and implementation. The basic building blocks of melee and ranged weapon combat were abstracted at the content level and recombined at runtime using a constantly shifting set of source material controlled by gameplay variables.

In Fable 2 there were 7 types of melee weapons with 5 levels of sound interaction: Swipe, Strike, Scrape, Ring, Block, and Flourish.

Swipe – the sound of the melee weapon swinging through the air.

Strike – the muted hit of the weapon striking any object.

Scrape – the sound of the weapon scraping as it passes through an object.

Ring – the pleasant ring of a weapon that has struck cleanly.

Block – a dissonant clang of the weapon as it collides with another weapon.

Flourish – a special longer, sweetened version of the weapon swipe to convey the sense of a move with greater power.

Sound for these different actions were combined and randomized according to type with weighting and some with the potential to not play when triggered.

For instance when the Player connected a hit on an NPC the game would play a Swipe, followed by a combination of Strike, Scrape, Ring in order to arrive at a coherent impact.

By breaking out the separate elements  of each melee type and allowing for content and parameter variation the diversity of swings and impacts are increased. As we continue to move forward with larger worlds that demand less repetition of often repeatable actions, the elemental approach to combat continues to be our greatest asset in driving toward less fatiguing audio.

 
Also see Video: New Fable 2 Developer Diary Talks Audio
Article: The Sound Design of Fable 2: How We Scaled to Beat the Clock