Producing Adaptive Music for Non-Linear Media
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Audio Middleware the Essential Link from Studio to Game Design
AUDIONEXT B Y A LEX A N D E R B R A NDON Audio Middleware The Essential Link From Studio to Game Design hen I first played games such as Pac Man and GameCODA. The same is true of Renderware native audio Asteroids in the early ’80s, I was fascinated. tools. One caveat: Criterion is now owned by Electronic W While others saw a cute, beeping box, I saw Arts. The Renderware site was last updated in 2005, and something to be torn open and explored. How could many developers are scrambling to Unreal 3 due to un- these games create sounds I’d never heard before? Back certainty of Renderware’s future. Pity, it’s a pretty good then, it was transistors, followed by simple, solid-state engine. sound generators programmed with individual memory Streaming is supported, though it is not revealed how registers, machine code and dumb terminals. Now, things it is supported on next-gen consoles. What is nice is you are more complex. We’re no longer at the mercy of 8-bit, can specify whether you want a sound streamed or not or handing a sound to a programmer, and saying, “Put within CAGE Producer. GameCODA also provides the it in.” Today, game audio engineers have just as much ability to create ducking/mixing groups within CAGE. In power to create an exciting soundscape as anyone at code, this can also be taken advantage of using virtual Skywalker Ranch. (Well, okay, maybe not Randy Thom, voice channels. but close, right?) Other than SoundMAX (an older audio engine by But just as a single-channel strip on a Neve or SSL once Analog Devices and Staccato), GameCODA was the first baffled me, sound-bank manipulation can baffle your audio engine I’ve seen that uses matrix technology to average recording engineer. -
Professional Work
[Page 1/2] www.marcsoskin.com [email protected] Professional Work The Outer Worlds Obsidian Entertainment Area Designer March 2018 – April 2020 The Outer Worlds is a FPS RPG with a focus on player choice and reactivity. As designers, we had a mandate to design scenarios where the player could complete quests through combat, stealth or dialogue, while making difficult narrative choices along the way. Responsibilities . Writer: . Provided additional writing, including dialogue in the intro area, Space-Crime Continuum and all the dialogue and text associated with the quest "Why Call Them Back from Retirement?" . As part of the narrative team, won the 2019 Nebula Award for Best Game Writing . Strike Team Lead: . g, along with the rest of the game' . After alpha, I was responsible for a team of artists, designers and writers whose goal was to revise and polish two planets – Monarch and Tartarus – to shippable quality. In addition to management and design work, I reviewed dialogue, assisted with optimization and eventually assumed responsibility for all design bugs as designers moved on to other assignments . Area Designer: . Primary designer for the quest "Slaughterhouse Clive" and its associated level. I drove a demo of this level at E3 2019, where it won numerous awards including the Game Critics Award for Best Original Game . Primary designer for the 6 Monarch faction quests. Helped design the intro/tutorial area and SubLight Salvage quest line and took them to an alpha state. Initial designer on 3 side quests in Byzantium, from documentation through alpha. Helped design the game’s final level (Tartarus) and bring it from alpha to ship. -
Dukinfield) OLD CHAPEL and the UN1 TA R I a N STORY
OLD CHAPEL AND THE UNITARIAN- - STORY (Dukinfield) OLD CHAPEL AND THE UN1 TA R I A N STORY DAVID C. DOEL UNITARIAN PUBLICATION Lindsey Press 1 Essex Street Strand London WC2R 3HY ISBN 0 853 19 049 6 Printed by Jervis Printers 78 Stockport Road Ashton-Under-Lyne Tameside CONTENTS PREFACE CHAPTER ONE: AN OLD CHAPEL HERITAGE TRAIL CHAPTER TWO: BIDDLE AND THE SOCINIANS CHAPTER THREE: THE CIVIL WAR CHAPTER FOUR: MILTON AND LOCKE CHAPTER FIVE: SAMUEL ANGIER AND HIS CONTEMPORARIES CHAPTER SIX: JOSEPH PRIESTLEY CHAPTER SEVEN: WILLIAM ELLERY CHANNING CHAPTER EIGHT: FIRST HALF OF THE NINETEENTH CENTURY CHAPTER NINE: HOPPS, MARTINEAU AND WICKSTEED CHAPTER TEN: FIRST HALF OF THE TWENTIETH CENTURY CHAPTER ELEVEN: SECOND HALF OF THE TWENTIETH CENTURY APPENDIX Ai WHERE THE STORY BEGINS APPENDIX B: THE TRINITY APPENDIX C: THE ALLEGORICAL METHOD APPENDIX D: BIBLIOGRAPHY APPENDIX E: GLOSSARY SIX ILLUSTRATIONS: a) Old Chapel exterior b) Old Chapel interior c) The original Chapel d) The Old School e) The New School f) The Original Schoc! OLD CHAPEL, DUKlNFlELD PREFACE Old Testament prophets, or was he a unique expression, once and once only, of God on earth in human form? OLD CHAPEL AND THE UNITARIAN STORY is an account of the life and history of Old Chapel, Dukinfield, set within the As I point out in the Appendix on The Trinity, there emerged larger context of the story of the growth and devlopment of from all this conflict not one doctrine of the Trinity, but many. Unitarianism, which we, the present congregation, inherit from the trials and tribulations, the courage, vision and the joy The Trinity is a theological model for expressing the Nature of of our ancestors. -
Adaptive Audio in INSIDE and 140
Adaptive Audio in INSIDE and 140 SpilBar 41 Jakob Schmid slides available at https://www.schmid.dk/talks/ Who Am I? Jakob Schmid INSIDE, Playdead, audio programmer 140, Carlsen Games, music and sound design Co-founded new game studio in 2017 ? IGF award 2013 Excellence in Audio Honorable mention: Technical Excellence Spilprisen 2014 Sound of the Year Nordic Game Award 2014 Artistic Achievement Game Developers Choice Awards 2016 Best Audio, Best Visual Art Game Critics Awards 2016 Best Independent Game The Game Awards 2016 Best Art Direction, Best Independent Game DICE Awards 2016 Spirit Award, Art Direction, Game Direction 13th British Academy Games Awards Artistic Achievement, Game Design, Narrative, Original Property The Edge Awards 2016 Best Audio Design Adaptive Audio in INSIDE INSIDE Audio Team Martin Stig Andersen audio director, sound designer, composer Andreas Frostholm sound designer Søs Gunver Ryberg composer, sound designer Jakob Schmid audio programmer Audio Engine: Audiokinetic Wwise INSIDE Video Animation Events Animation Events ● Associated with a specific animation ● Occur at a specific animation frame ● Can trigger sounds or visual effects footstep Context-Sensitive Events jog previous action: idle current action: jog idle play sound 'takeoff_mf' ... Context-Sensitive Events ● If previous action was 'sneak', a different sound is played jog previous action: sneak current action: jog sneak play sound 'walk' Wet Animation Events ● Shoes can get wet ● Adds wet sound on top of footstep ● Wetness value is used to set volume ○ Is set high when in water or on a wet surface ○ Dries out over time Elbow Brush Sounds brush brush Voice Sequencer Continuous Voice Sequencing ● Recorded breath sounds have varying durations ● 'Stitching' recorded sounds together results in natural, uneven breathing pattern switches br. -
Lucasarts and the Design of Successful Adventure Games
LucasArts and the Design of Successful Adventure Games: The True Secret of Monkey Island by Cameron Warren 5056794 for STS 145 Winter 2003 March 18, 2003 2 The history of computer adventure gaming is a long one, dating back to the first visits of Will Crowther to the Mammoth Caves back in the 1960s and 1970s (Jerz). How then did a wannabe pirate with a preposterous name manage to hijack the original computer game genre, starring in some of the most memorable adventures ever to grace the personal computer? Is it the yearning of game players to participate in swashbuckling adventures? The allure of life as a pirate? A craving to be on the high seas? Strangely enough, the Monkey Island series of games by LucasArts satisfies none of these desires; it manages to keep the attention of gamers through an admirable mix of humorous dialogue and inventive puzzles. The strength of this formula has allowed the Monkey Island series, along with the other varied adventure game offerings from LucasArts, to remain a viable alternative in a computer game marketplace increasingly filled with big- budget first-person shooters and real-time strategy games. Indeed, the LucasArts adventure games are the last stronghold of adventure gaming in America. What has allowed LucasArts to create games that continue to be successful in a genre that has floundered so much in recent years? The solution to this problem is found through examining the history of Monkey Island. LucasArts’ secret to success is the combination of tradition and evolution. With each successive title, Monkey Island has made significant strides in technology, while at the same time staying true to a basic gameplay formula. -
FULL THROTTLE TROUBLESHOOTING HINTS Some Rare Coni'igurations May Not Be Immediately Compatible with the Pull Throttle Installer and Launcher Pro Grams
FULL THROTTLE TROUBLESHOOTING HINTS Some rare coni'igurations may not be immediately compatible with the Pull Throttle installer and launcher pro grams. I f you are experiencing problems, we have included a num ber of installation alternatives that will most likely allow y ou to successfully install and run Pull Throttle . Please 1·01- low the instructions below be f ore calling LucasArts Product Support f or help, a s the y will likely solve any installation problems that y ou are experiencing. If y ou encounter difficulties while attempting to run the Pull Throttle installer, it ma y help if y ou make a boot disk and reboot y our computer before running the INSTALL.EXE. To ma ke a boot disk bef ore running the installer , run the program called hlAKEB OOT .BAT from y our Pull Throttle CD. The hlAKEBOOT. BAT is located in the SUPPORT directory on your Pull Throttle CD. To get to this directory , cha nge to y our CD- R01i drive, and, at the prompt, t ype CD SUPPORT and press ENTER . Af ter the boot disk i s completed, reboot y our computer with the boot disk in your i 'loppy boot drive (usually drive A:) and try to run the installer. If this f ails , try running the IlTSTALL. BAT file located in the SUPPORT directory on your Full Throttle CL . I1 y ou cannot run the installer even a i 'ter making a boot disk, try rebooting y our computer with the boot disk and then run this batch file to install Full Throttle . -
The Last of Us Day Photo Mode Contest 2020 OFFICIAL US and CANADA RULES by Participating in the Last of Us
The Last of Us Day Photo Mode Contest 2020 OFFICIAL US AND CANADA RULES By participating in The Last of Us Day - Photo Mode Contest 2020 (the “Promotion”), each Entrant (or his or her parent or legal guardian if the Entrant is under the age of majority in his or her state of residence) unconditionally accepts and agrees to comply with and abide by these Official Rules and the decisions of Sony Interactive Entertainment LLC (“Sponsor”) which shall be final and binding in all respects. Sponsor is responsible for the collection and scoring of entries and the overall administration of the Promotion. Entrants should look solely to Sponsor with any questions, comments or problems related to the Promotion. 1. ELIGIBILITY: The Promotion is only open to legal residents of the 50 United States, the District of Columbia, excluding Arizona, and Canada, excluding Quebec, age 18 or older at time of entry (individually “Entrant”, collectively “Entrants”). Employees of Sponsor and its parent companies, affiliates, subsidiaries, and related companies, agencies, and the judging panel and immediate families (defined as parents, children, siblings and spouse and their respective spouses, regardless of where they reside) and those living in the same household, whether or not related, are not eligible to enter, win or vote. Void in Puerto Rico, all U.S. territories and possessions and overseas military installations and where prohibited or restricted by law. There is one (1) entry method: via Naughty Dog’s user-generated content submission page. Internet access is required to enter this Promotion. Entrants must have a copy of The Last of Us Part II with the Photo Mode tool. -
Scummvm Documentation
ScummVM Documentation CadiH May 10, 2021 The basics 1 Understanding the interface4 1.1 The Launcher........................................4 1.2 The Global Main Menu..................................7 2 Handling game files 10 2.1 Multi-disc games...................................... 11 2.2 CD audio.......................................... 11 2.3 Macintosh games...................................... 11 3 Adding and playing a game 13 3.1 Where to get the games.................................. 13 3.2 Adding games to the Launcher.............................. 13 3.3 A note about copyright.................................. 21 4 Saving and loading a game 22 4.1 Saving a game....................................... 22 4.2 Location of saved game files............................... 27 4.3 Loading a game...................................... 27 5 Keyboard shortcuts 30 6 Changing settings 31 6.1 From the Launcher..................................... 31 6.2 In the configuration file.................................. 31 7 Connecting a cloud service 32 8 Using the local web server 37 9 AmigaOS 4 42 9.1 What you’ll need...................................... 42 9.2 Installing ScummVM.................................... 42 9.3 Transferring game files.................................. 42 9.4 Controls........................................... 44 9.5 Paths............................................ 44 9.6 Settings........................................... 44 9.7 Known issues........................................ 44 10 Android 45 i 10.1 What you’ll need..................................... -
Greetingsfromgreetingsfrom INSTRUCTION MANUAL INSTRUCTION INSTRUCTION MANUAL INSTRUCTION TRAVELGUIDE TRAVELGUIDE and and the Land of the Dead
Grim Fand. UK Man 19/4/01 4:46 pm Page 1 Greetingsfrom ™ The Land of the Dead TRAVEL GUIDE And INSTRUCTION MANUAL Grim Fand. UK Man 19/4/01 4:46 pm Page 2 1 GRIM FANDANGO Meet Manny. He’s suave. He’s debonaire. He’s dead. And... he’s your travel agent. Are you ready for your big journey? Grim Fand. UK Man 19/4/01 4:46 pm Page 2 GRIM FANDANGO 2 3 GRIM FANDANGO ™ Travel Itinerary WELCOME TO THE LAND OF THE DEAD ...................................5 Conversation ...................................................16 EXCITING TRAVEL PACKAGES AVAI LABLE .................................6 Saving and Loading Games ...................................16 MEET YOUR TRAVEL COMPANIONS .......................................8 Main Menu ......................................................17 STARTI NG TH E GAME ...................................................10 Options Screen .................................................18 Installation .....................................................10 Advanced 3D Hardware Settings .............................18 If You Have Trouble Installing................................11 QUITTING.............................................................19 RUNNING THE GAME ...................................................12 KEYBOARD CONTROLS .................................................20 The Launcher.....................................................12 JOYSTICK AND GAMEPAD CONTROLS ....................................22 PLAYING THE GAME ....................................................12 WALKTHROUGH OF -
The Impact of Multichannel Game Audio on the Quality of Player Experience and In-Game Performance
The Impact of Multichannel Game Audio on the Quality of Player Experience and In-game Performance Joseph David Rees-Jones PhD UNIVERSITY OF YORK Electronic Engineering July 2018 2 Abstract Multichannel audio is a term used in reference to a collection of techniques designed to present sound to a listener from all directions. This can be done either over a collection of loudspeakers surrounding the listener, or over a pair of headphones by virtualising sound sources at specific positions. The most popular commercial example is surround-sound, a technique whereby sounds that make up an auditory scene are divided among a defined group of audio channels and played back over an array of loudspeakers. Interactive video games are well suited to this kind of audio presentation, due to the way in which in-game sounds react dynamically to player actions. Employing multichannel game audio gives the potential of immersive and enveloping soundscapes whilst also adding possible tactical advantages. However, it is unclear as to whether these factors actually impact a player’s overall experience. There is a general consensus in the wider gaming community that surround-sound audio is beneficial for gameplay but there is very little academic work to back this up. It is therefore important to investigate empirically how players react to multichannel game audio, and hence the main motivation for this thesis. The aim was to find if a surround-sound system can outperform other systems with fewer audio channels (like mono and stereo). This was done by performing listening tests that assessed the perceived spatial sound quality and preferences towards some commonly used multichannel systems for game audio playback over both loudspeakers and headphones. -
Wwise Unreal Integration Uses the Profile Libraries
Main Page Wwise Unreal Plug-in Requirements Unreal Engine Each release of the Unreal Wwise plug-in is customized for a specific version of the Unreal Engine. Be sure to use matching versions of the Unreal Engine and Wwise plug-in. This plug-in is intended for use with Unreal Engine 4.17. Wwise This plug-in is based on Wwise 2016.2.5.6121; while it is possible to use an alternate version of the Wwise SDK, modifications to the plug-in code may be necessary. Platforms This plug-in has been tested on Windows, Mac, Linux (SteamOS), Xbox One, PlayStation 4, Android, and iOS. Modifications may be required to target other platforms. Development Environment Setup Please refer to the UE4 documentation: "Downloading Unreal Engine Source Code" "Setting Up Visual Studio for UE4" "Building Unreal Engine from Source" Generated by 1.6.3 Main Page Wwise Unreal Plug-in Installation Before proceeding, review the Requirements page and make sure the appropriate versions of the Unreal Engine, Unreal Wwise plug-in, and Wwise are used. This UE4 integration package contains files related to the Wwise plug-in only; it does not contain the entire Unreal Engine source code, nor the Wwise SDK. Installation Procedure There are two ways of installing the Unreal Wwise plug-in: either as a game plug-in or as an engine plug-in - not both. NOTE: For more information on the difference between engine and game plug-ins (sometimes referred to as "installed" plug-ins), please refer to the Unreal Engine Wiki. Installing the Wwise Plug-in as a Game Plug-in Installing as a game plug-in is handled by the Wwise Launcher. -
The Last of Us Honored with 10 Awards Including Game of the Year at 17Th Annual D.I.C.E
THE LAST OF US HONORED WITH 10 AWARDS INCLUDING GAME OF THE YEAR AT 17TH ANNUAL D.I.C.E. AWARDS Top Honors Celebrating the Creative Accomplishments in Interactive Entertainment Also Went to Bioshock Infinite, Grand Theft Auto V, Plants vs. Zombies 2, and More LAS VEGAS – Feb. 6, 2014 – Suspense, horror, and surreal worlds dominated the 17th Annual D.I.C.E. Awards, the video game industry’s most prestigious honors. Naughty Dog’s dystopian, post-apocalyptic reimagining of the zombie thriller, The Last Of Us, stole the show with 10 awards, including Outstanding Achievement in Story, Outstanding Innovation in Gaming, Adventure Game of the Year, Outstanding Achievement in Game Direction and the industry’s top honor, Game of the Year. The evening’s other big winners included Irrational Games’ provocative alternate-historical FPS, Bioshock Infinite, which took home Action Game of the Year and Outstanding Achievement in Original Music Composition. PopCap’s runaway mobile hit Plants vs. Zombies 2 won both Casual Game of the Year and Mobile Game of the Year, while EA Canada’s FIFA 14 continued the FIFA franchise’s run of five consecutive wins with Sports Game of the Year. Brothers – A Tale of Two Sons, Starbreeze Studios’ touching, story-driven adventure, took home the hardware for Downloadable Game of the Year. Wargaming’s multiplayer online game World of Tanks took home the honor for the D.I.C.E. Awards’ newest category, Online Game of the Year. “Tonight’s big winner, The Last of Us, is a prime example of how today’s modern video game studios expertly blend art, game play, and storytelling to transcend the traditional notion of video games,” said Martin Rae, president, Academy of Interactive Arts & Sciences.