This makes it very persuasive in telling the player that something is important and deserves their attention. Most times, the auditory and visual cues work in conjunction with one another. Are they marvelling at the art or environment of a new area in an RPG with a massive world? Will they be able to make the jump from one level to another in a platformer? Do they need to be ready to dodge an enemy attack? Focus attentionĪ very powerful intent from a design perspective is what our player is focusing on. For some, seeing all the sounds that populate our game worlds can help make it clear how vital the sounds are. Everything we see is based on sound, so if we see anything it's because that action/object/event has an intrinsic sound with it.
If something isn't generating sound on its own, the only way we see it is if sound travels out, bounces off surfaces in the environment, and returns to the listener. The premise of Perception is everything we see is based on sound in the space/world. Pretty much every game is brimming with sound filling this role, but for an even more visceral example check out the game, Perception. Starting or stopping "out of sync" is just as much of a glaring error as not having the sound at all. These sounds need to be present, but also need to be choreographed to the visual gesture. If we don't hear something when expected, it can be one of the most powerful ways to lose that sense of suspending disbelief or "buying" into the experience. When an action happens - such as a character moving, using an ability, or the player selecting something in the UI - we need to hear something that seems "appropriate" concurrently. This is probably the most straightforward entry on this list. With that in mind, here are eight different ways sound can be used in games: Contextual/narrative sound A single sound can be doing many different things at once. If you work in games, you should think about its capabilities for your project, or work with someone who understands what effects it can have and all the ways it can be used. In my game audio classes at DePaul University, I always point out moments when we hear the same thing in games but have a very different response or reaction to them. This is true from an emotional, informative and clarity standpoint. Additionally, the same sound used in one context can have a completely different meaning in another. One of the wonderful things about sound is that it can accomplish many different things.
He also teaches as adjunct faculty in the film and game programs at DePaul University in Chicago. Elliot Callighan is a composer and sound designer, and the owner of Unlock Audio.