Posts have slowed a little on here recently as I’ve been working on a number of freelance projects, however I have recently updated my Cartrdge page to include my latest portfolio work. If you’ve not heard of Cartrdge before I’d suggest having a nosey at some of the developers, artists etc that are currently using the platform as there are some hugely talented folks indeed. You can find my page HERE including updates for Lake Lodge & DATA Labs.
Two weeks ago I launched my third year major project ‘Digital Dark Age’ – a playable concept album created in Unreal Engine. Since then I’ve been working to compile all the aspects of the projects production into an archive for the submission deadline on the 21st April but I wanted to write a quick post to outline a few thoughts from the launch event and some points for development in the future.
Firstly, I had underestimated just how much work was necessary to complete everything I had in mind, but conversely I ended up creating more content than I had initially planned! My original proposal and concept for the level seemed ambitious but achievable, and this has remained true throughout the projects duration however there were many aspects of DDA’s production that I spent a lot longer on than intended. This included:
– Graphics / Artwork design and production (flyers, posters, in-game artwork, logos and MORE!)
– Animations and GIFs (in-game footage, logo and text animations)
– Social media promotion – I thought it would be good experience trying to promote a project like this as I plan to develop the idea (and similar projects) in the future.
The amount of content I had created didn’t really hit home until I started going through all the project’s folders but hopefully it will form a comprehensive archive that really showcases the work I’ve put into Digital Dark Age. So what now? The day after the launch event I was quite useless, tired and just needed a bit of a break mentally from the project but I’m very pleased with how it went. A number of folks came and tried the level and I got some fantastic feedback from people which has definitely inspired me to continue development of the level in the future.
After I’ve got my assignment all finished and handed in I’m going to focus on a few aspects of the level I know I want to develop:
– Optimising the level so it plays on less powerful computers
– Adding more interactive props at each point in the level
– Work on the overall audio mix and output volume
– Including additional vox-pops and audio commentary
– Adding main menu options for controlling graphics / audio settings
– Fixing a number of small bugs in the level’s mechanics
I feel that there is significant scope for Digital Dark Age, both as a learning project for me and an interactive learning environment focussing on the issues of digital preservation, sustainability and our digital heritage. I’d like to thank everyone that came down to the launch event and that’s offered feedback and thoughts after playing the level, both in person and online. I’ll be posting a final project overview style blog post close to my deadline in a couple of weeks. In the meantime feel free to download Digital Dark Age v.1.0 HERE (Windows only at the moment I’m afraid!) and have a listen to the soundtrack.
Hi folks! A welcome break from ‘Digital Dark Age’ I’m sure for any readers of this blog – moving onto a project I’ve been working on for some time with Massive Galaxy studios, based in Portugal. I’ve composed a number of pieces of music for the game, including the title theme which you’ll be able to hear in the forthcoming trailer. For now, here’s a selection of some music from the various scenes and levels in-game.
I’ve been working on my degree major project ‘Digital Dark Age’ at Futureworks here in Manchester for 7 months, which isn’t really that long but it feels like an eternity! One thing I’m super happy with is how much I’ve learned and developed over that time. Even though some days it feels like I’m banging my head against a virtual brick wall with Unreal Engine, the problems I’ve encountered and (thankfully) solved have been an important part of this journey.
My initial goal was to create an immersive environment within which I could feature 5 original compositions that form a short concept album, this would be supported by a digital and physical format release via my Bandcamp page. I knew that I wanted something quite stylised for the whole project, and it turns out that the first person level I created in Unreal became a bit of an obsession! I spent a lot of time on the 5 songs for this project, and I felt that the level had to match that degree of authenticity and the aesthetic I was trying to portray… cue countless nights stuck trying to figure out (relatively simple) tasks in Unreal Engine, losing builds, breaking the mechanics of certain features, losing audio, getting audio back, running at 13fps, scripting Blueprints until 3am and trying to figure out what an earth I’d done wrong whilst drinking LOTS of coffee.
A lot of tasks took longer than they should have, but I was at the end of the day teaching myself techniques and methods I’d read about in the Unreal documentation and via Youtube tutorial videos (which are sometimes more trouble than they’re worth). I think it’s important to talk about the problems I encountered as it makes me feel a whole lot better knowing that I’ve solved 99% of them, and I want to say a big thank you to everyone that’s helped support the project (folks on floor 2 at Futureworks I’m talking to you!).
The project finally launches tomorrow at the Eagle Inn in Salford, which has a suitably small and dark venue. It’s free entry and I’ll be around from 6pm onwards so feel free to come along for a pint and a natter. I’ll have 10 of the cassettes to sell and folks will be able to play on the level first hand. The night will be streamed live via Facebook (part of my assessed criteria) and maybe via Twitter as well. My next blog post will be after the launch and (if I’m still breathing) I’ll be reflecting on the event itself.
Thanks for reading folks and I’d love to hear your thoughts on the project.
Check out Digital Dark Age on Cartrdge here Digital / Cassette Album on Bandcamp here
As mentioned in my previous post my interactive concept album / EP will be available to download and play on March 21st – however cassette / digital pre-orders are open now! Any support would be greatly appreciated so please share this with a friend, family member or even an intrigued pet!
My third year degree major project ‘Digital Dark Age’ is due for launch on the 21st March, which is not that long away at all! I have roughly 1 month to finish all the interactive elements in the level and dub the cassettes / get the Bandcamp page ready for release and write everything up so I still have lots to do. All the finished mixes have now been sent off for mastering and most things are in place for the launch.
I’m really pleased with my progress so far, and I hope everyone will enjoy the level when I make it available to download. You’ll need a Windows PC (no MacOS build I’m afraid!) and I recommend you play on headphones to get the full effect. In the meantime – if anyone is interested in attending the launch event or would like more information on the project then let me know or give me a shout on Twitter! Check out the album preview below!
I’ll be writing a full summary and introduction to the project which will be available shortly, you can also check out the project HERE on Cartrdge.
Hi folks! After a rather frustrating hard drive disaster back in December it’s been slow progress getting back into development of DATA labs but over the last couple of weeks I’ve been begrudgingly rebuilding the parts of the level that I lost and added some cool new features! One of these being a small public address speaker that’s been ‘hotwired’ to play some radio music in the rear office. Check it out below!
As well as the usual distance attenuation using overall level and a slight low pass filter, I’ve also included some reverb attenuation that boosts the verb the further you are away from the audio source, until you’re far enough away that the sound dies out completely. This is something I’ve started implementing on some of the ‘louder’ audio sources in the level, notably the petrol generator in the access corridor and the main public address system announcements.
I’ve been working on ‘Digital Dark Age’ now for around 3 months – and during that time I’ve been really happy with the progress I’ve made. It’s an ambitious project, but one that has already had a significant impact on my knowledge of interactive audio and game development. My demo level ‘DATA Labs’ was great practice for this project, having developed many of the blueprint scripts and working out a few bugs previously made the level design of DDA a lot easier, however I have run into a number of issues over the course of its development though thankfully nearly all of these have been addressed!
If you’ve not read any of my previous posts on the project, in brief its an interactive concept album in first-person style. As you play through the level you’re introduced to the theme of the Digital Dark Age, find out a little more about it and listen to 5 original compositions that I have created specifically for the level. Not only that, but depending on the speed you play through the level and how you move about, the music will change and adapt creating a much more interesting score than a typical linear piece of music – essentially it’s ‘adaptive music’ or ‘dynamic music’ or ‘interactive music’ (which ever term you feel more comfortable with as there seem to be a number of definitions for each!)
Some of the main problems I’ve encountered so far have been the multitude of trigger cues for each of the pieces of music. I’m using Unreal Blueprints and FMOD parameters to control how music is triggered and manipulated in the game (see screenshot below) and this has been a bit of trial and error to make it work smoothly. I had some major issues with box collisions but thankfully these have been sorted out and it’s all working as it should!
I’ve had a lot of fun designed the graphics for each of the songs, and these are represented as computer terminals in-game that sit at each of the different parts of the level (one for every song). I hope to expand on these a little more to include more interactivity before my assignment deadline in March!
I’ve created an incomplete to-do list below of things that I’m planning on finishing, and hoping to implement in the next few weeks.
Player interaction blueprint to bring up further information at each terminal
Smoother transitions between musical cues to allow for a more ‘seamless’ experience.
Development of character footstep sounds and environment ambience.
Improved look and feel of lighting (HELP!) Flickering lights here and there.
Development of headbob blueprint and character movement input.
Some kind of ending…. possible with the player being teleported back to the start of the level (mostly for showcasing purposes at launch event).
Post processing adjustment to better suit the feel of the music.
Recently I’ve been working on audio for a first person shooter created in Unity, the team are using FMOD for audio implementation and one of the first stages was setting up a useful material based footstep system. I’ve been through a few iterations so far, but have finally settled on a system that I’m happy with. The challenge was making the audio engine easily adaptable when new materials and objects were introduced in-game, which is of course really useful when you’re in the the early stages of development!
The first system can be seen in the screenshots below, showing the Object Footsteps event inside FMOD. Each track had a nested event which contained its associated object footstep sound, and the Object parameter control at the top, basically automated which one you’d hear depending on the surface the character stood on. (automation can be seen in fig 1.2).
This system worked however my main concern was that every event would be playing simultaneously each time a footstep event cue was triggered in the game – this meant over 40 audio assets being run in real time for each step! Clearly… this was not the best solution (especially when you take multiplayer networking into account) so I adapted the system so that only one footstep event would play at a given moment, reducing the amount of audio being played back at once and optimising performance in the process. You can check out some of the sounds and how the object parameter value effects the event in the video below.
Fig 1.3 shows the logic behind the event, which is super simple! Unity will send a value between 0 and 8 for every step sound that is triggered. In this case ‘0’ is the generic default step, ‘1’ is asphalt and so on. Then each of the nested events (blue regions) are given a specific target range to work on (shown bottom right). For example the target range of the generic step is between 0 and 0.9, asphalt is 1 and 1.9 etc. Obviously this relies on your audio programmer or whoever is incharge of scripting inside Unity to send out the values so that FMOD can read them – but it’s fairly straightforward once you’ve got the system in place.
The next step will be to add a ‘crouch’ parameter which will change the sound of each footstep event if the player is in the crouch position. Stay tuned!
If you’ve been following my progress on Twitter with fellow audio enthusiast Wes you may have seen a few posts about ‘Lake Lodge’ – a game audio demo environment we’ve been working on together to showcase our combined sound design and compositional skills. The project has been in development for some time and has been a great way to learn about game audio implementation and the complexities of creating adaptive score for game music. So far we’ve spent most of our time working on the character sounds, this included recording custom footsteps, clothing and backpack sound effects assets both using field and foley recording sessions. We’ve also implemented some daytime ambient layers including wind, leaves and birds.