To expain how the audio in CLARK is produced let me point out two opposite terms that we used in our discussions to determine what the game should sound like.
pure data – it’s fun, but it doesn’t look like it! (if it does to you, send us an email!)
generative vs. pre-recorded? We didn’t want to have just a music track playing in the background, we wanted to have the audio react to the players behaviour. The music you hear in the game should be a result of the pathes you choose – a dynamic soundscape.The question was: Should every bit of the audio experience be synthesized from data gemerated during the play? (That would mean reading out variables from the game’s scripts and using them as audio parameters.) To what degree should the audio then respond to the respective aspects of the game?
music vs ambient? What should prevail in the overall audio experience? Should CLARK be more like an atmospheric dungeon (since it’s a 3D factory you’re walking through) or do we want to emphasize the puzzle-aspect of the game by playing some rather subtle/happy tunes the whole time?
You can read more about the process of figuring out what our game should sound like >> here, if you’re interested. There’s also some examples you can listen to, and – as always – youre are invited to discuss our decisions and leave comments. Let me know what you think of my approach, doesn’t matter wether you’re a trained expert or just someone with an opinion, my ears are wide open!
Cheers, Philipp
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