Sound Description
The vision of “Full Steam Ahead!” calls for an Industrial setting in the Victorian era, which is why keeping to an “analog” sound design in both the SFX and music tracks is very important. Even though the game will be released on digital devices, the audio for the game will sound like it is coming from old recordings that were archived into the game. The use of noise, compression, and “cracking” effects to make the audio sound like it was restored from a forgotten time will help suck the players into the futuristic Victorian aged world.
The style of the music in this game will base itself heavily on 19th century German composition mixed with contemporary Celtic punk. In the spirit of the steampunk aesthetic, “Full Steam Ahead!” presents itself in a Victorian-era world that has makeshift innovations from our modern world made with the technology of the period. With the time period in mind, I chose to focus on making the base of the Game’s soundtrack be heavily influenced by the works of Johannes Brahmns, Richard Strauss, and Ludwig van Beethoven as their music defined classical music in the 1800’s but mixed with the styles used in Celtic Punk music like the works of The Real McKenzies and Young Dubliners to give the soundtrack a rebellious spirit.
For the Sound Effects I plan on using only mechanical and analog sound effects as the use of digital effects would break the period immersion so having noises that sound too modern may bring a more cyberpunk vibe to the world. To create the unique soundscape of this world, I plan on working with several aged time clocks and other mechanical devices to record their authentic noises for several SFX of party movement and attacks. And depending on the maps, I will also try to get audio of old engines for machines and steam vapor releases for SFX of spraying steam.
The style of the music in this game will base itself heavily on 19th century German composition mixed with contemporary Celtic punk. In the spirit of the steampunk aesthetic, “Full Steam Ahead!” presents itself in a Victorian-era world that has makeshift innovations from our modern world made with the technology of the period. With the time period in mind, I chose to focus on making the base of the Game’s soundtrack be heavily influenced by the works of Johannes Brahmns, Richard Strauss, and Ludwig van Beethoven as their music defined classical music in the 1800’s but mixed with the styles used in Celtic Punk music like the works of The Real McKenzies and Young Dubliners to give the soundtrack a rebellious spirit.
For the Sound Effects I plan on using only mechanical and analog sound effects as the use of digital effects would break the period immersion so having noises that sound too modern may bring a more cyberpunk vibe to the world. To create the unique soundscape of this world, I plan on working with several aged time clocks and other mechanical devices to record their authentic noises for several SFX of party movement and attacks. And depending on the maps, I will also try to get audio of old engines for machines and steam vapor releases for SFX of spraying steam.
Musical Influences:
“Chip” (2008) The Real McKenzies (2:04-2:40)
This clip of “Chip” by the real McKenzies displays a great show of musical build-up by starting with a bagpipe solo to then introduce a faster tempo every time a new instrument is added following a guitar strum with the drum beat finally starting the chorus at 2:40. This progression can be used in the OST of “Full Steam Ahead” whenever a Player is in the process of cornering and removing pieces from the board. The folk feel of the song also allows for a sense of pride in the Player as they are successfully cornering their opponent, or cause them to feel stronger about turning
the tables when they are the one being cornered.
“Goldist -金色の血に染まる前に- (Goldist: Before it is Stained with Golden Blood)” (2010) Nei Kino (木野 寧), Luck Ganriki, dai (0:00-0:26)
The way “Goldist” opens with the ticking of a clock was what inspired me to base the music design of “Full Steam Ahead” to make use of noise from analog technology. The fast paced orchestral piece could be a great reference to use while thinking of a song that would play in a later level of our game.
“Nicknackatory” (2012) Mr.B The Gentleman Rapper (1:16-1:36)
The chorus of “Nicknackatory” has a chill lo-fi feel that would work well with the opening theme of “Full Steam Ahead.” The 1930’s swing style of the horns gives a classic dance feel that if used in our game, would potentially be a song that would both hype the players before a game or allow for them to jam out if they just want a good song to dance to.
This clip of “Chip” by the real McKenzies displays a great show of musical build-up by starting with a bagpipe solo to then introduce a faster tempo every time a new instrument is added following a guitar strum with the drum beat finally starting the chorus at 2:40. This progression can be used in the OST of “Full Steam Ahead” whenever a Player is in the process of cornering and removing pieces from the board. The folk feel of the song also allows for a sense of pride in the Player as they are successfully cornering their opponent, or cause them to feel stronger about turning
the tables when they are the one being cornered.
“Goldist -金色の血に染まる前に- (Goldist: Before it is Stained with Golden Blood)” (2010) Nei Kino (木野 寧), Luck Ganriki, dai (0:00-0:26)
The way “Goldist” opens with the ticking of a clock was what inspired me to base the music design of “Full Steam Ahead” to make use of noise from analog technology. The fast paced orchestral piece could be a great reference to use while thinking of a song that would play in a later level of our game.
“Nicknackatory” (2012) Mr.B The Gentleman Rapper (1:16-1:36)
The chorus of “Nicknackatory” has a chill lo-fi feel that would work well with the opening theme of “Full Steam Ahead.” The 1930’s swing style of the horns gives a classic dance feel that if used in our game, would potentially be a song that would both hype the players before a game or allow for them to jam out if they just want a good song to dance to.
SFX Influences:
Bell and Howell 16mm Cinema Projector: Gears Moving Reel (1:21-1:33)
Although a bit after the Victorian age, the way that the device works does have a pleasant mechanical sound to it. The way you can hear the clicks of the gears moving the reel on the projector gives the machine life. In “Full Steam Ahead” there could be some pieces or even background elements that will sound as though they are a similar machine as the Projector.
1920’s Typewriter: Mechanical Key Strokes (17:12-17:26)
The clacks that come from pressing the keys of old typewriters have a distinct and vintage noise that can tell a story despite lasting less than one second. One of these key presses could be incorporated into “Full Steam Ahead” by being an effect to display that a “piece” has been set to a new position on the board.
Victorian-era Sewing Machine: Needle threading Cloth (1:56-2:41)
The mechanical noise of a “whooshing pop” shows the innovative use of electricity for machines in the latter end of the 1800’s. With some adjustments, this could be used as an “UI Interaction” SFX as it would be a notable noise separate from the Gameplay audio, but still within the theme of the Victorian era.
Although a bit after the Victorian age, the way that the device works does have a pleasant mechanical sound to it. The way you can hear the clicks of the gears moving the reel on the projector gives the machine life. In “Full Steam Ahead” there could be some pieces or even background elements that will sound as though they are a similar machine as the Projector.
1920’s Typewriter: Mechanical Key Strokes (17:12-17:26)
The clacks that come from pressing the keys of old typewriters have a distinct and vintage noise that can tell a story despite lasting less than one second. One of these key presses could be incorporated into “Full Steam Ahead” by being an effect to display that a “piece” has been set to a new position on the board.
Victorian-era Sewing Machine: Needle threading Cloth (1:56-2:41)
The mechanical noise of a “whooshing pop” shows the innovative use of electricity for machines in the latter end of the 1800’s. With some adjustments, this could be used as an “UI Interaction” SFX as it would be a notable noise separate from the Gameplay audio, but still within the theme of the Victorian era.