How to create an interesting game setting? Level Four: Sound Effects

Even before the researchers of the Canadian University of Waterloo conducted a study and found out how the sound-noise components of the gameplay affect players, the manufacturers of arcade machines understood: the more interesting the slot machine sounds, the more visitors it attracts. In times of severe lack of RAM, when games were placed on floppy disks, and the sounds were compressed by the most incredible methods, the developers at any cost tried to create minimal audio effects. Even if they had to sacrifice the quality of the graphics.





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Today, sound-noise components are one of the main components of any video game. Without them, it is impossible to make the game universe reliable, which means to entice the player and immerse him in a state of flow. In this article we will understand how sounds can affect the setting, gameplay and psyche of the player.

Sound components of screensavers, trailers and logos

Spectacular animated logos of developers and publishers - the first thing that the user sees when starting the application. The more epic the logo and sound will be, the greater the chance that the player will remember the name of the company, and in the future will pay attention to the products of this particular developer. There are both a kind of PR element and a practical meaning in the use of screensavers: animated logos allow the player to check if everything is in order with the audio and video components before the game starts.

There are several approaches to the sound of animated logos:

1. Create a melody and sound noise components that will accompany the company logo in any game. Thus, the player from the first seconds finds out who is its developer, and will always associate the logo sounds with the emotions received during the gameplay.



2. Adapt the logo and sound design for each project. This approach allows you to immerse the player in the selected setting from the very first seconds, but it is expensive.



Also of great importance are the sounds of in-game screensavers and trailers. Together they convey the mood of the game, denote the setting and promote the immersion of the players. Sound effects must fully match the gaming atmosphere, as well as impress the viewer. Sound designer Andrew Lucky, who created most of the audio effects for the trailer for Sparta War of Empires, used the sounds recorded live to convey the dynamics of the fierce fighting between two armies:



Interface and menu sounds

The game interface can be divided into external (main menu where you can select a save file, set the game difficulty settings, graphics and sound settings) and internal (skill list, inventory, experience settings window, etc.).
In the previous article we talked about diegetic and extradiegetic music. This classification is also applicable to the sound components of the interface. In this case, it would seem, the obvious extradiegetical sound of the external menu sometimes successfully impersonates a diegetic. Such a disguise is characteristic of transdiegetic sounds that simultaneously play a functional role and belong to the world of the game.

Extradiegetic sounds are often inherent to the external interface: clicks between menu buttons, background music and some audio effects taken from the gameplay.



High-quality voice of the menu is usually aimed at immersing the player in the atmosphere of the selected setting. For example, in the game Sherlock Holmes: Crimes and Punishments, when you switch between menu items, clicks are heard that are similar to pressing the keys of an old typewriter. The gloomy atmosphere of what is happening is being pumped not only with the help of disturbing music, but also with the noise of rain.



At the same time, in some games (made mainly in the FPS genre), the immersive gameplay technique is used in the external menu. In Mass Effect 2, the interface is designed in the style of a monitor located directly aboard the Normandy. All sounds, as well as background noise contribute to a sense of immersion and identification of the player with the main character.

A similar technique is implemented in Metro: Last Light, where already when viewing the menu, the player feels like the main character standing at the trolley. The sounds that the player hears while doing so — the clicks of the buttons, the hum of the motor — are transdiegetic.



The internal interface is in most cases represented by diegetic sounds and modeled so that the player perceives it as part of the game world. In Sherlock Holmes: Crimes and Punishments, the internal menu is designed in the style of a Holmes notebook. When switching between tabs, the player hears page turning, and when closing - the sound of a slamming book.

The sounds and background noise of the external and internal interfaces must match the setting and at the same time be unobtrusive. It is also worth considering the following: a certain type of sound must be tied to the corresponding action so that the player can find the desired button with his eyes closed.

Soundshots in gameplay

Depending on the genre of the game, the sound engineer can pursue different goals in working with sounds and background noise: to scare the player, give him some game details, convince him of what is happening. You can show the user the accuracy and volume of the game universe with the help of a number of such sound effects:

Sounds of a character. The player hears the breath, heartbeat, the sound of footsteps and the rustle of the main character's clothes. This allows you to show not only the physical or psychological state of the protagonist, but also to maximize the merger of the player with him.



The sounds of objects with which the character interacts. This category can be attributed to the sound of weapons, the roar of the car on which the character rides, the crackle of the wall, which he has just pierced his forehead.
The sounds of other characters and items with which they interact. These are the screams of monsters, the noise of footsteps, the thunder of cannon shots and so on.



Sounds of the world. These include any noise that occurs without the participation of the character: birds singing, the sound of opening hatches or elevator doors, the crackling of electricity, and so on.



Depending on the chosen genre and setting, the sound bows perform various functions:

Informative. In Limbo there is a small episode in which you need to get through a dark cave in order to gain a level and find a secret level. In this case, the player can only be guided by the sounds: the character's steps, the effects of jumping, the splash of water.
Signal. Good game designers usually warn the player of impending danger. In addition, using signals, you can notify about the overflowing inventory or successfully completed action.



Recognizable. When in the game “Rules of War” a player clicks on the building of the barracks, he hears the tramp of boots and a soldier’s song, and when he clicks on a motorcycle factory, he roars engines.
Immersive and atmospheric. The brighter the player's emotions, the more he sinks into the chosen setting.
A commercial. Some sounds have already become cult, so their use in projects causes a stir not only among regular players, but also attracts new ones. For example, the sound of a light sword that cuts through the air is quite recognizable, or a slight hiss accompanying the appearance of an Alien.

At the start of working with sound, it is necessary to draw up a design document in which it will be described what a particular character or object is and what sound can correspond to it. At the same time, not only each game genre, but also a single game has its own characteristics that should be considered when working with audio effects. For shooters, the accuracy of the transmission of the atmosphere of battle is important. Sound engineers approach this task differently: some conduct a field recording with a real weapon, while others use sound libraries and mixing. Even realistic sounds are usually processed to give a cinematic effect. As you know, the noise of shots and explosions, which we hear in cinemas, is different from the one that rattles on the battlefield.



In strategies, the importance of sounds is extremely high: they serve to convey the setting and often perform an informative function. Therefore, it is important to make the audio sequence not only reliable, but also recognizable: the player must quickly orient himself in the playing space by the sound accompanying one or another action.



Horrorism usually focuses on atmospheric conditions. To create the desired entourage in the games of this genre, a huge role is played by the sounds of the surrounding world, as well as other characters. As a rule, the necessary frightening effects are achieved by mixing several different sounds or changing the pitch of the sound.



To create a high-quality sound design of the game you need to consider:

Genre and setting. The Beretta 3032 Tomcat pistol shots in Alan Wake, Battlefield and Silent Hill will sound completely different.
Zonality and adaptability. Footsteps in a desert, city, or jungle cannot sound the same. If the hero shoots in the tunnel, the player must hear an echo.
Variability. In real life, it is difficult to close the door several times with the same sound. So that unnatural monotony does not cut the ear, a set of sounds are usually recorded, which later vary or are randomized.
Dynamism. To the sounds of even the most fantastic universes, the Doppler effect is applicable, and the volume of the shot always varies depending on how far from the player it has sounded.



Compatibility The sound can be perfect separately, but in combination with other effects lose its magnificence and functionality. The sound engineer needs to present an overall picture of the action in order to understand how to achieve sound harmony and avoid noise chaos.
Psychology of perception. If the phone rings, the reflex is triggered by the person: pick up the phone. Some sounds cause discomfort and desire to get away quickly: the crunch of bones, the growl of a dog. Others, such as the crying of a child, a female cry or a sharp crunch, can attract attention and encourage them to meet their source. The volume and pitch of the sound can vary depending on the tasks, however it is important to understand what emotions and associations the audio effect will cause the player.

In-game sounds are often able to tell a story as well as, and sometimes more expressively, than a visual series. Silent Hills: Playable Teaser (PT) employs many tricks to help the player experience the game world and understand its history.



The character is represented by the noise of the steps, but if you listen, you can find similarities between the sound of the tread and the heartbeat. The atmosphere is pumped by the sounds in the house: the creaking of the stairs and floorboards, the noise of the rain hitting the windows, the rumble of electric lamps. At the same time, the frightening moments are built on the principles of distortion and inconsistency: the woman’s cry is heard behind the door, but the timbre of her voice is unnaturally low. The attention of the player is attracted by the cry of the child, but it produces a monstrous germ.

In this mini-game, the contrast between the authenticity of the sound and the unreliability of its source is interesting.
The apogee becomes the scene of the murder of a woman, told with the help of only sounds. Without any graphic or text explanation, the player understands what happened in the room.



Thus, the sounds and noises in video games perform many functions, without which it is impossible to imagine a full-fledged gameplay. In addition, the audio component serves as an additional narrative tool that can not only display and enhance the setting, but also completely change the emotional perception of gaming reality.