Fascinating commentary by Kenny Young, Head of Audio at Media Molecule, gives you an inside look at the joys and challenges of designing sound from the bottom up for a video game in this article in Designing Sound. He discusses his work on Tearaway and offers several opinions about creating the audio for video games in general. For instance:
“Those of us who work in games have a massive advantage over those who work in traditional linear media – even if audio tends to be brought in later than other disciplines, the constant iteration and flux of a game during development provides opportunities for audio to influence the project.”
“If there is one thing that is missing in the early stage of a game’s development it is well-defined and reliable context, even more so when developing a new intellectual property from scratch… There is a leap of faith required whereby you need to let go of creating anything coherent and embrace your inner incompetent audio designer – kiss goodbye to doing any work that chimes on multiple levels. It’s like being a beginner all over again, only more painful because you have the curse of knowing what it feels like to do good work.
“Sounds thrown at a prototype by a programmer are not going to develop and improve over time which prevents a more sophisticated audio aesthetic from emerging.”
The article includes samples of work throughout to demonstrate the techniques used or solutions developed. He also talks at length about the decisions that went into creating what seemed like a simple idea – give players the chance to touch the record to make the music stop, scratch the record to scratch the music and have fun doing so – but it wasn’t as simple as it sounded.
After reading the piece do you agree/disagree with any of his ideas?