Fish like being in water, so I had the idea to flip the dampening idea on it’s head. The score of I Am Fish is intended to mirror the emotional state of the fish, especially as the game plays a lot with things that seem unthreatening on their face but are rather different when you’re a 10cm goldfish. How do I make this game not sound dull and flat when I’m underwater, when I know that the allegory for underwater is to roll off a bunch of high frequencies? The answer came to me from the music. Water, music and how not to make it all sound dullįrom day one of this project I had a big question on my mind. Secondly I also defined “traversable edge” regions (shown in yellow), for edge areas that were important to gameplay, usually because they were the player’s destination.Īs you can hear in the following video, the surface spline is located directly below the camera to enable the sound to attenuation for camera height, but importantly it also stops when it reaches the red marked boundary, and waits there until the player returns as our puffer friend has a real penchant for getting out of bounds! First was getting our graphics programmer to define a “surface boundary” for each body of water, shown with the red line. I focused on two uses of this to try and get good coverage for water audio. Surfaces and edgesĪs those who have attempted it before know, water is a little bit tricky for object-based audio and the use of a spline system to move the sound source relative to the player is required. I could trickle on at length about how we made the water sound splash off the screen… But I’ll just pick a couple of things. This seemed very obvious once I’d found the solution but took me a while to recognise. I solved this by using angle of impact for the first time so there are two types of designed impacts - scrapes (when the angle of impact is between 10-60 degrees) and hits (when the angle is 60-90 degrees), which are selected using Switch Groups. Mostly it was fairly straightforward to use this vehicle’s momentum to drive RTPCs, however I was struggling with the impacts and they are the key layer for gameplay feel. I wanted to quickly share one thing about the ice-cube vehicle too, shown in the video. My first attempt of chopping up and recombining individual rotations was fruitless, so I settled on the approach of using an LFO in Wwise to create this shape dynamically in a designed piece of noise.Īs you can see in the video, I set up a parametric EQ on the mix busses for rolling sounds, (in-picture left) then used a rolling speed parameter to control the Attack, Depth of Frequency of an LFO (in-picture right) to apply the “sound of rolling” to the noise layers. From recording and analysing a bunch of glass things rolling and spinning around, I realised that the main “sound of rolling” is defined by a sine sweep that describes a full rotation, and this should slow down and speed up based on roll speed. Initial tests on layers and processing for a rolling glass object showed that a traditional vehicle approach of pitch ramping through a blend of layers was not going to work. The fish bowl audio needed to be readable at both very low speeds but could also reach very fast speeds for a decent amount of time. Mop buckets, dumpsters, observation tanks, beer glasses, mine carts, large jars, a spherical fish bowl, luggage, a cube of ice, an inebriated human male and more! I wanted to share a couple of details on the design and usage of Wwise for two of these. I Am Fish lets the player/fish control some unusual and bizarre vehicles which were a blast to make sounds for. So let’s dive in! (Sorry, I will try to keep piscine puns to a minimum, but they were a mainstay on our team slack so I might have to Plaice a few in ) The audio designer for the project, Ali Tocher at LookListen Audio, was asked by Audiokinetic to share a few tricks, tips and takeaways from using Wwise on the game. The game features a variety of bizarre physics-based vehicle audio, dynamic music, a bunch of systems to handle water (would you believe), as well as the challenge of making the player feel like four very different fish. It was developed by London-based Bossa Studios and is a spiritual successor to their earlier hit I Am Bread. I Am Fish is a charming, physics-based adventure which sees the player take the fortunes of four intrepid fish friends into their hands as they try to escape for the sea.
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