Read on Twitter
Maybe you heard that @PolyarcGames is hiring a Principle Audio Designer to work w/ @GameAudioGirl and me, but you have some questions about making the leap into VR or indie audio development. This thread is for you!
https://www.polyarcgames.com/principal-audio-designer
1/12">https://www.polyarcgames.com/principal...
https://www.polyarcgames.com/principal-audio-designer
1/12">https://www.polyarcgames.com/principal...
I’ve briefly come out of the shadows to share some interesting problems, unexpected joys, and other aspects that make working at @PolyarcGames on VR audio special. FYI - blue orbs in these clips represent tracked player controllers.
2/12
2/12
It’s rare for environmental ambience audio to be a focal point of player experience. In our first VR game Moss, ambience helps drive the emotional quality of the scene. It also gives players an idea what it feels like to be a small mouse in a big world.
3/12
3/12
@soundeziner provided many stunning source recordings used in that previous clip
4/12
4/12
At Polyarc we invest a lot of time in creating interactive characters that players love, even NPCs. Audio is an equal participant in establishing character identity and personality with other disciplines.
5/12
5/12
We’re proud to create emotionally moving experiences, but at their core, our games are fun! Our encounters require the same dedication to audio style, impact, and clarity of design information you might find in non-VR games.
6/12
6/12
Instead of linear cinematics, we sometimes create scripted passages to deliver big moments that are also highly interactive. Just like this scene where a snake chases Quill. ( @carlyenyte made these sweet ballista sounds)
7/12
7/12
…but super quiet detail is important too! These delicate interactions provide unique and rare sound design opportunities for creating continuous, analog feel. Like the crackling of the glue in the binding in this book… (you might need headphones to hear this one)
8/12
8/12
High detail & small scale sounds present unusual field recording opportunities. I visited ‘Antiquarian Horologist’ Nico Cox to record clocks and other mechanisms, like this carriage clock and Victorian music box which provided some great source for our enemies.
9/12
9/12
We work with some of the most talented & generous people in the industry. Like voice actor and vocal sound designer @actor_morla, who voiced 9!! characters for our storybook narrative. She’s a big reason Moss touched players’ hearts.
10/12
10/12
…add to that list of incredible people at the top of their game: @jgmusic whose score still gives me chills after 3 years of listening to it, and @field_of_reeds whose woodwind performances floored me, like this one…
">https://youtu.be/WN34A9Dgm...
11/12
">https://youtu.be/WN34A9Dgm...
11/12
As indie VR developers we encounter interesting problems frequently. The pink fairy character audio is driven almost entirely using dynamic gameplay data. Giving player interactions weight & continuity is also an enduring challenge.
12/12
12/12
Principal Audio Designer. I literally said to myself 10 times...don& #39;t tweet Principle. And yet. 
https://abs.twimg.com/emoji/v2/... draggable="false" alt="🤦♂️" title="Mann schlägt sich die Hand vors Gesicht" aria-label="Emoji: Mann schlägt sich die Hand vors Gesicht">
