School of Video Game Audio - Student Success Newsletter Feature

I got featured in the School of Video Game Audio’s October newsletter as a student success story!

Leonard Paul reached out to me after he checked out a series of blog posts I wrote during my time studying on the SOVGA Wwise course to document my progress and learning, and asked if I could contribute a few words about my experience on the course to an upcoming community newsletter. Of course, I was only too happy to help out!

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Just sent out our community update for October for the first time using MailChimp, hopefully you've gotten yours? Email https://t.co/QdCqqifEQO for a copy or ask us any questions you'd like 😀! pic.twitter.com/XMYpyGMJVe

— School of Video Game Audio🕹️🎶 (@SchoolGameAudio) October 10, 2019

Victor's Vector - UE4 Summer Jam 2019

From August 8th-13th, I took part in the 2019 UE4 Summer Jam with the Harlan Designs team (Programmer Alan Horton, Level + Game Designer Eli De Carteret + 3D Artist Lee Stockton). Together, we made Victor’s Vector, a short 3D puzzle-platformer game!

The theme for this game jam was ‘Make it count’, which inspired the game’s central mechanic - every time the player moves, the floor block they were previously standing on falls away! If the player falls off an edge, then it’s game over, so they have to make every individual movement really count!

However, if the player has collected a power-up before they fall, the game will do a stylised VHS rewind sequence back to the previous checkpoint so they can try again. Check out the video below to see how a full playthrough of the game plays out:

I designed sound effects and music for the game, and implemented them into the build using Perforce…which was quite frankly awesome! This was my first time properly using source control, and I can tell that I’m already going to really miss it whenever I have to work without the software in the future. It really helped to speed things up with my implementation workflow and enabled me to remotely work much more efficiently as a sound designer.

It was really great working with Alan, Eli and Lee on such a fun project! Obviously, with the small time scale inherent to a game jam, there were naturally areas where I wish I could have spent more time. For example, I ran out of time to make sounds for some of the block movements, such as when a block rises or falls into place after activating a switch. Having sounds in place for these events would perhaps have helped point out key information aurally to the player in a more elegant multi-modal manner. At the moment, the player has to rely only a visual information for these events, so having specific sound cues for block movements would have been a nice additional features to have in the game.

Overall though, I’m really pleased with how everything came together! I’m particularly pleased with my design and implementation of Victor’s movement sounds, as these were all sourced from various personal recordings I’d made of hand drill motor revs for the servos and light metal cup impacts for the footsteps.

Footstep and servo sounds for the cute player robot character Victor! These are triggered from moving play sound notifies in the walking animation composite.

I’m also pleased with the basic passive mixing system I had time to quickly implement for the game’s music. Using UE4’s soundclasses and a sound mix modifier, I set things up so that whenever the VHS UI widget is displayed, the music volume is slightly ducked, and vice versa when the UI widget is no longer displayed onscreen, the music returns to it’s original volume. Although this is nothing particualrly complex or groundbreaking, I’m nonetheless pleased with this mixing feature as I believe it helped give prominence and bring focus to the rewind stage of gameplay.

That’s all for now, it’s time for me to make things count myself and get back on with the work for Milksop Games and Tranzfuser!

School of Video Game Audio - Wwise Demo Reel

Here's the Wwise demo reel I made after taking the fantastic Wwise course at the School of Video Game Audio. Overall, I’m pleased with the audio assets I produced for my audio re-design of the Wwise Adventure Game, and I feel that I’ve been able to implement them appropriately via the Unity-Wwise integration. However, I also feel that my interactive mixing skills definitely need a lot more attention! My source ambiences such as the windmill and river still feel a bit too loud in the mix in places, and I didn't get to spend as much time as I would have liked on getting my SFX objects consistently organised into actor-mixers, which would have allowed me a much finger degree of control at the mixing stage. Still, on the whole, I'm pleased with what I was able to accomplish during my time on the course, and I feel that I now have a decent grasp on the fundamentals of Wwise. Thanks for all your help and guidance Leonard + Viviana!

School of Video Game Audio - Weapon Sounds + Project Asset List

Designed the initial projectile shoot sound for the enemy spit plant in the Wwise Adventure Game this week.

To create this sound, I used a combination of monster and gun samples (SoundMoprh's Monster Within, Watson Wu's Battle Rifles and Pistols and Airborne Sound's Free Firearm Library) plus my own vocal recordings to create a punchy yet still organic projectile launch sound.

Inspired by a really cool talk on gun sound design by Barney Oram at last month's Game Audio North meetup, I split my sound design for the spit sound into several layers. These were:

• Punch Layer - This initial layer contained a combination of bassy sounds to give the spit event a meaty kick. This layer includes a kick drum sample and the first transient from some shotgun blasts to suggest the poison projectiles are exploding out of the plant's mouth after a build-up of pressure.
• Slime Layer - As a substitute for the traditional mechanical layer of a gun sound, I used several groups of slime/gore samples to emphasise the organic nature of the plant, and to suggest that the enemy generates the spit projectiles is a very messy process!         
• Vocal/Character Layer - To further add to the disgusting/revolting feeling I wanted to achieve with the slime layer, I also included processed monster vocal sounds to suggest that the poison projectiles the spit plant launches at the player are being regurgitated up from the plant's innards before being projectile vomited at the player. Gross!
• Tail Layer - This layer contained hissing vocal sounds I recorded to give a natural decrescendo effect to the end of the sound as it decays away.

I then imported these layers into Wwise and arranged them into various SFX objects and random containers within the play actions of the Enemy_EvilSpitPlant_ShootBullet event.

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The Enemy_EvilSpitPlant_ShootBullet event in my Wwise project. Randomised pitch and volume offsets were applied to certain layers, and randomised delay offsets to the vocal and tail layers were used to vary the playback speed of the latter sections of the sound.

School of Video Game Audio - Monster Sounds

Made some fun monster sounds this week on the School of Video Game Audio's Wwise course. I had to design and implement the sound for the enemy Evil Spit Plant in the Wwise Adventure game.

Sound Design

I approached my design for the enemy plant death sound by first recording gameplay footage of the plant death animation. After watching this animation numerous times, I decided to break the plant death sound down into four constituent parts that matched the character's death animation. These parts were screams, gurgles, rustles and impacts;

Screams

For the scream sounds, I used samples from the Monster Within sound pack by Soundmorph. I wanted to get a short, punchy pain sound that would immediately indicate to the player that they had successfully killed the spit plant. I found a collection of small monster shrieks in this pack that fit my needs perfectly.

Gurgles

Directly following the scream, I wanted a longer, drawn-out death gurgle to go with the enemy plant's writhing death animation, to suggest that it's still in considerable pain as it thrashes around in its death throes. I recorded these sounds myself by making some croaky, gurgling noises in my throat - disgusting, I know, but hey, they sounded pretty good and that's what matters!

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Recording comedic death gurgles in the VO booth at Futureworks. The dark environment really helped me get into character!

Having recorded my gurgles at 192kHz, I had considerable flexibility with regard to pitch shifting at the edit stage. I processed the gurgles by pitching them +1 semitone up and applying a generous amount of distortion before then running them through Krotos Audio's Simple Monsters plug-in. This made the gurgle sounds I recorded feel considerably more alien, gross and wet sounding.

Rustles

As the Evil Spit Plant is an organic creature, I wanted to include some natural, organic sounds in with the highly-processed and alien-sounding vocal layers to balance them out. The plant's death animation involves a lot of shaking and writhing around, so I thought including a rustling grassy layer to the death sound would help make the enemy feel more believable and grounded in the reality of the game world. I used some grass rustle samples from the Sonniss  Game Audio GDC 2018 bundle as the sounds for this layer.

Impacts

Finally, the impact layer was to act as the sound for plant's body hitting the ground as it dies. I used some recordings I had made during a recent trip to a nature reserve of hitting grass and other bits of foliage with my hands (yep, it looked really stupid but once again it sounded pretty good) as the sounds for this layer.

Wwise Implementation

The screams, gurgles, rustles and impacts were then imported into Wwise as separate layers, with each layer having its own dedicated random container. These random containers were then inserted into the Event_EvilSpitPlant_Death event as separate play actions.

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The Enemy_EvilSpitPlant_Death event in my Wwise session. Each layer of the sound has its own random container, with voice volume and pitch offset randomisation applied. Independent delay settings on the play actions were set so as to give the collective death sound a nice unified rhythm.

With all the sounds integrated into Wwise at this point, I then applied a flanger effect to the scream and gurgle layers via the sound's Enemy_EvilSpitPlant actor mixer to accentuate the creepy, poison-filled nature of the creature even more.

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I didn't want the flanger effect applied to the organic rustle and impact sounds, so I bypassed the effect on these layers. So, without further ado, here's the final Evil Spit Plant Death sound - voilà!