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Sound Design Guidance As a Contribution Towards the Empowerment of Indie Game Developers

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Sound Design Guidance As a Contribution Towards the Empowerment of Indie Game Developers Valter Nelson Noronha Alves SOUND DESIGN GUIDANCE AS A CONTRIBUTION TOWARDS THE EMPOWERMENT OF INDIE GAME DEVELOPERS Thesis prepared for partial satisfaction of the requirements for the Doctoral Degree in Information Sciences and Technologies, specializing in Human-Computer Interaction, supervised by Professor Licínio Gomes Roque and presented to the Department of Informatics Engineering of the Faculty of Science and Technology of the University of Coimbra. August 2012 Valter Nelson Noronha Alves ORIENTAÇÃO NO DESENHO DE SOM COMO CONTRIBUIÇÃO PARA A CAPACITAÇÃO DOS CRIADORES DE JOGOS INDEPENDENTES Tese elaborada para satisfação parcial dos requisitos para obtenção do grau de doutor em Ciências e Tecnologias da Informação, especialização em Interação Humano-Computador, orientada pelo Professor Licínio Gomes Roque e apresentada ao Departamento de Engenharia Informática da Faculdade de Ciências e Tecnologia da Universidade de Coimbra. Agosto de 2012 Abstract Currently, expertise in sound design in games is mostly tacit and held by senior professionals, who are not numerous and who typically work for resourceful teams that are able to afford them. Indie game developers, usually working with low resources, often have to cope with lack of expertise in sound design. We propose to provide guidance for the empowerment of non-expert practitioners to perform sound design in games, assuming the impracticality of integrating sound design experts in their teams. This empowerment also implies leveraging the literacy in this specific domain, hence providing abilities to communicate and participate in the conception of possible explorations. Such abilities could also be beneficial to the broader audience of game developers, where it could create the conditions for expert sound designers to be invited more regularly and earlier into game projects. Our proposal is composed of several contributions. First, we present an operative adherence to a holistic practice of sound design, embedded in game design, in which the exploration of sound is performed in the early phases of ideation and addressed by its purposefulness to the game experience. Then, we present an initial set of design guidelines for sound design in games, which include multidisciplinary concepts and insights. Our observation of game design practitioners using these guidelines led us to also propose a lower-level of guidance: a pattern language for sound design in games, representing recurrent sound explorations found in games of recognized quality. In its current state, version 2.0, the pattern language consists of a network of 81 candidate design patterns, publicly available through the wiki soundingames.com. We also present a deck of cards for sound design in games, which was originally developed for research purposes as way to audit the participation of the patterns during design phenomena, but which eventually evolved into an end-user interface with the pattern language. Through experimentation, we gathered indicators that the proposed guidance can empower non-expert practitioners. The experiments also informed revisions to the proposals and contributed to refine our understanding of the research problem. We conclude this dissertation by presenting the conditions that we have been developing to open the body of knowledge to the community of practice, for discussion and appropriation. i Resumo O conhecimento pericial em desenho de som em jogos é, atualmente, maioritariamente tácito e mantido por profissionais experientes que não são numerosos e que trabalham para equipas que possuem recursos para os contratar. Os criadores de jogos independentes, usualmente a trabalhar com escassos recursos, têm frequentemente que lidar com a falta de conhecimento especializado em desenho de som. Propomos fornecer orientações para a capacitação de praticantes não especialistas em desenho de som em jogos, assumindo a impraticabilidade de integrar especialistas com essa competência nas suas equipas. Esta capacitação implica também fomentar a literacia neste domínio específico, promovendo, assim, competências para comunicar e participar na concepção de explorações de som. Tais capacidades também podem ser vantajosas no âmbito mais amplo dos criadores de jogos, junto do qual poderiam criar as condições para que os especialistas em desenho de som fossem convidados com mais regularidade, e mais cedo, para os projetos de criação de jogos. A nossa proposta é constituída por várias contribuições. Começamos por apresentar uma operacionalização holística da prática de desenho de som, incorporada no desenho de jogos, em que a exploração do som é realizada nas fases iniciais da ideação e é apreciada em função do seu propósito para a experiência de jogo. Seguidamente, apresentamos um conjunto inicial de linhas orientadoras para o desenho de som em jogos, que incluem conceitos e influências multidisciplinares. A observação que fizemos da utilização dessas linhas orientadores, por parte de praticantes em desenho de jogos, levou-nos a propor também orientação de mais baixo nível: uma linguagem de padrões para desenho de som em jogos, representando explorações de som recorrentes em jogos de reconhecida qualidade. No seu estado atual, versão 2.0, esta linguagem de padrões consiste numa rede de 81 padrões candidatos, publicamente disponíveis através da wiki soundingames.com. Apresentamos também um instrumento na forma de um baralho de cartas para o desenho de som em jogos, que foi originalmente desenvolvido com fins de investigação, como forma de auditar a participação dos padrões durante a atividade de desenho de jogos, mas que evoluiu para se tornar uma interface entre a linguagem de padrões e o utilizador final. Com base em experimentação, reunimos indicadores de que a orientação que propomos pode capacitar praticantes não especializados. Os exercícios realizados também iii informaram revisões às propostas e contribuíram para aumentar a nossa compreensão da questão em investigação. Concluímos apresentando condições que temos vindo a desenvolver para abrir esta base de conhecimento à comunidade de prática, para discussão e apropriação. iv Keywords Acoustic ecology, Deck of cards, Design guidelines, Design patterns, Empowerment, Game audio, Game design, Independent video game development, Indie games, Pattern languages, Small game developers, Sound design in games. Palavras-chave Capacitação, Criadores de jogos independentes, Desenho de jogos, Desenho de som em jogos, Desenvolvimento independente de jogos, Ecologia Acústica, Jogos indie, Linguagem de padrões, Linhas orientadoras, Padrões de desenho, Som em jogos, Videojogos. v Acknowledgments My first words of gratitude go to my advisor, Professor Licínio Roque, for providing me with the opportunity to research on this particular field and for accompanying me through the journey. His insights, good advice, support and friendship were crucial for the completion of this thesis. I thank Professor António Dias de Figueiredo and Professor Óscar Mealha, both members of the Jury of the Research Proposal, for their early advice. Their words of encouragement also meant a lot to me at that particular time. I gratefully acknowledge Professor Kristina Höök, Professor Andrew Monk, and Professor Ann Blandford. They provided me with valuable advice at the HCI 2009 Doctoral Consortium. My deep appreciation to everyone at LabC62, at the Department of Informatics Engineering of the University of Coimbra, for so many bighearted contributions. Special thanks to Luis Pereira for all the support and to Rui Craveirinha also for the consistent generosity in sharing his endless knowledge of video games. I’m most thankful to the researchers at the Information Systems Group, at the Center for Informatics and Systems of the University of Coimbra, for the sharing and feedback along our meetings. Special thanks again to Professor António Dias de Figueiredo. I’m grateful to all participants in our research exercises, among whom I emphasize the contributions of Duarte Ferreira, Filipe Penicheiro, Ivo Cosme, João Pinheiro, José Rodrigues, Lara Silva, Luis Pereira, Nuno Lourenço, Pedro Almeida, Rui Craveirinha, and Sandra Mendes. My thankfulness to Carlos Figueiredo and Ricardo Ruivo, at the DEI Helpdesk, who made the difference several times. They were invariably kind and expedite when their intervention was needed to cope with some near the deadline server configuration. Many thanks to all my department fellows at the Informatics Department of the Polytechnic Institute of Viseu, and particularly to Ana Catarina Sousa, Ana Cristina Lacerda, António Carvalho, Artur Sousa, Carlos Cunha, Carlos Quental, Carlos Simões, Catarina Lélis, Ernesto Afonso, Fernando Almeida, Fernando Rebelo, Filipe Caldeira, vii Francisco Francisco, Joana Pestana, Jorge Loureiro, Jorge Silva, José Campos, José Francisco Morgado, José Vilaça, Manuel Baptista, Maria do Céu Lopes, Nuno Costa, Paulo Almeida, Paulo Coelho, Paulo Tomé, Rui Almeida, Rui Pedro Duarte, Rui Sérgio Rodrigues, Sílvia Moreira, Steven Abrantes. In different ways, each of them improved my conditions to accommodate research and department duties. I acknowledge the support of the Informatics Department of the School of Technology and Management of Viseu, Polytechnic Institute of Viseu, and the Center for Informatics and Systems of the University of Coimbra. This research was partially supported by FCT, Fundação para a Ciência e a Tecnologia, through grant SFRH/BD/28776/2006, later migrated to SFRH/PROTEC/49757/2009. Time will make sure to remind me
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