SFX Art Direction
Corprus Beasts
The Corprus Stalker, the Lame Corprus, and the Corprus Abomination. These beasts are effectively mindless corprus zombies - the disease has destroyed their capacity for language and human thought.
Aim
To differentiate the three types of corprus beast in terms of size and aggression via the VA performance (then later via the take selection and post-processing).
To convey some nuance of emotion whereby, although leaning towards aggression, we also have a few sounds to sprinkle in that give a sense of the physical suffering of this horrendous disease.
General character
The Stalker is the weakest of the three, but would still be a formidable foe for most. It wheezes, rasps, grunts, hisses, growls and snaps as it staggers along. It also has an acute presence of pain and suffering from the transformations it is undergoing. We could try an occasional pained moan, anguished snarl etc to colour its idle state. It’s vocalisations occupy a slightly higher register than the other two, but despite its relative weakness, when it spots an enemy it goes after it with ferocity. Deep down it may still have some vague notion of a time before the disease took hold…
The Lame is an angry beast. Its vocalisations are deeper and more guttural, the noise resonating through the thick growths consuming it. Its idle state is menacing but still peppered with the occasional groan/howl/gargle of suffering. At this stage of the disease, the Lame’s lungs are plagued with corprus phlegm giving it a wetter sound than the other two and it is known to exhale green bile at its enemies during battle. It is larger and more aggressive than the stalker with angrier growls of rage, particularly when it detects an enemy and attacks. The Lame corprus remembers only anger and pain.
The Abomination is an angry, rampaging, battering ram of flesh. It is fierce and furious, looking to club something to pieces as it roars wildly. There are no sounds of suffering; just deep animalistic breaths, snarls, growls and as soon as it sees an enemy, frenzied howls and ROARS! The years of pain as the disease transformed it are now completely subsumed by the overwhelming urge for violence and rage.
Environments
Creating Ambiences
Think about all possible environmental sounds that may be heard at this location. All the living and not so living beings that produce sounds. Some things we just don't see, or can't interact with in this particular area, but we should know that they exist. In a swamp for example you can hear frogs, mosquitoes but also the bubbling of water, small rustling of critters in the grass...
No distinct positioning on longer components of an ambience to not ruin the immersion when the player turns. Short sounds can have some directionality. Ideally you shouldn’t be able to see (hear) a clear picture of what makes those sounds or a sequence of sounds baked into an ambience track. Think of it as a sort of wall of environmental sounds.
There are no birds on Morrowind and, while we can use birds mixed with other creatures, it is important that we do not just use raw calls or songs.
Environmental Sounds
Environmental sounds are not in focus. They fill in the ambience and make the world alive. Think about the world as a whole, how sound interacts with other sounds in this particular area to produce an overall image.
They should feel natural, make each small part of an object react audibly how they would react in real world, even if the visuals do not fully represent that.
Example: metal gate when slammed produces: impact with door frame, sign on the gate jingles of metal grates, latch produces sound as well, rusty hinges, possible dust crumble, and…player's hand pulling the gate!
Ask yourself: how was the sound supposedly triggered in the world, what caused this object to produce such a sound? For example: a big clock moves its hands by a mass of gears behind it. Even if you can’t see them, if you’re close enough you can hear them turn. Think about the level of granularity needed to produce realistic result and to compensate for what may not be possible visually with our engine.
It should feel natural and soft. Pleasant to hear, but not necessarily something you would listen to. Tame those harsh fire crackle transients at the higher end of the spectrum!
We should allow the world to get very quiet from time to time to have a nice contrast to the louder sounds.
Technical direction
Compression: Very little compression - compressed sounds don't like other compressed sounds. Light compression to "glue" components together is fine. Wide dynamic range will allow many sounds to be played together and not turn into a mush
Spectral characteristics: Natural, mid range is very important. If a sound is not supposed to be heard up close it shouldn't have much or any (sub) low end, unless it is a rumble of some sort.
Loudness: Not loud. Peaking at -3dB max.
Duration: Depends. For loops, a maximum length of 2 minutes (or else the engine crashes) so keep them under 1:30.
Variations: Many for often heard and more in focus sounds, not many for others - when in doubt, ask integration members for how your sound is intended to be used!
Combat
This is the player's focus. This is our main hero. It is what makes gameplay feel physical and fun. But don’t over exaggerate what doesn’t need to be over exaggerated. Less is more. Making some sounds softer makes other sounds stronger.
Combat SFX consists of sheathe/unsheathe, weapon swing, material hit (person hit), block with weapon, bash and shield block.
Ideally one person should work on multiple weapon types for a particular sound event. This way they just have to adjust/change some components to make this sound for a different type of weapon and other sound designers don’t have to reinvent the wheel every time.
Sheathe / Unsheathe: If it's a high tier weapon (glass, daedric, ebony), you should feel it in every aspect of having it. From swinging and hitting to taking it in and out of sheath.
Swing: Swing whooshes should not be mimicking the whole animation, a whoosh usually happens when enough air has been moved. Around the middle of the swing arch is about where it should begin and be the loudest towards the end (ideally).
You should feel the material and ideally the shape of the weapon you’re swinging. The size of a weapon should affect swing sounds - larger amounts of air being pushed at slower speed - lower pitch, stronger whoosh.
Hit Surface Type: We CANNOT distinguish the type of armor that gets hit. We can only distinguish whether it is a creature (and which creature - handled by the creature sound), an object (see “Material Hit”), or an NPC. If it’s an NPC, it needs to be generic and more focused on the material of the weapon rather than surface.
Hit: Don't be afraid to make sharp transients (controlled) with almost complete audio cut outs on impacts to separate the element of the impact and to make it feel stronger, as it's tearing and breaking material of the armor (subtle, remember, no distinction between armor type), body, or an object (“Material Hit”). But don’t go over the board with crunch. The weight of a weapon should affect the power of the impact.
Gore: Happens only at the moment of impact for the most weapons. Meaning no pronounced tails of blood splatter or bones breaking by themselves after the weapon has left the point of impact. Slashing weapons (blades, knives) can have a very short tail of flesh or blood, as it can still audibly (in rare cases) come out of the wound.
Bash: Short, punchy, feel the material of the weapon. More of a push away rather than launch into space by slapping face with a bow.
Technical Direction
Compression & Spectral characteristics: Combat sounds can have heavy compression as they should feel impactful and be heard above all other sounds. Sharp transient attack and low end punch on impact. Spare the low end for the impact, don't add too much of it anywhere else, as it will make impact feel weaker.
Loudness: LOUD. Peaking at -1dB.
Duration: Short hit, about as long as weapons interaction with the surface. Swing should more or less match the animation.
Variations: Make them sound very similar, it’ll be less noticeable.
Magic
The spells in-game are grouped in different schools. Those will follow a specific direction/feeling to fit thematically and make each school feel different.
Magic Schools
Alteration: “Students of the College of Alteration manipulate the physical world and its natural properties.”
This school is comprised of mostly defensive spells like shields and helpful physical interaction spells like light or levitate. They should feel more grounded, so feel free to use real material and tool sounds to support the interaction.
Conjuration: "Conjuration summons magical items and beings from the outer realms to serve you."
As you’re tapping into another realm, these sounds should be magical and otherworldly but also with a good amount of authority and aggression. It takes your energy as you’re ripping creatures out of their world to submit to your bidding so make it feel a bit unstable and fear-inducing.
Destruction: "Destruction harms living and unliving things."
As you might have guessed this is fairly straightforward and aggressive. As most of the spells have an elemental background, they should all feel like a powerful force of nature. A flame spell in your hands is essentially a huge explosion condensed into the size of a palm. Raw power at your disposal - so the spell release should generally have a heavy hitting transient and not linger too long. After the target is hit there is only silence left to underscore the destruction.
The unstableness should be felt at first in the lower tiers, as you get more capable it should wane down as you’ve mastered the raw power and formed it into the shapes you desire.
Illusion: "Illusion affects the perception and mind of living subjects."
The power to control what a creature sees, feels or thinks - so it should feel foggy, trippy and maybe even with a touch of fear here and there. Spells don’t have to have a distinct impact and can linger like a hangover or lack of sleep.
Mysticism: "Mysticism involves the manipulation of magical forces and boundaries to bypass the structures and limitations of the physical world."
This school deals with unstable spells that impact other creatures at the soul level as it transcends dimensions. Spells like Absorb Health and Soul Trap go to the very core and alter or suck out the essence of your target. Very little is known about this school so embrace the uncertainty and mystery of it. These sounds can have a longer attack as they are finding their way into a creature and a longer tail as the effect lingers inside.
Restoration: ”Adepts of the College of Restoration heal, restore, and fortify the body's attributes and abilities, cure disease, and protect it from other malign influences.”
As a counter to aggressive and destructive spells they should feel calming and soothing. No uneasy effects or too sharp sounds as you cure, heal or fortify bodies.
Spell Tiers
Certain spells have “tiers” of power, in order to communicate their changing strength.
Tier 1: Less low end, should feel a tiny bit unsatisfactory, like it’s lacking punch or finish. Makes you want to hone your skills as it does only minimal damage.
Suggestions: Take one layer away from your design or turn them way down, EQ low end or high end to make it softer / less sharp (depending on your sound)
Tier 2: This one has more width to it, maybe some new elements or details that were buried in the lower tiers and now really shine. It feels like you have real power in your hands.
Suggestions: Bring up all layers, no heavy EQ, full width and intensity
Tier 3: The final Tier is perfection. You have mastered a spell and want to change the shape of the world by your will.
Suggestions: Have some unique shine on top that is unique to this tier and makes it stand apart from the rest.