I remember the days when game soundtracks used MIDI files. Even that was pretty advanced compared to the minimal tones used in earlier games. Personally it is the MIDI tunes I always associate with the genre of 'Game Music.'
Games like Zelda and Final Fantasy were only enhanced by these poly tonal soundtracks. Because the music was different than that of whatever was playing in the charts at the time I think it served to remind you that you were playing a game. It was great because in playing games you got to listen to different music. Even though those days are behind us, I love listening to some of the old MIDI tracks because although players might not be intently listening at the time, I defy anyone to listen to MIDI tunes from games they played as kids and not instantly be taken back in their head to that game. I can still hear FF7 tunes and instantly see the game in my head.
Sound these days is vastly more sophisticated and is used to enhance the gaming experience much like it is used in films. Composers can now work exclusively for games, and create pieces of music which serve to enhance the mood, or increase the tension. Some character driven games have different pieces of music associated with each character and might have certain tunes play whenever said character makes an appearance. Sephiroth's theme from FF7 was even extended into a revamped version for the Advent Children film. Other games have certain music associated with them to enhance their identity. Halo made good use of this with an impressive orchestral score. Personally the FFX theme tune is one of the most beautiful melodies I've heard in a game.
In all my time playing games I think I can probably say that the most effective use I've ever experienced of a games soundtrack really enhancing the game, would be the Resident Evil series. Resident evil 1, 2 and 3 had the perfect accompanying sounds. The subtle music gently in the background, the soft shuffle of a zombie's feet when you entered a room, the silence followed by the turning of a door handle. Considering they came out in the PS1 days I think the developer really utilised the game sounds and score perfectly to enhance the experience. It was so well thought out I don't think it could have been done any better. The slow click click of an unseen licker in Resident Evil 2 is one of those gaming memories that will always stay with me.
Monday 8 February 2010
Monday 1 February 2010
Game Engines
Game engines are the underlying code structure which make a game work. These can be split into different components, such as rendering, physics, scripting, animation and AI to name a few. It is not uncommon for these to be reused seeing as their primary use in being developed is to speed up the process of creating games. This can be of particular use when developing a sequel to a game, having said that, some sequels prompt new engines to be built, or example half-life 2 uses a completely different engine to half-life 1. The original half life was built with a modified version of the Quake engine, whereas Half-life 2 was built from the ground up using the 'Source' engine. Valve have now actually remade the original half-life with the 'Source'. This remake however was a straight port, even reusing the original textures and models from the first game. Many fans felt that it didn't utilise the Source engine to it's full potential and as such there is now a third party remake in the works. This remake is called Black Mesa and is built from scratch to take full advantage of Source.
When working with 3D engines and level editing, designers have two methods at their disposal depending on which the engine supports. It will either use an additive or subtractive method of level creation.
With additive, there is an empty void and the designer must first create a hollow cube to break the player off from the world (the world being everything the player can see in the game) Inside this cube, parts can then be added to the world.
In the subtractive method, there is only an infinite solid to begin with and the level designer must then subtract and empty space from it.
In general, the subtractive method is becoming slightly obsolete. However, if you are making a solely indoor environment then it might be more practical than additive which is better suited to outdoor environments.
As you can see game engines, and the decisions that go into creating them is no simple task. As such many games companies may choose to licence a pre-existing game engine from another company. Though this is costly, it is rather time consuming as much of the ground work is already done. Once licensed they are then free to start creating their game or perhaps modifying the engine to suit their specific needs. In terms of the company who owns the engine, it can be a helpful source of revenue and thus adds to the appeal of developing your own engine. If the resources and time are available then not only can you create an engine specifically tailored to the game you wish to make but it's also good business.
With next generation technology, game engines continue to get more and more complex and in actual fact are some of the most complicated software currently written. Game engines bring many different components together and are sometimes termed middleware simply because of the ability to mix and match many specific game engine components like renderers or physics engines such as Havok. It's in the continued interest of developers to use engines in this way as everyone can benefit from developments in the gaming world this way.
In future, i imagine they can only get more and more complex, perhaps even with new components as next generation hardware/software attempts to break new ground!
When working with 3D engines and level editing, designers have two methods at their disposal depending on which the engine supports. It will either use an additive or subtractive method of level creation.
With additive, there is an empty void and the designer must first create a hollow cube to break the player off from the world (the world being everything the player can see in the game) Inside this cube, parts can then be added to the world.
In the subtractive method, there is only an infinite solid to begin with and the level designer must then subtract and empty space from it.
In general, the subtractive method is becoming slightly obsolete. However, if you are making a solely indoor environment then it might be more practical than additive which is better suited to outdoor environments.
As you can see game engines, and the decisions that go into creating them is no simple task. As such many games companies may choose to licence a pre-existing game engine from another company. Though this is costly, it is rather time consuming as much of the ground work is already done. Once licensed they are then free to start creating their game or perhaps modifying the engine to suit their specific needs. In terms of the company who owns the engine, it can be a helpful source of revenue and thus adds to the appeal of developing your own engine. If the resources and time are available then not only can you create an engine specifically tailored to the game you wish to make but it's also good business.
With next generation technology, game engines continue to get more and more complex and in actual fact are some of the most complicated software currently written. Game engines bring many different components together and are sometimes termed middleware simply because of the ability to mix and match many specific game engine components like renderers or physics engines such as Havok. It's in the continued interest of developers to use engines in this way as everyone can benefit from developments in the gaming world this way.
In future, i imagine they can only get more and more complex, perhaps even with new components as next generation hardware/software attempts to break new ground!
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