Hell Yeah, Good Ole Planets and Cosmos Cowboys (More Music and World Dev)

02/12/2017 -

Chay Ho, friends. Remsa Tholdor (Our space-time is synchronized.)

A couple ‘o weeks ago I posted about working on a country song for the in-game radio. The goal is to have a nice diversity of music, which is curated by the Intergalactic Government (aka the body of power that controls much of the galaxy. In the game, If you enhance the comms system on your spaceship, you can pick “illegal” music. But all ships will have access to the government-approved radio. Let’s get to it.  I’ve got a sample of a country rock pop hit right here:

“Hell Yeah (I Got a Spacheship)” from the album Warp Driving by Jet “the Radio” LaRedo

While I was mixing sounds and singing my face off, we also made our first solar system that includes a habitable planet. Yeah baby. This will be one of the “home planets” from which the game will begin. You’re right, that IS exciting.

[Hey this is jun now.] I am busy working on an undo queue, but here’s some video from the planet editor (work in progress):

Robo Operas and a Refreshing Moop Light (TM)

01/29/2017 -

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.


Commercials, Nachos, and Suburban Hell

01/15/2017 -

Jun is resting.  Playing rocket league. You see, he was more or less forced to help out family and drive through literally hours of suburbia in New Jersey. Olive Gardens and malls with Banana Republics. Horrifying. It is a strange vacuum of nothingness. It took a toll on his soul.  Understandably. But fear not, for I have updates on the content front.

We set out a goal to name 1000 stars, and we’ve pretty much achieved that. We more or less named them individually, or at least we”vetted” them so they sound star-like. Okay fine, I had a little fun with a few them. There are some secret messages in there:


I also went ahead and created another commercial, (here’s the other one) for the space radio that’ll be on each ship. I’m quite taken by this stuff. It’s a blast for me to chase my imagination and pour my humor into these media bits for the game. I want them to sound “real” but “fake”, if that makes sense. Essentially, these are supposed to ground the game in the reality we create for the user. Which is a reality that is at once recognizable but alien at the same time. Contradictions yeah, but let me show you what I mean:

This one is a movie trailer on the radio for the 25th installment of The Great Nacho War series. (In the game, the Nacho War was a terrible, terrible intragalactic conflict in which the galaxy’s destitute were controlled by a powerful corn chips company that created the non-perishable chip. Cheap and eternal, the chips became a food of necessity for the poor, and they had little choice but to fight for the powerful corn chip company when it tried to monopolize and expand into controlling the galaxy’s larger social, industrial, and political systems.)

Lol, well if that was too much, I hope the ad was decent. It’s my voice, modulated, with sound effects downloaded (with permission of course!)

Next on the horizon for me? Finishing the list of planets and making a “dueling whistlers” song. Hehe. I hope it’ll be as fun as it sounds dumb.

[Hello. I must be brief. its jun. ;). how’s it going? PATE is trying to keep me in the DARK!! …jk. we share the dark. Here are some pics/vids from this week.]





Moon Cream (The Robot’s Choice)

12/08/2016 -

Yes, Hello. A Pate Update from Pate:

I’ve been told I can sound like a robot… due to my nasally voice? I don’t know.  People don’t give a reason after they say that, they just smile and say I make good robot sounds. Which is fine, I guess. Bip bop.

I decided to use this “skill” to create a radio ad that will play on your spaceship’s radio. Yeah baby, intergalactic marketing!

It’s a sample of the world-building we have in mind to complement the gameplay. Imagine sailing to gambling planet Toro Nero, flipping through frequencies on the ole music box… no you’re not in the mood for astro-punk right now, umm photon jazz is too meh, well let’s see what’s on the classics station, AND THEN BAM, you know this melody: that beautiful duet from Pupansky’s space opera, “You Compute Me.” Am I going to actually create a love song between robot and sentient being? Stay tuned to find out.

(Yeah, I’ll give it a shot.)

It’s tough to imagine what “generic” radio music would sound like 800 years from now. Part of me is convinced it will have A LOT of electric organ, which is a great instrument, no joke. Some talented musicians can really noodle on that thing. All in all, it feels strange to try to predict future music, but half the fun is seeing what ya come up with.