Game Development Reference
In-Depth Information
regard to content, timing, etc. Lines are added, deleted, and/or
changed—new versions are implemented and evaluated.
7. An iterative cycle continues here, as the mission inevitably changes
and evolves. Portions of steps 3 through 6 are repeated as neces-
sary, keeping consistent with the current state of the mission—until
the level is close to being considered “locked.”
8. Finally, Audio and Narrative work closely together to record the final
versions of the VO lines and select the best takes. From there, Audio
can implement any processing or other post-production effects,
and the final VO files can be dropped into the build, replacing the
placeholder files via a (hopefully) simple and quick method.
Although Audio's involvement in the process might seem somewhat
tangential to the bread-and-butter decisions being made by Mission
Design and Narrative, the audio designer's inclusion throughout this cycle
is the only way to ensure good follow-through with all intentions for
scripted mission VO. Each member of this triumvirate will bring a vital per-
spective to every scripted line in the mission:
▪
Mission designer
: Does this line help involve the player and make
him aware of what's going on, what he's supposed to be doing, and
how? Does it avoid “stepping” on the gameplay?
▪
Narrative designer
: Does this line provide context, motivation, and
emotional impact? Does it move plot, arc(s), and/or characterization
forward?
▪
Audio designer
: Does this line sound right? Is it clearly audible, com-
prehensible, and does it generate the intended effect on the listen-
er?
If you're an audio designer and you're not being brought into this pro-
cess until it's time to record final VO, your team processes may be in need
of re-evaluation.
Systemic VO (“Barks”)
Planning and executing a system by which certain categories of VO lines
may play based on various real-time conditions and statistics—colloquially
referred to as a “barks system”—can be one of the most scope-heavy and
