Playdead limbo logo png8/10/2023 ![]() ![]() What does sophisticated audio bring to game production? By making game audio sophisticated, we’ve promoted sound from being a mere mechanical, passive passenger to an active contributor to the overall game experience. I worked closely with LIMBO’s game director, Arnt Jensen, to define the particular needs for the audio, and thanks to the willingness and support of the development team, the final result ended up being equally complex and compelling. By dividing up the tasks, as recommended in the Wwise SDK, we were able to establish a workflow that enabled us to get the most out of Wwise. On LIMBO, my job was to articulate the overall sound world through sound recording, processing, and implementation. Fortunately, the game director spotted corresponding qualities in my musical work, and I eventually got the chance to pitch my ideas for the project. There was so much ambiguity in the blurred, black & white artistic style that I began to see the visuals as a canvas for each players own associations and interpretations. When I first came across the original concept trailer, I immediately spotted several qualities in the visuals that I could relate to my own compositional work. It was actually LIMBO that made me venture into game audio. How did you get started in the game industry? ![]() More recently, I’ve been exploring how electroacoustic music can contribute to audiovisual work, playing the role of sound design and music at the same time. I then moved on to electroacoustic composition working within various disciplines including acousmatic music, interactive music, sound installation, and electroacoustic performance. I started my professional career a decade ago doing contemporary instrumental composition. ![]()
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