This game was made by a small and talented team for AT&T’s presentation booth at the Chinese New Year Festival’s Flower Market Fair this weekend (Jan 30 and 31st) in SF Chinatown. It’s multiplayer on several android devices at the booth, and players’ scores are updated live on a central display screen. This is a quick screen grab of what the player sees on the devices, but you’ll have to visit us in person at the fair to see and hear all the animations and sounds that get fired off on the central screen as the players rack up their gold coins. Details: Chinese New Year Festival
Go, little burdies, go! Burds, the addictive puzzle game created by Justin Cooper and Troy Sandal at Tiny Marble, is currently featured in the “Best New Games” category in the App Store. I couldn’t be more delighted. It’s a charming game that was a pleasure to work on. Every SFX in this game is very musical: There are tons of tiered musical rewards, and I had a lot of fun voicing the singing burds. I used some pitch and formant shifters to make the burd voices cute and small, and layered the results to get a chorus of them. The basic tweets and chirps for when you connect 2 or more are crafted with a little FM synth magic. This game’s art was an inspiration — I fell in love immediately and the characters’ warbly little singing voices came to me quickly. Check it out here: Burds iOS
Each God Realm in Heroes & Havoc has its own unique, signature soundscape. One of my favorite sound moments in the game is when story placards for the Isha Realm appear. Listen for the moment or two of tranquility before I get clobbered by the arrows of the Isha warriors (I get a few Havoc hits in later that even things out, but here at the beginning of this battle I take a lot of damage). The story placards usually appear right before a battle, so when I was creating them, I was trying to get the ambiences to (gently) break the forward momentum, giving the player the time and mental space to focus on the text and maybe get into the story a little. The Isha one has a nice hushed, sacred feel.
This is a prototype making its way through production right now. Completely rad spaceship flocking behavior, as well as everything in this game besides sound asset creation, courtesy of Marc LeBlanc – graphics, galaxies, AI. I am especially proud of the fighter fleet’s shoot sound pitch shift variation happening via Marc’s drunk walk algorithm. I built a quick max patch to sketch out how I wanted it to sound, and he made it happen in the iOS build. Every time your opponent takes out one of your starbases, the music track changes to something increasingly urgent. In my second game, you can hear this happen very quickly as my opponent (red) makes quick work of destroying them.
The plan for this blog was that the majority of my posts be about my personal work as a sound artist and composer. But I’m finding that most of the time, I’d rather post about game audio work I’m particularly proud of, because the day job has gotten so…well.. interesting, to me, as a tweaker of all things audio. This is the first game trailer I’ve done in a while, and I found it challenging to be the composer, sound designer and mastering engineer, and turn it around in a little over 48 hours. Congrats to the Electrified Games art team for producing such beautiful work.
I designed the sound effects and composed the music for WoTC’s Kaijudo Online TCG. The in-game background music has 2 layers that are dynamically mixed according to game state. In the player’s and opponent’s attack phase, a more percussive layer ramps up, and fades down again when the game returns to its more strategic mana phase. Also, in this capture you’ll see that my opponent casts the Spectre Claw spell on me, so you get to hear one of my favorite examples of the spell sound effects I created for this game.