Getting Game Audio Right: The Big Picture

Durante a produção de games de grande escala é comum que sertas áreas de desenvolvimento necessitem que outras concluam seu trabalho para começar a sua parte, além de também de de qualquer mudança em algumas áreas de desenvolvimento realizadas durante o projeto acarretarem em atrasos.

Este post do Gamasutra do dia 17/6 mostra estas relações com enfooque na relação entre Programação e Áudio.

Leias um trecho do post original:


During production, it is often the case for each component of game audio to be either dependent on some other area of work to be completed, or some other area of the game is dependent on audio finishing a particular piece of work. Understanding how all these pieces are inter dependant is the key to not only locking-in and delivering on-time, but also to staying agile and having a production schedule that is simple to read and aides communication across groups.

I certainly don't wish to get into different development styles here, such as scrum, which have their own implications on task types, but I do want the "audio schedule", to be simple and clear to understand.

In order to do this I am defining two simple kinds of task: long-term, and short-term.

Long-term tasks can be thought of as either time-boxed "rapid iteration" and experimentation, or equally much longer sound implementation and development duties which do not have fully defined end-goals, but which allow time for constant iteration and direction changes, usually following in the wake of design and art feature-development and implementation.


Veja o posto completo em Gamasutra.