Different kinds of voice control

Hi design team,

When you design the levels, think about these different ways of using the voice to influence the game physics :

  • Direct control

voice parameters directly influence the game physics. Ex : if you sing/talk louder, the bubble is bigger. We can consider the loudness of the sound, its length and its pitch. Parameters can also evolve over time. Ex : crescendo (soft start –> loud end). We could do the same with the pitch, starting low and ending high for example.

  • Indirect control

In this case, the effects on the game physics are defined by the relationship between the player’s voice and the background sounds/music. Ex : sing/talk in rhythm, sing the pitch of an existing ripple, try to match the loudness or length of a sound…

  • Layers
It’s a special kind of indirect control. The player records his voice and puts it into the environment (ripples ?), thus creating a background sound. He must then record a second vocal sample that interacts with the first one to influence the game physics. With several layers the player could slowly create a whole “musical composition”.

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One Response to “Different kinds of voice control”

  1. J-F_bourbeau says:

    I like the idea of crescendos and decrescendos. It would let us multiply the possibilities when creating a bubble. Voice alterations would give more properties from both intonations, even tough they would not be as “strong” as a one dimensional input. The inner bubble could be light because of a higher pitch, but the outside would be thicker after a deep low input. Now, the challenge would be to represent that visually!

    It reminds of katana-making, where one hard metal is use to make the outer face of the katana, while the inner part is made of soft metal, which prevents it from breaking after a hit.

    I think indirect and layers control are definitely possible within the gameplay parameters mentioned in my previous post. Lots of possibilities…and a lot of work!

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