Mkompyuter did not have a sound card. But this fact I was absolutely parallel, because the sound in those days was not a strong point of PC. Not now. In audiomire serious changes have taken place and we are in the «Elixir» believe that ever happening today with computer sound will be treated with the same reverence as the 3D-revolution of 1996-98’s.
Our colleague Nick Sturge (Nick Sturge) is responsible for all the games audiooformlenie «Elixir». This month he agreed to talk to us about the sounds and the «Revolution».
«The game describes the epic moments that shape the country’s future and to celebrate important moments in the way of people seeking power. To make a deep impression to convey the scale of the events of this kind, can not do without this music and sound effects are very bright.
From the outset, we decided to work with outside specialists — a sound engineer and composer — is Richard Joseph (Richard Joseph) and James Hannigan (James Hannigan). Without a doubt, the two — brilliant professionals, best of all, that only can be found in the British gaming industry. On their account such great games like Barbarian, Defender of the Crown, Speedball 2, Mega Lo Mania, Sensible Soccer, Croc, G-Police, Theme Park World. Both were nominated in 2000 to just four castles British Academy of Film and TV personalities (BAFTA): for Best Sound (Theme Park World and Cannon Fodder) and Best Music (Theme Park World and FA Premier Football Manager ’99).
Generally speaking, attracting people from the outside has a right to life. Firstly, it is always a challenge — to get the musicians to work in the office. Secondly, the question of flexibility: in the early stages of the project when we were finishing the game design, working for zvukovikov was too little, so that it was enough for the whole day. It is now they have more than a tight schedule. In addition, we did not have to build its own ulcer konepronitsaemuyu studio. And this is a serious savings.
Creating a sound is not the only part of the process. I need someone who would be programmed code for the sound in the game. This is my diocese: audiodizayn games and development tools. But I am not only a technician. In the past, I had something to do with classical music and was so perceptive that engaged audioprogrammirova-tion. The bulk of this work is to fit different types of sounds. We need the support of one-time effects, recurring effects, effects that depend on the premises, support about software code for playing music … It is important, of course, a clear picture of the project as a whole. After all, I need to work with artificial intelligence and animation, and camera. And I have to be sure that the sound effects are run correctly and precisely when and where it is due to the game.
Audio technology is certainly enriched in recent years many interesting developments. And we need to decide which of them to prefer and how to implement sound in the game. Revolution «threaten» hundreds of hours of game pleya, so conventional song on the CD can quickly become bored, besides, it uymische valuable disk space. Technology from Microsoft DirectMusic offers great opportunities, but not without problems … because it makes the choice of music at random. If you create a melody with lots of possible variations, the system can randomly select something unpleasant to the ear. In short, we were looking for a way to achieve a similar effect, but with the possibility of greater control. So we wrote the code themselves. In addition, we had to think about what 3D-sound and support for any sound card we would like to include in the game. And, of course, what it would cost in terms of CPU usage. Most of the game revolves around the characters talking to one another. We’ve been here a number of ways. We were able to evade responsibility and do not include it in the game, but to do so would be simply shameful. These characters play a significant role in the transmission of emotions from the game to the player, and achieve the same effect in any other way it would be difficult. And here’s another seemingly seductive extreme, we could make all the talk is absolutely real, having decided in advance what each of the characters to say the game, programmed his speech and play it in the right place. This would require a huge cost, not to mention problems with language: the language they will speak residents Novistrany? Republic is located in Eastern Europe, so that we could choose from there the language and make it the whole game. Or make it into English. We chose a middle ground: it created similar to the sounds that really do not mean anything. If you remember something like that implemented in The Sims. Of course, the most important aspect is the integration audiodizayna sound in the game. The sound does not have to stand out from the picture. We decided that the action will be accompanied by special music (so to say, to achieve a more cinematic effect). This will not only convey the scale of the event, but also to focus on the emotions and the atmosphere. Whether it’s the presidential race or special forces operation. Sound effects must not only be associated with animation, but also be a good backdrop for reality. Richard has put a lot of effort in creating authentic sounds. So that the car published the «right» sound, he agreed with the Trabant Society, wrote tarahtenie of the «Trabant», «favorite» car East Germans. This is the level of realism, which we aim to achieve in the Republic: The Revolution «.