Project Epsilon and team
After examining the padlet for potential projects. I discovered Hani Malcolm Ibrahim’s Project Epsilon, the concept involves the use of audio detection to affect the game in some way. The team we currently have is myself, Hani Malcolm Ibrahim and Kevin Halomoan.
This warranted further discussion but we primarily used whatsapp to communicate and further discuss ideas for theme, game play, what roles we would all take. We later used microsoft teams to conduct our first meeting as well as a trello board to list down tasks and questions we had for the project.
Link to Trello: https://trello.com/invite/b/1A078TwQ/7cca1a43d41ac88cfd624202077dc40a/project-epsilon
In the trello board we set rough expectations as a timeline.
First meeting
Our first meeting had the purpose of discussing the following:
- Theme: After discussing we decided upon having an 80’s VHS visual theme, this should inform design decisions on the music and visual assets. As such Kevin cited Hotline Miami as inspiration for music, this would consist of songs in the style of Vaporwave/Synthwave.
- Mechanics: We discussed the possibilities of how the audio detection could be used in the game. The possibilities included that certain objects/enemies jump or move in time with the certain elements of the song. As well as pre-rendered geometric patterns that react to the beat. The audio detection would analyze the song for drumbeats, particular melodies and other identifiable sounds. These sounds would then call a function to affect the chosen game objects.
- Type of game: Initially we decided on making a 2D platformer game. This was done because we felt that this would be simple enough to carry out without impacting the main feature of audio detection. As such this would involve a single character jumping on to different platforms to collect different items.
- Roles: We designated roles based on strengths as well as urgency. I am responsible for developing the game, this would mainly focus on developing the mechanics and arranging assets to design levels. Kevin will focus on developing songs to be used as well as other visualizations derived from the songs. Hani will work on applying the beat detection into unity as well as work on art assets (sprite sheets, character design). It is possible that there may be shared responsibilities between us as well.
Objectives for the next week:
Prepare a single level implementing player movement, this would include some platforms. Hani will prepare some early character designs and work with me to implement the audio detection feature. This level will then be used to test audio detection on some items to see if it is viable.
Audio detection in other games
Below I will identify uses of audio detection in other games. Specifically I want to see how soundtracks affect the game in either a visual or mechanical manner.
Crypt of the Necrodancer-The soundtrack informs the instances of player input by ensuring that they can only perform an action (attack, move or use items) on a beat of the currently playing song. The UI at the bottom shows a heart pulsing in time with the beat, accompanied by lines approaching this from both sides indicating when a beat occurs. A beat in this case is the regular unit of time in the song. Different songs have different beats.
Enemies are also bound by the same beat-dependent action, that is they can only move or attack on a beat. As such players can use this to their advantage. Upon defeating enemies a coin multiplier begins, should the player continue performing actions in the correct timing. The environment also changes by lighting the floor similar to a checkerboard, every other floor tile is a bright colour.
Beat hazard-Audio detection here seems to respond to the intensity/volume of a soundtrack. Particular beats incur a flashing effect in the background of the game.
“Each element of the game is tired to a number of frequencies in the song. As these frequencies change they cause each element to build up pressure, so to speak,” -Steve Hunt, Sole Developer of Beat Hazard
In the above interview he states that weapons fire in time with the music. Enemy numbers and flight patterns are dictated by the song and the boss of that level is generated by the music. Beat Hazard also allows for players to use their own songs to inform the game. As such each song generates it’s own level and is consistent in it’s behaviour, that is it will use the same enemy pattern and boss.
Osu-While Osu is a rhythm game, the use of soundtracks is still appropriate. There is a feature that allows players to download songs that have their own levels. These songs make use of every beat to generate different prompts for the player to act upon. These can either take the form of single press button or a click-and-drag style button. Osu also allows players to play using a mouse, however it is recommended to play with a pen and graphics tablet. The speed of these follows the tempo of the song.
Conclusion
The above games utilise their songs in different ways, however the soundtracks always inform the game. Meaning the elements of the game react to the soundtrack. It’s evident that the song is analysed for particular patterns and then the content is generated for that particular song. Games also take advantage of the predictable nature of soundtracks, once a player listens to it for the first time. They become more accustomed to the song, increasing their familiarity to the pace or structure of the level that song generates (Particularly true in Beat Hazard and Osu).
Our initial idea would be to develop a 2D platformer as the prototype. I believe our first important decision would be how the game responds to the playing song. Both Hani and Kevin wish to implement visual elements as they have accomplished animating geomteric shapes in Processing, hopefully we would be able to implement these too. Then this too would be discussed in our next meeting.