I often look back on the time it’s taken Cogmind to reach this stage and ask myself “why the #!@^# is it not done yet?!” (That’s actually me standing in a corridor between a Potion of Speed Coding and Trap of Feature Creep.) More recently I’ve also been wondering if the investment is worth it–think […]
About one year ago I launched this new blog to provide updates on Cogmind’s development. 1,533 hours later development is still chugging along. Yes, I keep detailed stats about where time is allocated and plan to share those figures and more in a (much) later post, but today I want to write about the first […]
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 […]
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 […]
RSS (posts)
Mastodon
Patreon
Discord
/r/Cogmind
Indie DB