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.
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Antichamber - A Mind-Bending Psychological Exploration Game The Instruction Limit 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 Distinctive Features Distinctive Features Robert Mannell Topics Up until now we have mainly examined phonological units at the level of the single phoneme, syllable or word. In this topic we will examine units below the level of the phoneme. We will begin by looking at some ideas that form the basis for a theory of phonological features. 1. Saussure made distinctions between signified and signifier and between form and substance. Form: an abstract formal set of relations Substance: sounds (phonemes) or written symbols (graphemes) Word: the union of signified and signifier Phonetic segments (speech sounds) are elements that have no meaning in themselves. Meaningless elements (phonetic segments) can combine to form meaningful entities. ie. words, which are combinations of phonetic segments (or of phonemes) are meaningful. There is an arbitrary relationship between the Meaningless and the Meaningful. Each language has its own set of distinct rules for the combination of sounds, or phonotactic rules. 2. 3. 4. i.
Devil's Tuning Fork by Kevin Geisler What if you saw the world with your ears? Devil's Tuning Fork is a first-person exploration/puzzle game in which the player must navigate an unknown world using visual sound waves. Inspired by M.C. Escher’s classic optical illusion and the echolocation of dolphins, The Devil’s Tuning Fork allows the player to explore a new mode of perception through sound visualization. As a mysterious epidemic causes children everywhere to fall into comas, one child wakes up in an alternate reality. Setup by five faculty members at DePaul University, DePaul Game Elites was formed in Summer of 2009 in order to make a game that could compete in the IGF Student Showcase. In Dedication to Richard Kossak. Octodad 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 Making of “Conversion” 2004 | Artworks of Johnson Tsang Preparing clay with iron oxide for skin color Start with hands Outline is done. Lift up with clay stand for other details Change position again Cut for hollowing Digging Check thickness Cut the other side Cut again Cover the holes after hollowing Second part Building a clay support Join them together More details Let it dry slowly Ready for bisque In the kiln safely Apply brown iron oxide after bisque Transparent glaze as well Ready for Hi-firing Remove the clamps Release the handles Apply gold lustre after hi-firing. It is done! Need to remove the clay support very carefully It works!!! Although killing takes place every day, we know that somewhere in this world, there are people who are extending a helping hand to others, working hard to save lives. Like this: Like Loading... Sculptor based in Hong Kong, China
Miegakure (Hide and Reveal): A 4D puzzle-platforming game. Tiny and Big – The Game Prologue 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.