It depends. I work in parallel. Sometimes it’s just easier to start with some sounds that you know will work. Other times you feel that without a strong piece of music you can’t truly get a feel of the game. From title to title it is different as we create games from classic slots with three lemons, to fully immersive experiences with a lot of animation and mood that crosses over the screen.
What for you are the most important elements in creating an appealing game soundscape?
I think it’s best when you don’t notice the sounds or the music until late in the game. Tat’s a good sign the sound and the gameplay has managed to keep the player engaged. It’s very important to me.
How many sound design iterations do you have to go through before reaching the final concept?
You can get lucky at times and finish it in one day, or there are other times where a game will haunt you for weeks without managing to put everything together in a perfect fit. It really varies from game to game.
How do you target specific demographics through sound?
Te demographics are targeted by the game idea first. We have talks between producers,
graphics and sound and we review what the users like in each market – but we like taking risks and bringing new experiences to players. Tis sometimes means mixing the types one demographic likes with other preferences. Tere is no rigid formula for us.
Is there an iSoftBet house style? How would you describe the sound design signature of iSoftBet?
We create so many types of games it’s hard to say we have a style. We’re more faithful to whatever works for the game rather than to a style.
Do you take a wholly different approach to creating sound for Egyptian King, for example, as opposed to a game such as Wild Ape?
Absolutely. In the example given, both games are quite cinematic. Aside from the game themes, the game’s pace, features and volatility must all be supported with sound and music. Every game is different, so every game requires a unique approach.
How does the sound design process change when producing a branded game such as Paranormal Activity, as opposed to a game created in-house?
Any branded game comes with an easy part and a difficult one. For once, you already know
the mood you want to get. On the other side, getting that mood right and working with the brand managers to have the game approved is a serious process.
How do you stop repetitive sounds becoming irritating to the player?
I doubt the repeating sound of counting coins during a big win will ever irritate a player!
Are there winning and losing sounds?
I guess there are, but they are different for each player. We try to stay away from negative moods – both sound and art, and we don’t create environments for negative experiences.
In your opinion, how important is sound to the success of a game?
In a cinema experience, you can watch a movie without sound and might understand what is happening, but with the sound added you are transported inside the movie. Within a gaming environment sound is that extra link that binds a gameplay mechanic with a core sensation.
I’m glad that users prefer to play our games with the sound turned on. Ultimately, sound is one important aspect of a much bigger design process, but if all aspects of the game design team are working well, we can create amazing things.
NEWSWIRE / INTERACTIVE / MARKET DATA P139
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