Check out now our audio updates
When I began work on Dicey Krime we initially did an assessment of the existing audio to decide what needed to be changed, improved, and implemented.
With Dicey Krime it was important to keep the sound effects up-beat, arcadey, over the top and comical.
Initially we worked on recording new character voice over (VO) for player characters, enemies and bosses. These included recording a variety of attack and pain walla as well as ad libs and catch phrases for several characters. VO was recorded using an MKH 418 microphone, edited and processed in Pro Tools and then brought into the game engine.
A plethora of Foley sounds were recorded in order to build a small library of useful material. We recorded punching sounds using boxing gloves / mitts, garden glove slaps, wet towels, balloon pops, inflatable toys, body hits, etc.
Arcade styled SFX were created using the chip synthesisers Kingston and Katama from Korg. These instruments are ideal for creating old school game SFX reminiscent of arcade machines. This allowed for the rapid iteration and generation of appropriate arcade UI sounds.
Once recordings were complete the audio was then edited in Pro Tools. The edited material was then layered and processed to create new SFX.
We have also created new sounds for the game's cutscenes. These improvements help to enhance the storytelling and bring the world of Dicey Krime to life.
Our developers have created a new more robust audio system. The system makes use of animation event triggers, allowing the sound team to trigger SFX at specific frames of a character's animation. This new found level of control allows us to make more exciting and detailed sounds for our characters.
The new system allows us to give the players audio cues which indicate what the enemy is about to do next.
The example below shows how a “wind up” sound is used in anticipation of a punch. This not only makes the enemy’s hit more impactful but also gives the player a moment's warning to escape their attack. These audio cues help to make gameplay more satisfying for the player.
We were tasked with creating new music and have brought on composer and musician Conor Callan.
Conor’s music has helped make the gameplay feel more engaging and fun, while also bringing in instrumentation to reflect the Dicey Krime’s diverse environments. Conor describes the writing process for the São Paulo Level below.
"I wanted to start with Samba rhythms and percussion. After doing some research and writing percussion parts I decided to build the arrangements up by using the bass guitar and drums to create a sense of drive in order to keep up with the pace and excitement of the game.
I recorded the acoustic guitar playing Bossa Nova style chords to add to the atmosphere and further the Brazilian theme of the level. I then added some sneaky sounding 8-bit melodies over the top to intensify the action and give a more arcade feel."
Music was recorded in Reaper using a combination of acoustic instruments and software plugins. Chip layers were added using Plogue Chipsounds using emulations of the Gameboy DMG.
We have also been hard at work creating new music for boss fights and an eerie Metro level.
Conor’s compositions seamlessly mix elements of metal, chiptunes and traditional music from the game’s various locations.
That’s all for now. Please look forward to more updates from the Dicey Krime team in the near future.