Industry Practice: Sound Brief
Sound Design Brief:
As a group, we have discussed how the soundtrack and sound design of our game may be developed. This discussion was split into two areas of discussion: the game soundtrack, that being the music that plays throughout the game in the background of the project, and the sound design for sound effects. This would include sounds for the character's voices as well as other potential sound effects that could play across the game in other circumstances.
In such discussions we spoke about how the music and sound design could be used to cultivate a specific atmosphere in the game; this could help in enforcing the themes of our project and may help in establishing the mood and feeling of our game and what it is trying to say through its narrative.
These discussions were considered in a meeting, and were made with the scope of the game in mind: we spoke of having slow and atmospheric music play over a majority of the game, a simple piano track that could would not distract the player and that could be looped to cover the game's playtime. This would be atmospheric and quiet in the game setting, perhaps muffled. This would be done to help enforce the idea of the game being set in a recollection, with sounds being distant as such. Additionally, we considered elements of Foli that could play throughout the game, such as the sounds that characters would make whilst talking or that could otherwise play at other points in the game.
As a group, we have discussed how the soundtrack and sound design of our game may be developed. This discussion was split into two areas of discussion: the game soundtrack, that being the music that plays throughout the game in the background of the project, and the sound design for sound effects. This would include sounds for the character's voices as well as other potential sound effects that could play across the game in other circumstances.
In such discussions we spoke about how the music and sound design could be used to cultivate a specific atmosphere in the game; this could help in enforcing the themes of our project and may help in establishing the mood and feeling of our game and what it is trying to say through its narrative.
These discussions were considered in a meeting, and were made with the scope of the game in mind: we spoke of having slow and atmospheric music play over a majority of the game, a simple piano track that could would not distract the player and that could be looped to cover the game's playtime. This would be atmospheric and quiet in the game setting, perhaps muffled. This would be done to help enforce the idea of the game being set in a recollection, with sounds being distant as such. Additionally, we considered elements of Foli that could play throughout the game, such as the sounds that characters would make whilst talking or that could otherwise play at other points in the game.
We spoke of giving each character a unique "talking" sound that would play when their text boxes are brought up. This could be used to help enforce the ideas and themes of the characters and could also be used to show the differences between them: Foxey, the Spirit of Intrusive Thoughts, may have sounds that are sharper or more stern in nature. Crowley, the Spirit of Health Anxiety, may speak with a more hollow, wind-like sound to show their ghoulish or more deathly nature, and Mousey, the Spirit of PTSD, may speak with quiet and squeaky tones to show how they regard themselves as being small in the world. None of these sounds would contain actual voice acting, instead being artificial or inorganic sounds: for Foxey, perhaps a pen against paper. For Crowley, howling wind. Nevertheless, the inclusion of these sounds could help in giving the Spirits more character and push forward their personalities and the ideas they represent.
With this in mind, we went about creating a Sound Brief document that detailed our thoughts on the audio of our game. The Sound Brief itself is a concise document that shows how we plan for the audio of our game to sound, which could then be handed off to an audio director or sound producer as a basis for which work could be made in accordance with.
With this in mind, we went about creating a Sound Brief document that detailed our thoughts on the audio of our game. The Sound Brief itself is a concise document that shows how we plan for the audio of our game to sound, which could then be handed off to an audio director or sound producer as a basis for which work could be made in accordance with.
As a group, we all contributed to the text of the Sound Brief. The following are the sections that I wrote.
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