Pitch it to the Man

Sound design can be a tricky thing to wrap your head around. T’s week five, the BBC pitches are in about an hour and I should really have a list of components created by now. But I haven’t. What I do have are a couple of tracks to let them hear at the presentation. So I’m not that worse off. But I do have to figure out what to say about the audio when it comes time to do so. Pretty much, the audio for the game is designed to complement the game play, and will be implemented to time with environment animations, and keep the player interested in what is going on.

I want the music in the game to reflect the environment too, so from the heart and lungs, the track will be mostly drum and bass, with a rhythmically timed beat to emulate a heartbeat. It will be very bass-oriented to push the idea of that system’s function and the power that your heart has. Where the environment pulses, so will the music. The same works for the brain, with the nerve endings and electric pulses marked in the music track. Sound effects follow the same route, and will be integral to player enjoyment. If you can listen to something that follows the actions onscreen, then it seems more real, doesn’t it?

I’m creating the music and sound effects from scratch, rather than use a sound library on the internet, because doing so will allow me a greater control over the content I produce. It will also allow for completely free creation, without the worry about copyright infringement and the like. As a writer, I hate plagiarism, so this is quite important for me even on an audio front and, in fact, probably more vitally on an audio front.

But that’s in half an hour, now. And I’ve still a lot to get done. So it’s good bye for now and a more detailed post tomorrow. There will be lots to tell, I’m sure, after the pitch.