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Level Up.pdf

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Sounds Like a Game to Me 403<br />

Be careful not to have too many sounds playing at once. To prevent sound<br />

effects from creating cacophony, you will have to prioritize them. Your sound<br />

programmer can help you designate sounds into three categories: local,<br />

distant, and priority.<br />

Local sound effects play when the player is close to the source of the<br />

sound effect. This may be a babbling brook, a ticking clock, a ringing<br />

phone, the hum of machinery, or the growls of an enemy. As the player gets<br />

further from the source, these sound effects fade away.<br />

Distant sound effects are sounds that the player can hear even if they are<br />

far from the sound ’ s source. These include explosions, a wolf ’ s howl,<br />

approaching vehicle engines, or the ominous thrum of a tower o ’ doom.<br />

Priority sound effects are sounds that will always play regardless of<br />

where the player is. These are sounds that provide the player gameplay<br />

feedback, including: loss of health, collection of treasures/goodies, score<br />

or combo increase, power- up or countdown timer, successful enemy hit,<br />

death, world interaction such as landing, collision or weapon impacts, and<br />

footsteps/swim strokes/wing flaps.<br />

Just as when naming level files, give your music and sound cues descriptive<br />

but short names so the viewer doesn ’ t have to guess what they are. For<br />

example, music for level 2 of your game may be called Lv2Song.wav, and<br />

the sound file for a variation on a robot enemy ’ s blaster shot may be<br />

roblast2.wav.<br />

Sound is not only effective for communicating what is going on in the<br />

game, but it can be used for gameplay. Whole genres of games are<br />

centered on music, from Dance Dance Revolution (Konami, 1998) to Band<br />

Hero (Activision, 2009). When creating sound - based and music - based<br />

gameplay, don ’ t rely completely on the sound. Create visuals to echo the<br />

music and sound. You can never provide too many clues for the player<br />

and you get the benefit of creating gameplay that can be played by<br />

impaired players.<br />

Short - term memory games like Simon (Milton Bradley, 1978) or PaRappa<br />

the Rapper (SCE, 1996) require the player to memorize and repeat a short

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