Audio Middleware the Essential Link from Studio to Game Design
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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. -
DXF Reference
AutoCAD 2012 DXF Reference February 2011 © 2011 Autodesk, Inc. All Rights Reserved. Except as otherwise permitted by Autodesk, Inc., this publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose. Certain materials included in this publication are reprinted with the permission of the copyright holder. Trademarks The following are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and other countries: 3DEC (design/logo), 3December, 3December.com, 3ds Max, Algor, Alias, Alias (swirl design/logo), AliasStudio, Alias|Wavefront (design/logo), ATC, AUGI, AutoCAD, AutoCAD Learning Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL Interface, Autodesk, Autodesk Intent, Autodesk Inventor, Autodesk MapGuide, Autodesk Streamline, AutoLISP, AutoSnap, AutoSketch, AutoTrack, Backburner, Backdraft, Beast, Built with ObjectARX (logo), Burn, Buzzsaw, CAiCE, Civil 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructware, Content Explorer, Dancing Baby (image), DesignCenter, Design Doctor, Designer's Toolkit, DesignKids, DesignProf, DesignServer, DesignStudio, Design Web Format, Discreet, DWF, DWG, DWG (logo), DWG Extreme, DWG TrueConvert, DWG TrueView, DXF, Ecotect, Exposure, Extending the Design Team, Face Robot, FBX, Fempro, Fire, Flame, Flare, Flint, FMDesktop, Freewheel, GDX Driver, Green Building Studio, Heads-up Design, Heidi, HumanIK, IDEA Server, i-drop, Illuminate Labs -
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. -
An Embeddable, High-Performance Scripting Language and Its Applications
Lua an embeddable, high-performance scripting language and its applications Hisham Muhammad [email protected] PUC-Rio, Rio de Janeiro, Brazil IntroductionsIntroductions ● Hisham Muhammad ● PUC-Rio – University in Rio de Janeiro, Brazil ● LabLua research laboratory – founded by Roberto Ierusalimschy, Lua's chief architect ● lead developer of LuaRocks – Lua's package manager ● other open source projects: – GoboLinux, htop process monitor WhatWhat wewe willwill covercover todaytoday ● The Lua programming language – what's cool about it – how to make good uses of it ● Real-world case study – an M2M gateway and energy analytics system – making a production system highly adaptable ● Other high-profile uses of Lua – from Adobe and Angry Birds to World of Warcraft and Wikipedia Lua?Lua? ● ...is what we tend to call a "scripting language" – dynamically-typed, bytecode-compiled, garbage-collected – like Perl, Python, PHP, Ruby, JavaScript... ● What sets Lua apart? – Extremely portable: pure ANSI C – Very small: embeddable, about 180 kiB – Great for both embedded systems and for embedding into applications LuaLua isis fullyfully featuredfeatured ● All you expect from the core of a modern language – First-class functions (proper closures with lexical scoping) – Coroutines for concurrency management (also called "fibers" elsewhere) – Meta-programming mechanisms ● object-oriented ● functional programming ● procedural, "quick scripts" ToTo getget licensinglicensing outout ofof thethe wayway ● MIT License ● You are free to use it anywhere ● Free software -
Foundations for Music-Based Games
Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games. -
Opera Acquires Yoyo Games, Launches Opera Gaming
Opera Acquires YoYo Games, Launches Opera Gaming January 20, 2021 - [Tuck-In] Acquisition forms the basis for Opera Gaming, a new division focused on expanding Opera's capabilities and monetization opportunities in the gaming space - Deal unites Opera GX, world's first gaming browser and popular game development engine, GameMaker - Opera GX hit 7 million MAUs in December 2020, up nearly 350% year-over-year DUNDEE, Scotland and OSLO, Norway, Jan. 20, 2021 /PRNewswire/ -- Opera (NASDAQ: OPRA), the browser developer and consumer internet brand, today announced its acquisition of YoYo Games, creator of the world's leading 2D game engine, GameMaker Studio 2, for approximately $10 million. The tuck-in acquisition represents the second building block in the foundation of Opera Gaming, a new division within Opera with global ambitions and follows the creation and rapid growth of Opera's innovative Opera GX browser, the world's first browser built specifically for gamers. Krystian Kolondra, EVP Browsers at Opera, said: "With Opera GX, Opera had adapted its proven, innovative browser tech platform to dramatically expand its footprint in gaming. We're at the brink of a shift, when more and more people start not only playing, but also creating and publishing games. GameMaker Studio2 is best-in-class game development software, and lowers the barrier to entry for anyone to start making their games and offer them across a wide range of web-supported platforms, from PCs, to, mobile iOS/Android devices, to consoles." Annette De Freitas, Head of Business Development & Strategic Partnerships, Opera Gaming, added: "Gaming is a growth area for Opera and the acquisition of YoYo Games reflects significant, sustained momentum across both of our businesses over the past year. -
January 2010
SPECIAL FEATURE: 2009 FRONT LINE AWARDS VOL17NO1JANUARY2010 THE LEADING GAME INDUSTRY MAGAZINE 1001gd_cover_vIjf.indd 1 12/17/09 9:18:09 PM CONTENTS.0110 VOLUME 17 NUMBER 1 POSTMORTEM DEPARTMENTS 20 NCSOFT'S AION 2 GAME PLAN By Brandon Sheffield [EDITORIAL] AION is NCsoft's next big subscription MMORPG, originating from Going Through the Motions the company's home base in South Korea. In our first-ever Korean postmortem, the team discusses how AION survived worker 4 HEADS UP DISPLAY [NEWS] fatigue, stock drops, and real money traders, providing budget and Open Source Space Games, new NES music engine, and demographics information along the way. Gamma IV contest announcement. By NCsoft South Korean team 34 TOOL BOX By Chris DeLeon [REVIEW] FEATURES Unity Technologies' Unity 2.6 7 2009 FRONT LINE AWARDS 38 THE INNER PRODUCT By Jake Cannell [PROGRAMMING] We're happy to present our 12th annual tools awards, representing Brick by Brick the best in game industry software, across engines, middleware, production tools, audio tools, and beyond, as voted by the Game 42 PIXEL PUSHER By Steve Theodore [ART] Developer audience. Tilin'? Stylin'! By Eric Arnold, Alex Bethke, Rachel Cordone, Sjoerd De Jong, Richard Jacques, Rodrigue Pralier, and Brian Thomas. 46 DESIGN OF THE TIMES By Damion Schubert [DESIGN] Get Real 15 RETHINKING USER INTERFACE Thinking of making a game for multitouch-based platforms? This 48 AURAL FIXATION By Jesse Harlin [SOUND] article offers a look at the UI considerations when moving to this sort of Dethroned interface, including specific advice for touch offset, and more. By Brian Robbins 50 GOOD JOB! [CAREER] Konami sound team mass exodus, Kim Swift interview, 27 CENTER OF MASS and who went where. -
Evaluating Game Technologies for Training Dan Fu, Randy Jensen Elizabeth Hinkelman Stottler Henke Associates, Inc
Appears in Proceedings of the 2008 IEEE Aerospace Conference, Big Sky, Montana. Evaluating Game Technologies for Training Dan Fu, Randy Jensen Elizabeth Hinkelman Stottler Henke Associates, Inc. Galactic Village Games, Inc. 951 Mariners Island Blvd., Suite 360 119 Drum Hill Rd., Suite 323 San Mateo, CA 94404 Chelmsford, MA 01824 650-931-2700 978-692-4284 {fu,jensen}@stottlerhenke.com [email protected] Abstract —In recent years, videogame technologies have Given that pre-existing software can enable rapid, cost- become more popular for military and government training effective game development with potential reuse of content purposes. There now exists a multitude of technology for training applications, we discuss a first step towards choices for training developers. Unfortunately, there is no structuring the space of technology platforms with respect standard set of criteria by which a given technology can be to training goals. The point of this work isn’t so much to evaluated. In this paper we report on initial steps taken espouse a leading brand as it is to clarify issues when towards the evaluation of technology with respect to considering a given piece of technology. Towards this end, training needs. We describe the training process, we report the results of an investigation into leveraging characterize the space of technology solutions, review a game technologies for training. We describe the training representative sample of platforms, and introduce process, outline ways of creating simulation behavior, evaluation criteria. characterize the space of technology solutions, review a representative sample of platforms, and introduce TABLE OF CONTENTS evaluation criteria. 1. INTRODUCTION ......................................................1 2. -
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. -
CRYENGINE Audio Tutorial
Course Setup • Navigate the CRYENGINE interface, Editor, and tool set • Add ambient sounds • Link ambient sounds to changing time of day • Installing CRYENGINE Add audio triggers • Link sounds to character actions (footsteps, shooting, etc.) This course requires CRYENGINE 5.5.2 or higher. Here are the steps to install it: • Link sounds to particle effects 1. Download and install the free CRYENGINE Launcher from here by clicking This tutorial covers the use of FMOD Studio. Please refer to the online tutorial for on the Download button. Please note that you will need to create a free information on using SDL Mixer and FMOD. CRYENGINE account if you don’t already have one. If you need additional help creating your account, refer to our Installation Quick Start guide. 1. Start the Launcher and sign in to your CRYENGINE account. Course Workbook Conventions 2. Install the latest version of the engine using the Library > My Engines tab in To help you understand the text in this workbook, we have used the following for- the Launcher. matting conventions: • Important concepts are highlighted in bold, or refer to something you can do or click on: a button, entity, menu item, etc. • Nested items in menus or tool panels are separated with the right caret char- acter, e.g.: Tools > Level Editor > Create Object. • Concepts and goals are explained first, followed by the exactstep-by-step in- structions to achieve them. Tips about best practices look like this grey box. Pro Tip: This is a “pro tip” suggesting best practices or informing you about something of particular importance. -
Localization Tools in General Purpose Game Engines: a Systematic Mapping Study
Hindawi International Journal of Computer Games Technology Volume 2021, Article ID 9979657, 15 pages https://doi.org/10.1155/2021/9979657 Review Article Localization Tools in General Purpose Game Engines: A Systematic Mapping Study Marcus Toftedahl Division of Game Development, University of Skövde, Skövde, Sweden Correspondence should be addressed to Marcus Toftedahl; [email protected] Received 31 March 2021; Accepted 5 July 2021; Published 23 July 2021 Academic Editor: Cristian A. Rusu Copyright © 2021 Marcus Toftedahl. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. This paper addresses localization from a game development perspective by studying the state of tool support for a localization work in general purpose game engines. Using a systematic mapping study, the most commonly used game engines and their official tool libraries are studied. The results indicate that even though localization tools exists for the game engines included in the study, the visibility, availability, and functionality differ. Localization tools that are user facing, i.e., used to create localization, are scarce while many are tool facing, i.e., used to import localization kits made outside the production pipeline. 1. Introduction tions or specific corporate entities handling functions such as marketing or distribution. This is not always the case with “The world is full of different markets and cultures and, to indie game development, where Pereira and Bernardes [7] maximize profits™[sic], nowadays games are released in sev- note that the structure of indie development is more flexible, eral languages.