Deep Sea: The scariest game ever by JC Fletcher on Mar 12th 2011 8:30PM I don't even know if Wraughk Audio Design's Deep Sea is intended to be scary, but it's more effective at generating real fear than any game I've ever seen. The Independent Propeller Award finalist is daunting from the outset: first, the player is helped into the gas mask contraption seen above, with blacked out eyes. The game is simple: you use recorded audio direction from an AI character, and directional audio cues, to locate enemies underwater, then "ping" them with your sonar to target them. What makes it terrifying is the combination of instant claustrophobia due to the oppressive mask, and the helplessness of total sensory deprivation. This seems like one of those games best suited for a proof of concept, or an experience to be had at events.
Vanished for iPhone 3GS, iPhone 4, iPhone 4S, iPhone 5, iPhone 5c, iPhone 5s, iPad, iPod touch (3rd generation), iPod touch (4th generation) and iPod touch (5th generation) on the iTunes App Store Brian Schmidt's Blog - Making Ear Monsters: Developing a 3D Audio Game The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. Sound has always been an important component of videogames. But what challenges do we have when we turn that concept on its head and make sound the primary driver of gameplay? Goals There have been a few audio-only videogames over the couple of years. Unlike these longer, story-based games, my goal was to create a short, casual game experience, with arcade-style scoring designed to be played in bite-sized chunks. I chose a gameplay mechanic driven by 3D Sound (which we’ll get to later), but inspired by traditional visually oriented games such as Fruit Ninja or Whack-a-Mole, and even Asteroids. In this post, I’ll be discussing the gameplay, design and accessibility challenges I faced creating the 3D audio game, Ear Monsters; in a follow-up post, I’ll cover the sound-related challenges. Summary
The intimacy of sound: Robin Arnott's mysterious SoundSelf For many, the creation of games can be a way to share important personal experiences with others. That's part of Robin Arnott's goal with SoundSelf: The project aims to create a sonic and visual experience using the player's own voice, leading to a mind-body experience where the senses don't feel separate. Hum or chant to SoundSelf and it responds, a fascinating experiment in creating not an intellectual gaming experience, but a physical one. Arnott, a thoughtful, warmly effusive person, has come to games through a personal journey, and his work in the games space expresses that, leading up to the complex, Kickstarter-funded SoundSelf, for which a public prototype is currently available. He previously did the sound design for Antichamber, and gained acclaim for the unnerving Deep Sea, an auditory, sensory-deprivation experience where the player's own breath control is paramount to the experience. The prototype requires only a PC, headphones and a mic. "And they loved it," he says.
BlindSide - The Audio Adventure Game Meet Papa Sangre creator Somethin' Else, the UK studio pioneering audio game development Audio Defence: Zombie Arena is Somethin’ Else’s intended follow-up to Papa Sangre II. Somethin’ Else makes games unlike any other studio. Their binaural survival horror adventures play out within luscious, atmospheric soundscapes and beyond a rudimentary user interface, there are no visuals to speak of. Last year’s Papa Sangre II proved a critical darling – it was 2013’s highest-ranking iOS game on Metacritic, Sean Bean’s voice work attracting particular praise. But the London developer hasn’t been satisfied with Papa Sangre II’s sales, despite widespread praise from players, press and Apple alike. Somethin’ Else’s next audio game is designed explicitly to counteract these market trends. Audio Defence: Zombie Arena takes its cue from Papa Sangre II’s well-received shooting ducks level, which asks you to shoot a constant stream of deadly ducks by listening for the sound of their quacks, and mixes in enemies inspired by Left 4 Dead’s cast of fast, slow, tormenting and terrifying zombies.
How one brave audio-only game is harnessing the power of sound - Kill Screen - Videogame Arts & Culture. At first, it was the darkness that terrified me. It was the complete and utter sensory-arresting shadows that were truly upsetting, as I tentatively stumbled down narrow corridors, arms outstretched, blindly feeling my way forward. One step at a time. I realised that the first half of the ghost house with its corny masks and silver cobwebs and off-kilter mirrored rooms was all but preamble; that this power-cut maze was in fact the real scare of the Haunted Grimm House—being robbed of my sight and forced into incomprehensible blackness. Then it suddenly occurred to me: the darkness wasn’t the problem. Void of visuals, audio games have been historically designed with a similar outcome in mind. Three Monkeys aims to present players with a choice: that they can instead hunt and seek and attack, as opposed to merely running and hiding in fear. “At first, we looked at the market and there weren’t really many audio games out there,” explains Incus project manager Steve Willey.
Audio Defence: Zombie Arena Review: Papa Sangre Devs Make You Defend Yourself From The Undead Using Your Ears (Somethin' Else) Zombies are immortal at this point. It doesn't matter that as gamers we have killed them by the millions in seemingly every genre, because at this point there’s just no getting rid of them. We might be sick of them as video game villains but every time we think we’re done to (ahem) death, they rise from their graves with some new twist that makes us reexamine them. Case in point- Audio Defence: Zombie Arena. Like Us on Facebook Sneaky Sneaky Review: A Stealthy Retro Adventure You’ve never seen zombies like this before, mostly because you won’t actually see any zombies at all. See, Somethin’ Else has created a proprietary ‘Papa Engine’ that lets players use a regular pair of headphones to hear incredible surround sound. Tales From The Borderlands Available On iOS Now Audio Defence is perhaps the most game-like of all of their games. The absolute best way to play the game is by using your phone’s gyroscope. (Photo : GameNGuide)This is the extent of the graphics.
This game lets you help a stranded survivor using only your voice It's a familiar scene. Someone is trapped in a dangerous place — a derelict space station, a park overrun with dinosaurs — and a friendly voice on the other end of a walkie talkie helps guide them to safety. Only in Mayday! The set-up is simple: you're listening to the voice of someone stuck on a spaceship, one that's been overrun by what appear to be zombie-like monsters. By the end you'll feel a strong connection In order to talk, you hold down a big, satisfyingly chunky on-screen button and issue commands like "stop," go left," or "run forward." The terrifying horror game Papa Sangre has shown just how powerful an audio-focused experience can be, and Mayday is further proof. "The gameplay was only a means to an end." The actual gameplay is simple and intuitive — I rarely had to repeat myself when issuing voice commands, and there was only one instance where I "failed" and had to repeat a section. "This is just the beginning," says Wilson.