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Garian Leighton-Anderson
For this project I was in charge of sound effects and music design. Early in development we approached this project with iteration and prototyping in mind. After the first few weeks of developing separate ideas, the desert concept was solidified and we developed that project with a solid conceptual basis.
My job was to develop Foley and sound effects along with the game developers to enhance the elements that they were creating, such as the power ups and the barriers. I worked closely with the programmers to make sure that the sound effects were appropriate and complementing rather than distracting. I used experimental techniques to create a lot of the ‘magical’ sounding effects. During weekly meetings with the team we discussed and developed ideas to implement and test for the following weeks.
My main area of research resided in musical language through composition techniques and dynamic music in games. I researched the emotional impact that music has on the audience and how necessary it is to set the tone. I experimented a lot with dynamic music and changing music as you progress through games and discovered it’s very difficult to change music without you noticing or feeling different. Instead of trying to go unnoticed, I decided to lean into the musical language of slow change and developed the composition and music control from there. Using subtle changes in the music in Oasis creates strong effects on the tone of the game developing from a light-hearted adventure feeling to a more tense situation just by using subtle track changes based on when and where you get more power ups.
For this project I was in charge of sound effects and music design. Early in development we approached this project with iteration and prototyping in mind. After the first few weeks of developing separate ideas, the desert concept was solidified and we developed that project with a solid conceptual basis.
My job was to develop Foley and sound effects along with the game developers to enhance the elements that they were creating, such as the power ups and the barriers. I worked closely with the programmers to make sure that the sound effects were appropriate and complementing rather than distracting. I used experimental techniques to create a lot of the ‘magical’ sounding effects. During weekly meetings with the team we discussed and developed ideas to implement and test for the following weeks.
My main area of research resided in musical language through composition techniques and dynamic music in games. I researched the emotional impact that music has on the audience and how necessary it is to set the tone. I experimented a lot with dynamic music and changing music as you progress through games and discovered it’s very difficult to change music without you noticing or feeling different. Instead of trying to go unnoticed, I decided to lean into the musical language of slow change and developed the composition and music control from there. Using subtle changes in the music in Oasis creates strong effects on the tone of the game developing from a light-hearted adventure feeling to a more tense situation just by using subtle track changes based on when and where you get more power ups.