bzeep bzorp – making in-game space sounds and such

07/09/2017 -


Chay ho (greetings), earth dwellers. We haven’t posted too frequently since the summer has us relaxing all over the place… the beach, the couch, the bed, the couch, the bed, the couch… you know, just living it up. We started digging into sounds more seriously recently, which is tough because it all has to be related to each other. For example, the sounds a spaceship makes has to all sound believably similar to each other, while the sounds animals, rockets, weapons, and resource-gathering all have to maintain their own “theme” or consistency. At least that’s our angle on approaching these details to the game.  We don’t want ship warp to sound like “blorp blorp blorp” when every other engine sound goes like “zazazazaza”, if that makes sense. It doesn’t? Whatever, I’m leaving it up on this public blog.

So what’s our process? All music and sounds are either created by us personally, like say, banging a spoon against a pan to get a nice “clink,” or we use sounds we have rights to from the audio-banks on the internet and further modify those to avoid any sort of creative copyright shenanigans. So nothing goes straight from source to game without some heavy modification.

How do we decide what sounds we need? Jun more or less keeps me up-to-date on what he’s working on and I support that with finding, editing, and sending him draft sounds. If he’s working on flight, I get to work on fuel burn or propulsion sounds. If he’s looking for a turbulence sound, then I try to get him that so we can really feel how the game is coming together.

Here are some draft sounds we may use:

This is the Chugboy (TM) suction sound — a tool that collects liquids and micro-minerals when gather resources. The picture of the tool is below. The sound is meant to encapsulate the whole suction process, from chug to finish.




The Fuel Burning sound here is meant to be looped, so it can go on and on and sound pretty consistent.




This simple ditty is the Mining Sound, a clean little clack and clutter from hitting rocks. Between you and me, it’s edited sound from glasses clinking.




Turbulence sound here. Rattling metal, deep drones — all things consistent with what other parts of space travel sound like.


A little story, a little poop – perfect!

02/27/2017 -

Mugalo (hello) cadets. Plip! (At ease, finish your yogurt with fruit at the bottom, it is time for the debriefing of our most recent developments.)

Pate here to report that we have been growing our content databases and backstories, laying a foundation for the purpose of this game and achieving that purpose. Jun is hammering away creating sweet, sweet flight simulation gameplay, exploring things like warp and solar system entry, which ain’t easy peasy (but aint hardy farty either).

For backstory, we’ve essentially agreed that this game will focus on the user entering a simulation of this ENTIRE galaxy, filled with artificial life – but life nonetheless. The user’s goal will be to guide a character of their choosing across the galaxy to a land of hope, opportunity, and nonstop good times: a planet called Lilith. You gotta manage resources, ship upgrades, combat skill/efficiency, and other game aspects to succeed at this MASSIVE journey. Did we bit off more than we can chew with this game-dream of ours. Yeah, probably. But hey, we’re having fun and things are coming together. Here’s a sampling of a few basic elements that all in-game items will be composed of:

Carbon – building blocks of life, dude!

Florp – umm, fecal-leached organically reduced putty. Yeah, umm, purified poop is an element.

Circuitry – gotta build those computer systems with scrap.

Hydrogen – one of the most plentiful elements in the universe

Lithium – useful as a conductor, and plentiful on certain planets.

Ketchup-X – it’s good on fries, chicken, and has important organic and adhesive properties.

There are more elements than the ones listed, but I think it’s neat to have some real science-based resources as well as goofy ones that make us chuckle. Like, I don’t know, I get excited to think I’ll be collecting poop, LOTS OF POOP, on a huge galactic journey.

Hello this is jun now. I just saw Burt Reynolds in Boogie Nights so I’m feeling inspired. Here are three “game photographs”.

First, a popup. This is what you see when you reach a star system.  A robot sends you a nice message, and then you can enter the system if you want.


Second, ENA Vision (sight by atoms) of the heliopause turbulence around the star Muk-Qui. Stars are somewhat difficult to enter. In our game, you’ll have to effectively reduce your speed (when approaching a star) so that you don’t burn up like an on-fire newspaper flake when passing through the turbulent terminal shock waves generated by solar wind as it equalizes with the grander vacuum of interstellar space.. Fellow science nerds will get this, but also hate me for suggesting that ships burn up because of this — that wouldn’t happen. But look. It’s a game, and Burt Reynolds is really good in Boogie Nights.


Third — and maybe the coolest piece code I’ve written since last july (don’t ask):  equations that calculate time dilation due to relative velocities. Notice how the ship is young, and the galaxy is getting old. Yes, as you fly as very fast speeds, generations of life go by on planets, and yet your crew ages completely normally. This is a real effect, but I fudged the numbers — sorry science friends. STILL – this is all less cool than Burt Reynolds in Boogie Nights.


Burt Reynolds:

burt reynolds

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.