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Winning With Audio by Selcuk Bor
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Winning With Audio by Selcuk Bor

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Selcuk Bor demonstrates the importance of audio and why Flash game developers should take it into consideration when creating their games.

Selcuk Bor demonstrates the importance of audio and why Flash game developers should take it into consideration when creating their games.

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Transcript

  • 1. Winning with AudioBy Selcuk Bor
  • 2. I promise to make this quick!100 90 80 70 60 Given up on life Asleep 50 People Awake 40 30 20 10 0 5 mins 10 mins 15 mins 20 mins 25+ mins
  • 3. Todays Shenanigans!• Audios Role in our Lives• Your Visuals as your blueprints• Execution of Vision• Working with us Audio guys.
  • 4. Defining Maximum Potential What does it mean?When code, art, audio, and writing all tag team together tocreate the perfect experience, we can say that game hasreached its maximum potential. Consequently this also means ithas also reached its maximum potential value.
  • 5. Audios Role in our livesEvery day, every moment we are bombarded with audio cues.These cues define how we expect things to sound like both inreal life and during play.
  • 6. Time to play a little game! Yay! +15% wake audience achieved!Im going to play two clips for you now, and I want you toimagine the kind of setting and kind of game youd find thesetwo tracks in.
  • 7. Audios Role in our livesSo what did you see in your minds when you heard those tracks?Chances are you saw a jungle/tribal themed game, and a retroarcade game respectively.without so much as seeing a single picture or touching a singlecontrol and based only on what we grew up hearing these pointsare made clear to us.
  • 8. Audios Role in our livesEver had goosebumps while listening to your favorite music? Orduring an intense emotional scene that had the saddest musicever?This reaction is a lot more important to your players then youdthink. For it is a strong motivational force behind their opinionson a project.
  • 9. Audios Role in our livesThe people who are playing your games grow up withexpectations based on the games they played and have learnedto expect some varient of the same in future titles they play.This is exactly why poorly chosen/created music can kill a gamebecause your audience becomes somewhat distant (andsometimes frustrated) from the game.
  • 10. Your visuals are your blueprintsSo how do you dissect what you should be looking for in your project to find/ create audio that is most appropriate? The art in your project as a collective will tell you. For example, imagine you are making a match 3 game. Imagine it is a jungle theme, so that gives us a direction, pay attention to the objects the player interacts with most for those will be landmarks.• If the pieces are crude/unrefined, enforces the jungle image, more rhythmic stuff• If the pieces are shiny and jewels-esque, leaning more towards adventurous tones. Think Indiana Jones• If the pieces are mystical/magical, consider a more fantasy vibe.
  • 11. Time to play another game! Time to watch some puppies!
  • 12. Execution of VisionKnowing what will work is a great step but its not the wholestory. Small teams who cant bring on a sound designer toprepare their files for them, reach out for stock sounds whichwhen used sparingly is fine.When you put more and more of these sounds in the samegame, it starts to become more and more disconnected witheach other. Oddly enough adding more content serves only toharm your games potential value this way.
  • 13. So what do D:?Here are a few tips to ensure maximum coherence and quality ofyour sounds.- First, clarity. Does it have it? Background hisses or warbly lowquality sounds is deadly to quality.- Volume appropriate is step two. Footsteps should not belouder then gun shots. Music should not overwhelm the soundsand vice versa.These are just a few basic things that help keep a cohesive soundscape.
  • 14. So what if you have an audio guy?Fantastic! Youve got help and now youve got to think about how youwant to work with them.Like most creatives, if you want your audio guy to follow your visionyou need to speak their language. You dont need to know musictheory and psuedo write the music for them but ensure consistency inthe big picture with descriptive phrasing focusing on mood and offerreference clips where possible. 2-3 tops as too many differentreferences creates confusion and contradiction. Here is a short formfor you to go through to help provide meaningful instruction.
  • 15. Points to consider Length of track (roughly how long you You can download this checklist on the envision it being) FGS or our site with more details on what they mean and why theyre Looping? helpful. Have 2-3 reference clips?  Specify time regions most relevant? What emotion or thought do you want the player to have when they play the game/listen to the track. Preferred instruments/sounds? Screenshots of game/concept art?
  • 16. Are we done yet :C?Yes we have reached the end of todays adventure. Each one of these pointswe touched upon today can be in of themselves an entire presentation.However those are details and while these were all basic concepts they areimportant ones which I am hoping gives you all a new understandingregarding audio and are one step closer to unleashing that perfect storm.
  • 17. Thank you!Youve successfully put up with my ramblings for over 10 minutes. You haveachieved something truly legendary this day. selcuk@symphonyofspecters.com http://www.symphonyofspecters.com