(The Promised Land)
Gold Fever is a challenging survival RPG hybrid.
Face the horrors of the dark and haunting jungle as you engage in fast-paced battles against the opposing faction. Complex terrain and widely varying character strengths & weaknesses make for intense and highly strategic fights.
We've created and implemented all the sound for this upcoming game.
BEHIND THE SCENES
The music follows the gameplay and tells the story of the factions that will face each other. On one side we have the Adventurers, who prepare for their pursuit of gold and explore the land. On the other side we have the Tribalists, the native tribes defending their lands and treasures.
The music emphasizes the story of the faction you choose, right from the beginning of the game. In this way, the music contributes to the immersivity of the game. The most important thing for us was to give players a sense of excitement and adventure when they leave the encampments, and a feeling of coming home when they return.
The Sound Design
The story takes place in 1929 and is inspired by the Papua New Guinea Gold Rush. We find it important to create a true-to-life image of the sounds of the Papua New Guinean jungle, by focusing on realism and designing all sounds from that perspective. This principle is reflected in all the sound, from atmosphere to UI.
That also applies for the UI sounds. While they emphasize the game' s adventurousness, they also stay true to natural textures and sounds.
From a Sound Design perspective, we have worked on multiple exciting and challenging systems, among which an ambience system that procedurally populates the environment with audio sources based on the landscape.
Most of the audio systems, including the ambience system, were created in Unreal and Wwise.
The music and sound design adapt according to the current active states. These states are in turn linked to parameters and/or trigger cues. In the rainforest there are many ways in which nature reacts to the weather. Therefore, we created 8 different soundscape mixes based on the weather, the player's location, and the time of day.
We have used Wwise primarily to design complex systems and as a creative extension of our sound design. The combination of sound layering and implementation in Wwise resulted for example in a dynamic flight system, with seamless transitions and responsive to player input.