I made a small trailer for our Angry John, presenting current development progress. Finally, core of our biggest feature – flexible system of weapon transformations – has been finished and presented.
Fly O’Clock has finally landed! Made by Digital Melody Games – creators of legendary Timberman and Surfingers, an extreme endless game based on a gruesome concept, and very tasty visuals. There’s also my sound design and music.
In this case, the whole sound design works as a bridge between retro-inspired aesthetics and modern gameplay, delivering proper feedback to the player. Music derives from idea of making something as cool as ’40s rock’n’roll even cooler, by adding a few guitar licks inspired by the style of Scotty Moore and more modern sound palette.
You can get it here:
Angry John just got a new track for it’s OST. It’s gonna appear as a loop for the game’s hub.
Together with the rest of Low Poly Wolf we wanted to enrich colorful rampage with some serious revenge flavour. Loneliness, big guns, long journey and things like that were strongly connected to classical spaghetti westerns in my brain since I was a kid so I decided to take it as a main inspiration. Moreover, for most of the time, the player will visit alien worlds so there was no escape from classical sci-fi sounds and slow arpeggios played by detuned synths. Here you can check the result:
All guitars were amplified Laney Cub12 and later recorded through Shure sm57>Warm Audio TB12>SPL Crimson into Reaper. Synth sounds were made by NI Massive and Izotope Iris 2 playing custom patches made by myself. Some cymbals were also live-recorded through Rode NT4 stereo mic.
I love game jams, I really do and Ludum Dare seems to be the king of them all. For some strange reason, it’s the second one I took part in. Somehow it’s easier for me to pack my backpack and go to “physical” jam that requires me to meet everyone in person (vide Global Game Jam or Slavic Game Jam). It’s more… adventurous, I can just sit and watch all of these people working on something that gives them lots of joy though it may look like a pure pain on the first sight. You can simply hit a bunch of guys writing their colorful code in visual studio and ask them whether or not they need some audio for their game. In most cases they will be over the moon just because you asked. Another time you deliver something half-baked because you were busy with eating/sleeping/working on 7 other games/staring at the wall or giant Gandalf bouncing his head with awesome as sax guy’s music in the background.
During the last weekend together with the rest of Low Poly Wolf we participated in the biggest game event in Poland called Poznań Game Arena (PGA). Lot’s of new games, strange cosplayers, noise and bad food but we survived. Here’s the proof:
Beyond that, Noktorats showed their cute game called (at least for now) Horrifying Human Hunter with my sound design and interactive music system which was actually designed without use of proper middleware but it works great. Later I’m gonna write something more about it but for now you can watch this small game footage:
After a few major changes in structure of this website I decided to stop sharing “news” since my twitter presence made it obsolete. In conjunction with a strong desire to share more complex thoughts I also decided that from now you will find here a fully operational blog.
For quite a while I claimed that adding more text to the Internet won’t make any difference because result of adding something to noise is still a noise thus vast and cold space of Internet will stay exactly as indifferent as it was before. Now I think that I was wrong about the last part of this resoning. End result is gonna be a noise but with a slightly different colour and I hope that you’ll find this little change interesting.
The game by Steven Barrett that I provided with two tracks for final boss battles has been released. Lot’s of surreal advantures and secrets in stylish lo-fi graphics.
I tried to catch the crazy mood of the game with very simple means, contrary to the rest of the soundtrack prepared by Steven Barrett himself.
All guitars were recorded through Laney Cube 12R cranked up by Visual Sound Route 606 overdrive pedal and miced by a classical Shure sm57 that went directly into preamp of SPL Crimson which gave nice organic vibe to the tracks. Occasionally I used Electro Harmonix Deluxe Memory Boy delay pedal with way too much feedback for some weird stuff. There’s also Arturia MiniBrute on synth side, my belowed half-Peavey jazz bass with fender pickups and some natural cymbals in a few places.
You can get the whole game here:
… and listen to/download my part of the soundtrack here:
During the last weekend of July I took a part in first edition Slavic Game Jam in Warsaw.
I collaborated with 6 teams by creating music and sound design. Results are far from being perfect but for 46 hours it’s not so bad. Just give it a try.
Probably I’ll try polish these tracks and release them together with music from Galobal Game Jam as an one album on bandcamp.
Krzysztof Gonciarz is using some of music that I made for viz-people in his new series: