A Rough Sketch for Atmos

1. Zone 1 (Spaceship + Fireflies)
2. Zone 2 (Ambient Drone Loops / Wider Atmos)
3. Zone 3 (Subtle incline in Atmos from z2-z3)

I decided to hone in on realism as much as possible for the overall tone of the project.  

Comprised of various tropical beds throughout each zone, the player experiences subtle atmospheric variations as they progress further through the level.  As the player aproaches and enters Zone 3, there is a widening effect in atmosphere, as the camera climbs in altitude, signifying a more open space, and lighter tone.

Within the Interactive Music Hierarchy, I developed a looping system that would play predominantly within Zone 2 and into Zone 3.  It is based on portamento pitch bends between various low sustaining bells (with not attacks). Tonally ambigious, it is designed to create a slightly unsettled feeling as the Player explores the strange, new island, without being overtly recognisable in it’s loop.  As it isn’t tempo specific, the system randomizes between various free flowing mixdowns, albeit ducking / sidechaining under important triggers, avoiding any unnecessary tonal clashes.

• 1. Character (Footsteps / Strikes “combos” / Hurt).

Similar to to the atmos, I wanted to feel a sense of realism as much as possible when designing and implementing the Character strikes, over a more synthesized aproach. Split into 4 layers, I mixed down and then grouped each animation variation (woosh, sword lazer sound..) into its respective blend containers. Then, through profiling the game, I mixed the assets further in Wwise – gluing and editing the source (to get the tightest attack possible), so as to really imprint the sound onto Ellen.

Layers / Containers:

Wooshes
Sword Lazer Longs
Sword Lazer Shorts  
Vocalisation (Present only on 2 + 4)

• 2. Enemy (Bark, Bite, Struck / Death)

Gluing each asset firmly to the visuals was of the upmost importance in maintaining a sense of realism, similar to Ellen.  I wanted to achieve a fun, playful percussiviness when striking the enemy, that would feel satisfying for the player; the overall hit is achieved through various electronic drums, vocalisation pitching and sfx squelching, randomizing slightly in pitch for novelty.  

• 2. Enemy (Footsteps).

The Enemy footsteps were handled in a similar manner; edited down from Protools, (in this case from 6 b.wavs), and then treated similarly within a random container.  I then moved onto Player / Enemy distances - focusing specifically on the LP filter.  I wanted the footsteps to feel percussive and immersive on either side of the player, but dissipating quickly when at a distance.

• 1. Sword Pickup, Ambient Loop into Trigger.

As Ellen aproaches the Sowrd Pickup, we begin to hear a vocal line, with electircal hums, representing the vibrant light, emiited from the trigger. As Ellen pick up the sword, the drone is sidechained, so no musical collision takes place, before gradually fading back in.

• 1. Character + Enemy effected.

I created a switch container, to change material from grass to stone as Ellen jumps onto the platform. The Switch group is comprised of two blend containers, each with 6 variations of footsteps, that are then hooked up to L & R Animation Events, in Unity, via Visual Studio.

Yr. / 2023 / Stereo | 3D Objects.
3D Gamekit