The introduction to this article in Gamasutra by Luke McMillian sets the tone for the piece. “When a sound engineer is given the task of recording a particular sound, they rely on a set of tools such as microphones and preamps to take a less than ideal input signal and ‘shape’ this input to what they desire. What we hear as consumer is the product of many hours of fine tuning and tweaking to reach the ideal outcome. Games are no different.
Their designers test and fine tune their product until they have crafted what they believe to be the most ideal player experience. The difference for a game designer is that the method of achieving this ideal player experience doesn’t come in the form of a tangible, standardized device.”
This in-depth comparison between the work of a sound designer and a game designer covers a lot of territory including using noise to stifle competition and the different types of noise used to do this – action noise, rules noise, feedback noise and model noise – and strategies for applying noise.
The piece also mentions Cogswell grad, Steve Swink, for offering “one of the best ways of thinking of games in terms of representational layers, versus mechanics. Swink does this by visualizing how Street Fighter is merely a collection of moving rectangles tied to mathematical formulae BUT represented visually in a way that provides the player with context.”
How will you use sound in your next game project?