Previous coverage of the audio development process has taken a look at everything except working with individual sound samples. They are of course the building blocks of the entire system–if they aren’t appropriate and each working to enhance the overall experience, then the game is better off mute. That would save a lot of time, […]
Any game that wants to play more than just a few sounds, or tie sounds to the game in an interesting way, needs some kind of audio engine. This can range from something as simple as an in-house sound manager with per-sample volume controls to the powerful fully dynamic sound engine that is FMOD. FMOD […]
While there are many non-weapon sound effects to be heard in Cogmind, a majority still belong to gunfire, lasers, explosions, etc. Like working with particle effects, before creating and assigning them to specific weapons the planned sounds were organized into subgroups according to their properties. Many of these properties were already taken into consideration during […]
Sound effects are not something you see (hear) in many traditional roguelikes. This makes sense from a developer perspective because there is often such a huge variety of content that it becomes a massive and difficult undertaking to provide sounds for everything. Adding sound effects is akin to adding high-resolution art assets–it detracts from gameplay/mechanics/content […]
Traditional roguelikes are both at an advantage and disadvantage when it comes to accommodating color blind players. On the one hand recoloring monochrome glyphs is a fairly straightforward process; on the other a game lacking any method of adjusting colors can be difficult for some to play, more so than say a game with unique […]
RSS (posts)
Mastodon
Patreon
Discord
/r/Cogmind
Indie DB