Eric Brosius: Looking Glass Interview 7/10

Name: Eric Brosius: Looking Glass Interview 7/10
Uploaded: 2016-07-22T10:21:07.000Z
Duration: 1 h 56 min 35 s

Introduction to Eric Brosus and His Work

Background of Eric Brosus

Eric Brosus has been working at Harmonix for about five years.

He shares his journey into the gaming industry, emphasizing that he is primarily a musician and did not have formal training in game design or audio.

Transition to Game Development

Brosus's entry into video games was influenced by his band, Tribe, which had fans among Looking Glass employees.

He collaborated with his wife Terry on music for the game "Terra Nova: Strike Force Centauri," while Greg Le Piccolo worked on "System Shock."

Early Experiences in Game Audio

Initial Involvement in Game Music

Brosus started part-time while still in the band, focusing on creating music based on design documents provided by developers.

Although he played some arcade games growing up, he wasn't heavily invested in gaming before joining Looking Glass.

Learning Curve in Sound Design

He describes feeling somewhat out of depth initially but approached sound design intuitively.

The first task involved composing music tailored to specific game worlds and characters.

Challenges Faced with Early Technology

Limitations of Sound Technology

Brosus reflects on the challenges posed by outdated sound cards and FM synthesis technology during that era.

He notes that their orchestral compositions did not translate well due to technological limitations compared to electronic scores like those used in "System Shock."

Specific Hardware Experiences

Discusses various sound cards from that time, including Sound Blaster models and Roland devices, highlighting their capabilities and limitations.

Shares insights into FM synthesis techniques they employed to create sounds despite lacking expertise.

Reflections on Early Game Audio Production

Customization Efforts

Teranova's Musical Journey

Challenges in Music Composition for Teranova

The music industry faced significant challenges, particularly with the game Teranova, which suffered due to limitations of the technology at the time.

The composer reflects on their decision-making process, noting that a score more aligned with available technology would have been wiser than attempting something grandiose.

Comparisons are drawn between Teranova and System Shock, highlighting different thematic approaches—Teranova being more orchestral and expansive.

Technical Limitations and Creative Solutions

At the time of composing for Teranova, there was no streaming audio capability; this limited the richness of sound compared to later games like Mech Warrior.

The music was dynamic but structured around specific gameplay scenarios: exploration, tension buildup, and combat sequences were each represented by distinct MIDI tracks.

Dynamic Scoring Techniques

Each planet in Teranova had its own musical score composed in MIDI format, allowing for transitions based on gameplay intensity.

The composer designed pieces to evoke specific moods during exploration and combat phases while ensuring smooth transitions using MIDI markers.

Transitioning Between Musical Themes

A timeout mechanism was implemented to revert back to exploratory music if no action occurred after a certain period during heightened tension.

Unique crossfading techniques were developed within MIDI files to transition between different musical themes without awkward cuts.

Expanding Roles Beyond Music Composition

Initially focused on music composition, the composer eventually took on broader responsibilities including sound design elements such as voice direction and sound effects.

Transitioning from Flight Simulators to Golf Games

Overview of Projects

The speaker discusses their experience working on flight simulators for United Airlines, specifically mentioning involvement in the third simulator project.

Transitioning from flight simulation to a golf game, the speaker reflects on the similarities and differences between these projects.

Musical Composition for Golf Game

The music created for the British Open Championship golf game was inspired by sports themes heard on television, aiming for a sporty yet traditional feel.

The speaker incorporated elements like bagpipes into the music to evoke a sense of British heritage associated with golf.

Project Scale and Complexity

Compared to previous projects like Teranova, this golf game was smaller and less expansive, focusing more on voice-over (VO) work.

The game's AI featured announcers who provided commentary based on player actions, simulating a real TV broadcast experience.

Recording Challenges

While recording audio snippets for commentary, the lead designer managed the algorithmic aspects of how comments were structured and delivered during gameplay.

The speaker notes that they did not handle all design aspects but contributed significantly to recording and editing processes.

Voice Over Techniques

Good voice talent was crucial; one commentator was well-known in sports broadcasting. Quick recording sessions helped maintain natural delivery despite complex editing needs.

Efficient software allowed rapid file creation during recordings, streamlining dialogue editing while ensuring proper naming conventions for easy access later.

Evolution of Sports Game Commentary

The discussion highlights how modern sports games have advanced in creating seamless commentary experiences compared to earlier efforts in 1997.

Exploring Early Game Audio Design

The Evolution of Interactive Voice in Games

The speaker reflects on the limited use of continuous interactive voice in early games, noting that most audio was pre-recorded and story-based.

Discusses the transition from floppy disks to CDs in gaming, highlighting how this change allowed for the inclusion of voiceovers, as seen with System Shock.

Mentions uncertainty about specific game release timelines but suggests Thief followed earlier projects like flight and golf games.

Sound Design Practices in Early Gaming

Shares experiences creating sound effects for Descent without direct involvement in the game's development; emphasizes a lack of dedicated sound designers at studios during that era.

Notes Looking Glass Studios' unique culture prioritizing sound design by employing musicians and dedicated audio professionals, contrasting it with industry norms.

The Importance of Sound in Gameplay

Highlights how Looking Glass's emphasis on sound significantly influenced gameplay mechanics, particularly in stealth games like Thief.

Connects the legacy of Looking Glass to later companies like Harmonix, suggesting a lasting impact on audio-focused game design.

In-House Sound Integration

Describes how many early game studios lacked dedicated sound staff and often outsourced audio work, leading to inefficient workflows.

Praises Looking Glass for bringing sound designers in-house, allowing them to immerse themselves fully in the game's development process.

Advancements in Audio Tools

Explains how Thief utilized a text file-based editing system that empowered non-coders to manage audio events directly within the game engine.

Discusses challenges faced when relying on programmers for audio integration and highlights improvements made through new tools developed during Thief's production.

Authorial Control Over Game Sounds

Details how developers could create custom tags for sounds linked to specific events within the game engine, enhancing creative control over audio elements.

Level Design and Sound Integration in Game Development

The Role of the Level Editor

The level editor is utilized for two main purposes: to review levels created by artists and to integrate sound objects, allowing for a comprehensive setup of game interactions.

Ambient sounds and music can be implemented without programmer assistance, enabling more creative freedom during development.

Testing Environments

A test room was constructed (20ft x 20ft) featuring all game textures, facilitating the testing of sound effects and physics in a controlled environment.

Adjustments could be made easily through text files, allowing developers to tweak values without needing to rebuild the entire game.

Importance of Sound Placement

The significance of having a musician as project leader highlights the importance of sound in gameplay design.

Proper placement of sound effects is crucial; even mediocre sounds can become effective if used correctly within the game's context.

Examples of Sound Effects

While there are many sound effects that may not work well, overall satisfaction with the sonic texture was noted.

Short loops (5 to 8 seconds long) were primarily used due to limitations on streaming audio in "Thief," with longer samples carefully crafted for specific levels.

Engine Capabilities and Community Engagement

The engine's good sound propagation allowed sounds to travel realistically through environments, enhancing immersion.

Artistic Direction and Sound Design in Game Development

Exploring the Concept of Sound in Gaming

The discussion begins with an inquiry into the artistic direction of the game, particularly focusing on sound design and whether it was led by others or if there was a strong personal concept involved.

The speaker notes that there wasn't a strong overarching concept for sound; however, they recognized this game as the first stealth game heavily reliant on audio cues.

A key decision was made to avoid a typical music soundtrack layered over sound effects. Instead, they aimed for an immersive experience where players could hear essential audio cues without distraction.

The speaker emphasizes a "less is more" philosophy in sound design, using simple ambient loops that create a hypnotic effect, enhancing player awareness of their surroundings.

This simplicity allows players to notice subtle changes in sound, such as footsteps or environmental shifts, which heightens immersion and engagement with the gameplay.

Immersive Audio Experience

Players often perceive the minimalistic approach to music as significant due to its rarity; even slight musical hints stand out against the backdrop of ambient sounds.

The speaker reflects on how stripping down audio elements leads players to use their imagination, creating a more engaging experience through simplicity.

While some elements may evoke fear or drama naturally, the primary goal was not to induce these feelings but rather to foster immersion through carefully crafted sounds.

The hypnotic quality of sounds encourages players to pay close attention both visually and aurally, contributing significantly to the game's success from a sonic perspective.

Unique Ambient Soundscapes

An example is given regarding how ambient sounds differ from typical gaming experiences; they are designed to be striking and noticeable rather than merely filling silence.

Transitioning between environments (e.g., moving from sewers into different levels) dramatically alters the ambient soundscape, prompting players to engage more deeply with their surroundings.

Realistic environmental sounds like crickets or wind blend with abstract drones that function musically while maintaining an ambiance that enhances gameplay experience.

There’s an intentional blurring of lines between ambient noise and music within the game’s design strategy. This approach creates a cohesive auditory landscape that supports gameplay dynamics effectively.

Reflections on Game Design Elements

Visual and Audio Design in Game Development

The Role of Visual Design

The speaker reflects on their contribution to the game's visual design, emphasizing clever quotes that resemble prophecies, which enhance the thematic depth.

A steampunk aesthetic was chosen for the game, incorporating industrial elements while consciously avoiding industrial music to maintain a unique atmosphere.

Music and Tonal Variation

There were debates regarding the fit of aggressive music within the game’s context; some felt it clashed with the overall tone.

The use of trailers featuring louder music raised concerns about misrepresenting the game's slower, more deliberate pace.

Creating Subconscious Continuity

The speaker discusses how tonal variation can enrich gameplay by creating a sense of coolness that players must embody through their actions.

They experimented with reusing sound elements throughout different levels to create ambient sounds, enhancing continuity across various game sections.

Evolution of Sound Design Techniques

The speaker highlights their belief in resource economy by manipulating existing sounds (e.g., reversing or pitch-shifting), fostering subconscious connections between disparate audio elements.

They note that later games had larger loops but lacked the hypnotic quality present in earlier titles, suggesting a shift away from immersive soundscapes.

Coherence in Sonic Worlds

Modern sound design often lacks coherence; many developers focus on individual sound effects rather than creating an integrated sonic environment.

The speaker argues for a unified approach to sound design, noting that recognizable audio clips contribute to a game's identity and uniqueness.

Reflection on Sound Quality Over Time

Despite advancements in technology leading to better-sounding games today, there is nostalgia for older titles where unique audio contributed significantly to their charm.

Discussion on Game Music and Design

The Evolution of Game Soundtracks

The speaker notes that many modern games have orchestral soundtracks, often composed by renowned composers like Hans Zimmer. However, there is a concern about the lack of uniqueness in these scores.

Acknowledgment of "Limbo" as an example of a game with a distinct approach to both visual and sonic elements, making it memorable.

Personal Gaming Experience

The speaker admits to not playing games extensively anymore but recalls enjoying titles like "Half-Life" and "Silent Hill," indicating a preference for immersive experiences.

Mention of having played "Limbo" briefly but not completing it; highlights interest in horror-themed games.

Contributions to System Shock Series

Discussion about the speaker's involvement in "System Shock 2," clarifying that they did not work on the first game, which was primarily Greg's project.

Comparison between their role in "System Shock 2" versus their previous work on the "Thief" series, emphasizing a collaborative effort rather than sole authorship.

Development Process Insights

The development team aimed to maintain the essence of the original "System Shock" while integrating new elements from the Thief engine.

Collaboration with Looking Glass Studios allowed for shared technology and resources during development.

Voice Processing Techniques

A brief discussion on whether to reinvent sound design for "System Shock 2." Ultimately, they decided to replicate successful elements from the first game.

Challenges faced in recreating character voices due to technological limitations at the time; emphasis on manual processes involved in voice editing.

Character Development and Voice Design in Game Audio

Exploring Character Nuances through Voice Performance

The discussion revolves around the idea of allowing a character to express annoyance, particularly when discussing topics like an "Intruder," leading to bursts of emotion that reflect their personality.

The speaker mentions collaborating with Ken LaVine, emphasizing the importance of having a locked script before processing audio, as it can take significant time (2-4 hours per line) to edit.

A total of approximately 150 lines were recorded for the character "Showdown," with additional logs from crew members requiring different ambient soundscapes tailored to specific contexts.

The audio design included orchestrated elements, such as background firefights during log recordings, enhancing immersion while maintaining distinct tones for various crew members.

Technical Challenges in Voice Recording

The voice performance was primarily done by the speaker's wife, who could deliver a creepy tone effectively. This involved capturing nuances that made the AI character feel more human-like despite its artificial nature.

The challenge lay in creating a voice that felt slightly unnatural yet engaging; this was achieved by manipulating cadence and pitch to evoke a sense of eeriness typical of computer-generated speech.

Character Complexity and Emotional Depth

When developing the character's voice, there was a focus on conveying her complexity—portraying someone who believes they are powerful but is ultimately not in control, akin to an infantile state.

Emotional fluctuations were incorporated into her lines; whenever she expressed annoyance or frustration about her nemesis, adjustments were made to convey those feelings authentically.

Balancing Instructional Dialogue with Characterization

In "System Shock 2," many lines served instructional purposes while still needing to maintain character integrity. This required creative approaches to keep the intensity without resorting to overt aggression or insults.

There was an ongoing struggle between delivering necessary gameplay instructions and ensuring that the character remained sinister and engaging throughout these interactions.

Sound Design Elements in Gameplay Experience

Unlike previous games like "Thief," which focused heavily on ambience alone, this game featured separate musical scores alongside ambient sounds designed for action sequences.

Exploring the Sound Design of System Shock 2

The Role of Technology in Sound Design

The environment in System Shock 2 is filled with technology, including computers and buzzing lights, which influenced the sound design to create a creepy atmosphere.

Contributions to the Score

Most of the music for System Shock 2 was composed by Josh Randle and Ramine U Jai, who contributed different styles ranging from techno to slower horror-themed pieces.

Integration of Music into Gameplay

While some original compositions were created, much of the music was remixed and integrated into gameplay levels. Players had the option to turn off music but not ambient sounds.

Player Experience and Feedback

Some players appreciated the music's contribution to immersion, while others felt it interfered with exploration reminiscent of Thief. This highlights differing player expectations based on their familiarity with previous titles.

AI Mechanics and Game Dynamics

Similarities between enemy AI in System Shock 2 and Thief allow for stealth gameplay; however, many players did not realize they could avoid detection by remaining still due to a more action-oriented game focus.

Transitioning from Looking Glass to Harmonix

Differences in Sound Approach

At Harmonix, sound design focuses on licensed music for rhythm games rather than creating atmospheric soundscapes as done at Looking Glass.

Nostalgia for Traditional Sound Design

The speaker expresses nostalgia for creating immersive sound environments in 3D worlds after transitioning from Looking Glass to Harmonix.

Challenges in Music Representation

The Importance of Sound in Game Development

Sound as a Core Element

The discussion highlights the significance of sound in game development, emphasizing that it should not be an afterthought or merely a "last cog" in the creative process.

It is suggested that companies like Harmonix place a strong emphasis on sound, potentially more than other gaming companies, indicating its central role in their projects.

Influence from Previous Experiences

There is mention of a carryover effect from Looking Glass Studios, where sound was also deemed extremely important, suggesting a shared philosophy among developers.