Autor: Francisco Sylla

Compositional Methods

Before addressing the composition for each scene individually, it is essential to ensure that the game’s soundtrack feels cohesive. A unified musical experience maintains player immersion while balancing it with unique characteristics for each scene to keep the experience interesting. To achieve this, I plan to use common instrumentation across various tracks, incorporating unique elements for each scene.

The soundtrack will blend orchestral and electronic elements. The orchestral components, controlled by MIDI instruments, align with the game’s historical theme and match the not-so-high fidelity of the game’s visuals. This mix of virtual acoustic and electronic instruments enhances the fantasy world of Mechanical God Saga. Matching the music’s fidelity with the visuals is deliberate; it creates a coherent experience and can positively impact the game, although sometimes not matching the music to the fidelity of the visuals can also work. This discrepancy can be used to have a positive effect on the game, uplifting it. This is sometimes used in cases where the games are developed for smaller devices without so much computer power, which is not the case for our game.

For composing specific scenarios, it is crucial to convey the appropriate emotions for each scene, such as peacefulness, relief, or stress. Understanding the scene’s context and potential events is key to achieve this. Triggers for musical changes can happen at any time, necessitating quick synchronization with gameplay. It is imperative to identify every possible moment in the music where a change might be needed and adjust accordingly to maintain immersion.

For example, in the forest scene, different musical changes are applied depending on which section of the song is playing when enemies appear. Figure 1 illustrates the initial mapping to achieve a state of tension for this scenario. Other music themes will require multiple states of tension, depending on the evolving situations. However, for the initial forest scene, only a single state of tension is necessary.

By carefully mapping out these musical changes and ensuring quick adaptation to gameplay triggers, the soundtrack will enhance the overall experience of Mechanical God Saga, creating a seamless and immersive journey for players.

The music structure goes as following:

Intro > Segment A > Segment B > Segment C

And for each section there is a need of mapping the changes, as the next table shows, regarding a first state of tension that we want to portray. Synthesized sounds with a metallic aspect are being considered to be associated with the enemy soldiers as for their metallic vests and its connection to the mystery of the nuclear event. As the structure is not linear, the structure mentioned above refers to the way it was composed. Different sections will be looped depending on gameplay, which doesn’t include the intro.

INTRO	SegMent A	Segment b	Segment C
Always the same, only plays once.	Increased cutoff frequency for the bass.	Replace instrumentation to more synthesized/metallic sounds, pumping effect.	Increased cutoff frequency for the bass.
–	Replace flutes with synthesized trumpets.	Change in the melody.	Replace flutes and violins with detuned synthesized sounds.

Fig.1 Adaptive process for a first state of tension.

As the intro starts during an introductory dialogue, it is not possible to get to the enemies while it is playing, therefore there is no need to map changes to this initial part of the music. The other sections have defined changes that are designed to increase a state of alertness and a sense of danger.

Technical Implementation

Creating adaptive music for Mechanical God Saga requires audio middleware to connect the music to the game, reacting to triggers from the game engine. For this project, we will use FMOD, which can be integrated with RPG Maker, the game’s programming software. While there is no official connection between FMOD and RPG Maker, additional programming through JavaScript will be necessary to establish a functional link. Daniel Malhadas, the game’s creator and programmer, is currently researching and developing this connection.

Within the adaptive system, there are branching and layering needs. As a starting point to understand these systems, the next figure shows a simple system designed for the first forest theme, as there is only one trigger happening, related to a state of tension. The red segments represent the altered music for the state of tension.

Fig. 2 Adaptive mapping system for the initial forest theme.

All transitions and overlay triggers need to be quantized to the BPM of the source cue and have meter and quantization grid setup. All starts and stops should have adjustable fade in and fade out lengths. This will ensure a smooth and quick transition between segments.

For the layering approach, instead of exporting individual layers, I exported each version as a full mix and will blend between them when a trigger occurs. This method addresses the need for continuous changes, such as increasing the bass filter’s cutoff frequency to achieve tension. Ideally, these adjustments would be controlled within the audio engine, but due to software limitations with the virtual instruments used, this is not possible. This approach offers a practical solution to those limitations. FMOD’s built-in parameters, such as equalization curves, pitch, reverb, and delay, will be used to create effects like dulling the music when the player is injured, enhancing immersion with equalization curves and possibly stereo field reduction.

As mentioned before, control knobs—either continuous or stepped— are planned to adjust the music based on the scene’s tension, the protagonist’s position, and the health or success rate during battles. If the game’s programmer can access this knob system, applying the necessary changes will be much easier, simplifying communication between the music and game sections.

How to adapt the music to specific situations of the game is a key element of the research, as well as considering all possible scenarios in order to succeed in supporting every possible situation. In this paper there will be an explanation of the current process, from scene and emotional description to the mapping of adaptive needs and the subsequent changes in the music. This methods are tailored for Mechanical God Saga’s game but can also be applied to other games with similar nature.

Firstly we are gonna analyze the scenes of the game’s first episode, which includes Iridir Forest and Iridir Prison. Story telling should be part of the music as well or support the narrative, therefore it is very relevant to understand what is happening in each of the scenes.

Iridir Forest

• Scene Description 

This is the first scene of the game where the player has to infiltrate the prison to “set god free” or in other words, execute him. In this scene we encounter ourselves in a forest with a lake. The atmosphere is calm and peaceful until the soldiers appear for a first fight.

• Story and Gameplay

Our character has the possibility to wander freely in the forest until he is approached by three soldiers who claim that he killed various soldiers of their squad. He had swore allegiance to them at the time, they are part of the “empire”. Then there is the first fight against them. After the battle there will be more soldiers walking around, and there is always the possibility to fight them individually (although sometimes then there appear more soldiers in the fight) if the player chooses to, earning points and getting stronger in case of winning. Later there will be another fight with a so called “beast”, which is stronger than the common soldiers.

• Music Soundtrack

For this scene I thought appropriate to have two musical pieces, excluding the fighting music, so that the player doesn’t stay on each one for too much time as it can take some time to trigger the next piece.

What should the music portray?

First Song (forest wandering): Peacefulness; sense of having to conquer something; the start of a new journey; fantasy.

Second Song (after winning the fight): Relief; sense of victory; positive feeling;

• Triggers

First Song

1. When the first three soldiers appear. Add tension.

Second Song

1. Transitioning to the prison side. Subtle hint of progress, add instrumentation.

2. Getting to the “rug” that leads to the prison, when the first beast figure appears. It should get more tense. But be careful as there seems to exist a possibility of leaving.

3. In case of winning the battle, get back to a less tense and more relaxed version. This segment will end quickly as we transition to the next scene inside the prison.

Iridir Prison

• Scene Description 

The goal of this location is to rescue an old friend who is inprisioned. It is an underground location, illuminated by old fire lamps. There should be an eerie sense of danger and challenge as it is a location controlled by the empire and anything can happen at any moment. Metal is a relevant element that might be used in the composition as it represents the jails.

• Story and Gameplay

The inprisioned friend was caught robbing the city’s medicine cabinet to save his mother. He was also being watched as it was claimed that he started a union of workers and incited strikes, which is true. 

At first, when entering the prison, there is the possibility to read a book called “Destructionism and the will to live”, which claims that demons are “man-made” and it reflects on their will to live. Then the prisoner can be found in the next room, and to release him the player has to find a switch in the room to unlock the prison, by solving a small “puzzle”. After this, the prison lock opens and two beasts appear to fight shortly after. This fight is more advanced in terms of strategy, there is more complexity and use of nature elements. 

After the fight there is the possibility of carrying on to other zones, with several more enemies to possibly fight and treasure chests with important items to be collected. There are 5 different zones, and from the last one it is possible to get to the Warden Chambers, where the final beast will be. Here there will be the final “boss” fight of this scene and the music should be different, more complex and perhaps using uncommon time measures. The battle can take until approximately 10 minutes. After the fight there will be another music piece and it should become very triumphant when using the travel circle at the end!

• Music Soundtrack

For this scene there will be two musical pieces, excluding the fighting music. The first will accompany the player throughout the quest and the other one will represent the success of having accomplished the desired goals.

What should the music portray?

First Song: Eeriness, danger, challenge, use metallic elements to represent the jails.

Second Song: Sense of victory; triumphant, conclusion of an important chapter.

• Triggers

First song:

1. Entering Iridir Prison F1 room, as a subtle sign of progress.
2. Switching the switch that opens the prison. Friend is released. Coloration change, refreshment, higher frequencies.
3. Beasts appearing after friend is released. More tension.
4. Entering the second F1 zone. Various fights will happen here, transmit more tension.
5. Entering Iridir F2, subtle sign of progress.
6. Entering Iridir F3, subtle sign of progress.
7. Entering Iridir F4, subtle sign of progress.
8. Opening the golden chest, subtle sign of progress.
9. Entering F5 zone, subtle sign of progress.
10. Entering the Warden Chambers where the final beast is located. Peak of tension, epic.

Notes:

Getting back to previous zones is a necessary step in order to progress within this scene, so there shouldn’t be a musical regression when going back to a previous room. Second song is shorter and has no necessary triggers, aside the one to start it. It should be triggered when getting to the travel circle. Getting to the forest again represents the end of this first episode.

Adaptive Elements

The adaptive elements are triggered depending on control signals from the game. Typical controls signals are mentioned below.

• Position of the protagonist;
• Position or distance from the antagonist;
• Environment: weather/time of the day;
• Game status (tension/relaxation);
• Emotional state of the player;
• Health status of the protagonist;
• Interaction with Non Playable Characters (NPC’s).

For Mechanical God Saga, the most relevant musical adaptations are linked to the game status and player’s position. These aspects are crucial due to the game’s inherent contrast between tense battle scenes and more relaxed exploratory moments. The music will change as the player moves between different rooms, subtly guiding and marking progress. Additionally, the health status and success of the protagonist in battles will influence the musical adaptation during combat.

Musical elements such as structure, tempo, melodic contour, harmony, and loudness can convey a wide range of emotions to support various gameplay scenarios. To evoke tension, common techniques include increasing tempo, changing time signatures, adding low percussion elements, raising the cutoff frequency of filters, incorporating horn instruments, and using tremolo effects. For instance, Age of Empires enhances tension with low percussion and tremolo strings, while Corrupted Dungeons increases percussion and uses horns when enemies appear.

During battles, injury is often portrayed by a decrease in sensors, which can be represented by dulling the sound, typically using a low-pass filter to make audio elements less distinct. Enhanced breathing and heartbeat sounds can also indicate exhaustion, although these techniques are more effective in a 3D first-person environment and may not be suitable for Mechanical God Saga. Another interesting technique is the reduction of the stereo field as used in Nier: Automata, which will be tested in our game.

For technical implementation, control knobs are planned to adjust the music based on the scene’s tension and the protagonist’s position and also health or success rate during battles. The specific implementation details will be explored in the technical chapter.

Regarding battle outcomes, different musical endings will be triggered depending on whether the player wins or loses. Drawing inspiration from Final Fantasy VII, a victory will be marked by an energetic and triumphant arrangement, while a loss will have a dramatic tone that shifts to a hopeful piece, encouraging the player to try again. This principle will be integrated into our game, as players have the opportunity to instantly retry battles.

In this documentation, we take a step further into the music creation for the Role-Playing Game (RPG) Mechanical Saga: Life’s Ultimate Gamble and its adaptive elements. After exploring dynamic implementation techniques in the previous semester, we now apply and tailor them to best serve the gameplay experience. Firstly it is crucial to understand the game’s concept and how it is played, which will be analyzed in this paper. After understanding the game, there is a better foundation on how to go about the music, what qualities it should have, also having in mind that it should ideally sound cohesive throughout the game, maintaining a sense of unity between different scenes.

What is the game about?

 “Mechanical God Saga”is a video game that places a strong emphasis on storytelling, exploration and impactful consequences ofplayer choices. It blends key elements of both Japanese and WesternRPG’s, aiming to revolutionize both genres and craft an immersive experience.

The narrative seeks to explore the themes of totalitarianism, genetic mutation, and the clash between humanity and altered beings in a post-apocalyptic society. It delves into the nature of power, the impact of historical cataclysms, and the potential for coexistence amid oppression and prejudice.

Centuries after a devastating nuclear event, the remnants of humanity are trapped in a totalitarian society that has emerged from the ruins of their former civilization. Genetic mutations, stemming from the nuclear disaster and historical experiments, have given some insects and animals extraordinary abilities, enabling them to coexist with humans as equals.

Among humans, a specific gene continues to manifest, resulting in physical deformities such as wings or scarred skin, which society deems as demonic. This has led to persecution by the God Emperor, who seeks to enslave or exterminate these individuals as a religious campaign.

Amid this turmoil, a mysterious entity known as „The Mechanical God“ observes the unfolding events, while its presence and connection to the nuclear catastrophe remain enigmatic.

The narrative raises critical questions:

• What drives the God Emperor’s genocidal obsession?
• Can humans and these so-called demons ever achieve peaceful coexistence, or will one group always dominate the other?
• What dark secrets link the Mechanical God to the origins of the nuclear disaster and the current societal conflicts?

Through these inquiries, the story examines the possibility of overcoming deeply ingrained prejudices and the quest for truth in a world scarred by its past.

What is the goal of the gameplay?

As a Role-Playing Game, there is a significant emphasis on battles and the evolution of playable characters. The player is encouraged to continually enhance the fighting abilities of the characters, whether by exploring various scenarios to find better items and equipment or by manipulating the flow of battle to maximize gained experience.

Gameplay also serves the narrative (and vice versa) in the sense that the player will constantly have to make decisions, sometimes in dialogues but often in actions during battles, affecting how the game world reacts to the characters. Therefore, on the journey to becoming increasingly capable in battles, the player will inevitably have to decide what kind of character they are building and what actions they are willing to take to accumulate more power. These decisions will be, but not limited to, based on moral and interpersonal dilemmas, prompting the player to seek a balance between the moral compass envisioned for the main character and their insatiable quest for power: essential to overcome and surpass the challenges presented by the narrative.

How is it played?

There are different ways of interacting with the game:

• Exploration

The player will physically navigate the character through a series of interconnected scenarios filled with secrets and hidden optional paths. For players who prefer a more straightforward experience, there will be a linear path available to follow from beginning to end. However, players that take the time to explore and carefully consider clues presented through dialogue and visual context will be rewarded with unique items and abilities that, when used strategically, can significantly alter their gameplay experience. 

• Dialogue and Decisions

Throughout the game, the player will encounter numerous opportunities to interact with other characters and the world by choosing from multiple options. These choices not only affect the overall narrative but also have an impact on how characters and the world react to the player. For example, consistently exhibiting aggressive behavior toward a faction will lead its members to share that information and respond with displeasure. This principle applies equally to villagers, city residents, and even allies.

• Battles

The game features a complex and challenging battle system. Battles occur in turns, with each character performing their action in sequence.

Unlike other games with more traditional turn-based systems, where battle interaction is limited to choosing options from a menu, in Mechanical God Saga, the player has the possibility to perform a sequence of inputs to maximize damage to the enemy. Similarly, when under attack, the player, by pressing the defense button at the exact moment the enemy attack hits, can defend themselves, reducing damage by 50%. Thus, actions in battle are interactive and dynamic.

When attacking, the player accumulates a combo counter. By successfully defending enemy attacks in their entirety, they can maintain the combo from turn to turn, increasing it each time. Increasing the combo also proportionally increases the damage the player inflicts on enemies. Consequently, by increasing the damage done with each action, the player also proportionally increases the experience points earned when executing their turn. In this way, the defense mechanism is not only suitable for reducing received damage but also for increasing the maximum potential damage to be dealt and for gaining experience points more quickly, efficiently, and intelligently.

This combo counter is retained from battle to battle. This requires the player to always be attentive and carefully execute their actions, even when facing weaker enemies on the path to a challenging enemy, as maintaining this combo can be the difference between victory and defeat.

This block aims to reflect on the Afraid to Own a Body composition by Lena Meinhardt and Eva DörrIt, which is a fixed media composition based on a poem by Emily Dickinson from around 1866. Eight channels were used for the performance, making the whole experience very immersive, and IRCAM’s Rave software was used in order to generate their sound material. Rave offers models for realtime deep learning based processing, and the model they trained for this piece learned both of their voice timbres, melting them together and generating a new modeled voice. The artists even mentioned they wanted to create something that would develop its own “consciousness”, as a reference to the artificial intelligence capabilities of the mentioned engine, and also a result of various hours feeding voice material to it, including a full spectrum of textures and also intelligible material. Max MSP was used for much of the processing, where the various sound files would be fed into the models. Regarding the composition, it was intended to contrast something that develops and then falls apart again, which matched with their use of intelligible sentences from the poem, such as the often heard “I am afraid to own a body” sentence compared to completely unintelligible voice material that was generated by the artificial intelligence. The whole sonic experience really suited the original poem, and it was a good representation of artificial intelligence capabilities applied to sound compositions.

This block aims to reflect on the Generative Audio Synthesis Workshop, where various new plugins from Audiolab were presented by Sina Bokesoy. One that specifically caught my attention was the Oceanic plugin, in which VST parameters can be controlled by 5 different superimposed waves. This waves have their motion determined by Gerstner’s trochoidales wave solutions, that model ocean water on a physical basis. The screenshot below represents the main engine of the plugin, which doesn’t generate sound, but can easily be coupled with other sound generating instruments. The resulting sounds were very enjoyable and interesting textures could be created by manipulating the waves direction, steepness and also its length. The engine concept aims to replicate sea motion, this natural phenomena which in itself never sounds boring, as one can listen to it for hours, to synthesizer motion. 

Other plugins were presented, such as the Thermo 2, where sonic textures could be created. The engine has a controlled entropy state which we can alter and increase instability. Fundamental 3 was another great plugin, inspired by Karlheinz Stockhausen, where test equipment related sounds could be used to generate unique synth textures.

During the Digithalia Festival – a festival for virtual theatre forms at Schauspielhaus Graz – we had the chance to watch Suit Your Body, a theatre computer game by Frauen und Fiktion (Berlin).

I’m often in places where people talk about „overweight“, where I ask: what „over“ are we talking about? „Over desirable“, „over morally good“, „over-…er“? Why is this „over“ necessary? – Natalie Rosenke

In Suit Your Body, a space is created where all the bodies are welcome. In an ethereal-looking like sauna, the game allows the player to navigate it, while being accompanied by a sonic narrative based on an interview with Natalie Rosenke, an expert on weight discrimination. The excerpt mentioned above represents the core of this project, where a new perspective on body beauty standards is practiced. Lots of questions are asked during the reflective monologue, reflecting on the roots of body discrimination. Why does the word fat have such a bad connotation? Why do we use the words corpulent or curvy instead of fat? The speaker embraces the term, questioning its connotation. 

Regarding the game production, the environment has the dynamic aspect of being able to move around the space, which changes according to day time – there are changes in light and also reflections – and regarding sound there are footsteps triggered when the character walks, as well as various ambient sounds, including water and sauna elements that would be reproduced at specific times, really matching the scenes. The sonic narrative, which was also produced as a radio play, seems to be linear and apart from the interview, there are also beautiful choirs that support the dialogue.

During the Digithalia Festival – a festival for virtual theatre forms at Schauspielhaus Graz – we had the chance to watch Decoding Bias, a multi-channel spatial video and sound installation.

The concept of this installation consists in having eight different types of Artificial Intelligences (AI’s) attending group therapy sessions. As the play starts, they encounter themselves in one of these sessions, and begin to express how their days have been, similarly to human therapy sessions. However, as the AI’s are built for different purposes, they all have different backgrounds and often disagree, creating lots of room for discussion which makes up most of the play. With these discussions, they are able to reflect upon the fact that their “thought patterns” come back to their human-made datasets, which in its core are often inaccurate, incomplete or incompatible, failing to represent the entire population. One of the biases that was discussed was regarding gender and racial stereotypes, where one of the AI’s couldn’t consider a black woman for a high status, leading work position, just because of being a black woman. 

Amidst other discussions, desert yoga and dancing sessions, this piece offers a speculative future scenario that enlightens the viewer and suggests reflection on this very present and sensitive topic, that might, or is already, affecting us humans.

Regarding the sound experience, I consider that the piece really benefited from the spatial aspect, as the viewers sit at the middle or next to the AI characters, which are positioned in the form of a circle and each voice is located at the respective AI position, making the whole experience more immersive. The music and sound compositions were also surrounding the viewer, with effects such as delay going through all the speakers and creating a great experience.

Francisco Sylla, November 2023

My journey into the captivating realm of sound and music technology began in my early years when I set out to learn to play the guitar and engage in various musical projects. Music, for me, has always held a profound and unbreakable connection, a universal language that transcends the boundaries of language and culture. The ability of music to convey an extensive array of emotions has been a constant source of amazement. It’s a medium that speaks to the soul, making it resonate in ways that words alone can’t achieve.

These initial experiences unveiled the vast and captivating world of sound technology. I began to take an interest in recording and mixing instruments, which made Garage Band a good friend of mine at the time. This gradual convergence of my interests and experiences eventually fueled my desire to pursue higher education in this field.

In 2018, I successfully earned a bachelor’s degree in Music Technology from Lisbon’s Music School, which equipped me with the skills required for creating immersive sound experiences. This program covered a wide range of topics, including recording techniques, audio mixing, acoustics, electronics, and more. My final projects include the development of a distortion pedal, more particularly, a fuzz one, as well as a sound redesign for Nadja Andrasev’s animated short-film, “The Sound of Licking”. Those were both very fun to do, with the first one delving into the electronic engineering side of audio and the latter one particularly capturing my interest due to its creative nature.

Later on I gained practical experience by working on diverse projects, including mobile games, films, and live sound engineering. One of the projects that stands out as a testament to my sound design work is the Mobeybou project, which involves creating mobile storytelling apps for children. Mobeybou focuses on using technology to nurture multiliteracies, collaboration skills, and intercultural sensitivity in children. As a team member, my role involved infusing these mobile storytelling apps with sounds and music that would transport young learners to various parts of the world.

The challenge of representing different cultures through sound and music was both enriching and demanding. It required me to delve into the musical traditions of various regions, comprehend the cultural nuances, and create soundscapes that were not only

engaging but also educational. For instance, in the „Mobeybou in Cape Verde“ app, I had the opportunity to explore the vibrant and rhythmic sounds of Cape Verdean music, aiming to make the experience as authentic as possible for children. Similarly, in „Mobeybou in Brazil”, I crafted a sonic journey through the rich and diverse musical heritage of Brazil.

Furthermore, I co-founded Producteur Collectif, a film production collective dedicated to bringing creative visions to life. Within this collective, I handle the sound aspects, both on set and in post-production. Our journey began in 2020 when a friend, João Lages, and I decided to pursue our shared interest in filmmaking. Over the years, our team has expanded to support various areas such as writing, production design, and overall assistance. Our latest films include „Sons do Vale“ (Sounds of the Valley), which won at the Segredos de um Vale Festival, „Isto não é um Debate“ (This is not a Debate), presented at Braga’s Festival Política and „Cativeiro“ (Captivity), with support from Zet Gallery.

Through my coursework and hands-on projects, I had the opportunity to explore various techniques and tools used in sound design. I learned to create sound effects, manipulate audio to match the mood of a scene, and experiment with synthesizers to produce unique sounds. It was during this time that I realized the profound impact of sound on the emotional resonance of visual media.

My particular fascination lies in sound design for visual media, and I aspire to further improve my skills in this area, encompassing sound synthesis, advanced post-production, and surround sound. These skills can be applied to various fields, such as film, games, or artistic installations. In the realm of film, understanding surround sound systems has become increasingly relevant as they have become very common formats. When it comes to gaming, I am enthusiastic about exploring dynamic ways of implementing music and sound that can adapt seamlessly to the ever-evolving gameplay, enhancing the overall user experience. I’m also passionate about creating music and hope to apply these skills to music production. In terms of music projects, I have had the opportunity to collaborate with groups like Compasso Quat, which I joined in 2012. This project focused on experimenting with various instruments and reinterpreting early recordings of Giacometti and traditional Portuguese chants. I also had the opportunity to play in different ensembles and more recently, I participated in an electronic orchestra project called ODE, which involved sonic exploration using electronic devices.

As I delve deeper into the world of sound technology, I am continually fascinated by its ability to shape and enhance various aspects of our lives. Sound is an essential part of our human experience, capable of evoking emotions, transporting us to different places, and adding depth to our everyday encounters. The ability to manipulate and harness the power

of sound is not only an art but also a science. This is what initially drew me into the world of sound technology, and it’s what continues to inspire me to explore and push the boundaries of what’s possible.

Currently, my professional journey is evolving as I engage in concrete projects developed by close friends. One particularly exciting project is an unnamed video game in an advanced stage of development. I’m interested in composing and producing the game’s musical soundtrack, having an opportunity to explore dynamic implementation techniques. With these techniques, I hope to transform linear compositions into music that adapts dynamically to gameplay, ensuring that the emotion and intensity of the music adjust to specific actions or situations in the game. Wwise, a widely-used program for implementing sound and music in video games, would be a valuable tool for this type of implementation.

Aside from the implementation aspect, the core of this potential research project lies in carefully crafting the music composition and production. This involves creating music for various game elements such as the menu, fight and exploration scenes, and more. I plan to utilize virtual instruments, manipulate sounds, and potentially incorporate live-recorded instruments if they align with the project’s objectives. Exploring different time measures and tempos could also be a key element of the project, serving as a tool to convey a wide range of feelings within the game’s environment.