Objective and Subjective Sound Design

EN:

Many game developers miss out on the opportunity to fully address sound effects in their projects, summarizing their application to "sonorize what is being seen."

Sound perception has different characteristics from imagery, being more subjective and penetrating more incisively into our subconscious. In an analogy, the image enters through the front door, being of more immediate absorption. Meanwhile, the audio sneaks into our minds through the window in the back, creating a universe open to interpretations in our heads.

Sounds can convey various emotions, intensifying certain aspects of a game that the image or gameplay did not get, giving another perspective to the player about what goes on in the context of the game.

As far as emotion is concerned, it is possible to think of the sound effects in two scopes: objective and subjective. The objective sound effect is to give the player certain information - the sound of a falling tree can be created from mixing and manipulating sounds of breaking branches, earth and rock debris, foliage and other sound sources with natural relation. In this way, the objective sound effect has the function of telling the player "Look, this is the sound of a falling tree".

The subjective sound proposes to adjectivate the tree and to transmit certain emotion to the player with this event. In the context of the game, this falling tree may represent, for example, a defeat for the player or a restart. If it carries negative meaning, it may be a good idea to mix manipulated sounds of threatening animals, a violent storm, screams or other sounds that lead to a bad experience.

Thus, the subjective sound effects carry an emotional meaning illustrated in the game and that had the intention of being transmitted to the player.

Using these and other assimilations, we seek to access a library of "mutual references" in the creator-player relationship, taking into account diverse factors such as cultural aspects, the displayed media, and the target audience.

It may seem uninteresting when such assimilations are so superficial that they become clichés, but even they serve to create an initial connection between the game and the player. In good dosage, clichés play a fundamental role as a sort of starting point for creating deeper relationships between both sides, making the whole experience more sensitive.

I would love to hear your opinion about this little though

Punch and Fighting Sounds

Punch and Fighting Sounds Pack comes with 120 high-quality sound effects for realistic punches, arms swings, body falls and magical attacks.

File List

AVAILABLE for $8 AT:

This is a must for anyone working on an FPS, Fighting, Adventure Games or any genre that has physical or magical combat, bringing professional sounds to basically any project.

Each sound is a high-quality file free of noise that comes with variations to avoid repetition.

Distortions is on Greenlight!

Our new game is on Greenlight and needs your vote!

You can check one of the soundtracks developed by us in the official gameplay trailer.
We will also contribute with one more track in the future - a very special one.

Please click here to vote and help us go on Steam!

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A girl wakes up in a strange place where time seems to stand still. While she recovers her identity by reminiscing with the help of a strange masked man, she must decide what to leave behind to move on with her life and expectations.

FISH on Greenlight

FISH: An old school FPS with a hook is live on greenlight and we need your support. 


We are currently developing music, sound effects and voice over for this awesome project based on a famous novel here in Brazil. Tuba (the crazy mind behind it) wanted to use adaptive samba rock music for it, so he thought we were the right dudes. And here we are :)

We would love your support, so please click here and vote up for Greenlight (while it's still running). Also, you can follow the development on the official website and facebook page.

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