‘A VR Narrative game, addressing the effects of depression and the process of reaching out to people around us. The player will call-up friends and family and make dialogue choices over the duration of their conversations. The consequences of your choices will visibly impact the environment around the player’.
After meeting with the Game students, myself and my classmates, Hywel and Inaki, had a better idea of what they wanted the sonically aesthetic nature of their game to be. Contrasts between a feeling of clarity and tension we discussed could perhaps be portrayed through music and atmospheres. Dialogue could also be warped to display the contrast of emotion too. Simply put, they required atmospheres, foley and dialogue. Music it seems has been composed already, by someone they know, however we may debate this with them in order to add our own compositions that we feel would benefit the game more than the simple single piano melody they had shown us during the meeting.
On an overall basis, the nature of the game seemed to us very sonically barren. The beginning and end of the game takes place in an empty black cavernous space, while the climax takes place in one spot, that being the phonebox. As a result we weren’t able to record much in the way of foley as it seemed like at this point there was not much of it needed. However the space left for a sonic environment meant that immersion through atmospheres and music may have to be the main focus of the game