There’s more to say on the matter, but this is a tutorial not a game audio theory lesson, so let’s dive in. For example, if you know players will encounter a vast grassland with a few small streams, you would need to prepare a large- or medium-sized bank of "grassy" footsteps and a smaller bank of steps with some mud squelches and splashes of water. The point is that in a constructed game world we know what all of the variables will be and (thankfully) can use those as limiting factors to define the scope of our design work. In our physical world there are hundreds (perhaps thousands) of variables that could factor into the sound of a single footstep-What shoes am I wearing (if any)? What surface is beneath me? Am I running or walking? What do I carry with me? Is the ground wet or dry? How wet? What made it wet? This could go on forever. And it will sound different from the next. This step sounds different than the one before. Repeat with another, and another, and another… Yes, the events go on indefinitely but with sufficient variety in your bank of available sounds you can create the impression that every event is unique. Rather, randomly choose from a selection of available sounds and play that one. The concept is very simple: when an in-game event occurs, play a sound. In order to break up the potential monotony players often experience when hearing the same sound play when the same action is required time and time again, it’s helpful to use randomization. Adventure games are likely to use lots of walking or footstep sounds, shooters have an arsenal of blazing gunfire, platformers have lots of jumping…you get the point. Many game genres utilize some sounds more than others. PRO: "Use that jump sound as often as you can so as to reduce overall file size."ĬON: "Be careful! That explosion sound starts to sound very tedious after the bajillionth enemy ship has been destroyed…"ĭepending on the context, arguments both for and against repeated sounds have merit. And depending on the specifics of the topic, repeated sounds can be viewed from both positive and negative perspectives, ![]() ![]() Every discussion of game audio invariably touches on the essential concept of repetition.
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