Chay ho (hello) friends. Torbo Vin Meloni (May your nose be unoffended).
I have it. I finally have it. As promised, I present to you a finished copy of the hit song from Pupansky’s space opera, You Compute Me. It took a bit of tweeking, and I’m not even sure I’m done tweeking. But I do want to stop away from it for a little bit as I’m more or less satisfied with what came to be:
“Beep Boop, Or Love” — From You Compute Me
So the recording includes my voice (robbert the robbing/criminal robot) and a lovely local actress who appreciates the silly sounds of our world. The music was purchased, and the SFX were added with permissions.
I read recently that sound/sound engineering is generally the red-headed stepchild of gamedev. Graphics, story, and gameplay all get priority to sound in deadline-driven contexts (and I completely understand why they should), but sound should be more or less equal to those elements. I mean, we can more or less imagine some iconic voice, music, or sounds/sfx that really shaped how much we enjoy a game. So I’m sort of experimenting with a “sound first” approach. Seeing what stories, quests, or happenings that would be created if I could hear the world before I could “see” it.
Next up, I’m working on country song about spaceships. And Jun has some exciting developments regarding his balls. His UI navigation balls, that is.