Breath of the Wild's aleatoric field theme and combat accents are really interesting to me. They point to a kind of mechanic I'm really curious about, where non-diegetic sounds (like music and...
Breath of the Wild's aleatoric field theme and combat accents are really interesting to me. They point to a kind of mechanic I'm really curious about, where non-diegetic sounds (like music and menu bleeps) blend into the game action in a "musical" way.
I don't mean like rhythm games, exactly, but rather games with other core mechanics where the coherence of the sound is just a design detail. Something more like the battle combos in Mother 3. Actually, I mean the exact opposite of a rhythm game: instead of in-the-moment gameplay actions being strictly formed around the soundtrack, let the soundtrack be strictly formed around in-the-moment actions.
Taken to the extreme, you'd have a game with no pre-composed soundtrack at all, whose motifs and form would arise entirely from player actions; and different musical ambiances would blend seamlessly in continuous musical time, something like the camera in the 2018 God of War.
While I noticed many of these aspects of the game, I didn't know the structure behind how they were designed. This video provided a lot of information on that structure and it was very interesting...
While I noticed many of these aspects of the game, I didn't know the structure behind how they were designed. This video provided a lot of information on that structure and it was very interesting to me to better understand the specifics of how it was designed in the way it was. Thanks!
Breath of the Wild's aleatoric field theme and combat accents are really interesting to me. They point to a kind of mechanic I'm really curious about, where non-diegetic sounds (like music and menu bleeps) blend into the game action in a "musical" way.
I don't mean like rhythm games, exactly, but rather games with other core mechanics where the coherence of the sound is just a design detail. Something more like the battle combos in Mother 3.Actually, I mean the exact opposite of a rhythm game: instead of in-the-moment gameplay actions being strictly formed around the soundtrack, let the soundtrack be strictly formed around in-the-moment actions.Taken to the extreme, you'd have a game with no pre-composed soundtrack at all, whose motifs and form would arise entirely from player actions; and different musical ambiances would blend seamlessly in continuous musical time, something like the camera in the 2018 God of War.
While I noticed many of these aspects of the game, I didn't know the structure behind how they were designed. This video provided a lot of information on that structure and it was very interesting to me to better understand the specifics of how it was designed in the way it was. Thanks!