The team at Akimbo Creations has some exciting news as we start the next leg of our journey. ARC Continuum will be coming to Kickstarter early September.
It has been an exciting journey so far!
It’s been almost a year since we got Greenlit on Steam. We cannot thank everyone who supported us enough. With the help of CMF (Canadian Media Fund) and the tremendous support we received during our Steam Greenlight campaign. It has allowed us to continue to work on our passions and allow us to push the boundaries of indie gaming with ARC Continuum.
The offices of ARC Continuum have since expanded and we now have offices in Ottawa in addition to the original studio in Vancouver. Our studios are now home to many talented individuals who bring with them the passion for quality and indie games.
We will be using Kickstarter to bring ARC Continuum to the next level, every dollar we raise, we plan to put back into development to add features, powers and enemies that we had to drop.
We will need all support we can get, so tell your friends and family about ARC Continuum!
Update on Beta
We haven’t forgotten about the beta. We will need all the help we can get to test the game and to make it better. Our team has been hard at work to polish the Beta to make it ready for the public but we still have a bit of ways to go. However, once we go live on Kickstarter we will be CLOSING the Beta signup – so make sure you register for the Beta NOW!
Here’s some footage from the Beta.
Again, the team at Akimbo Creations would like to extend our thanks to each and every one of you who have helped us get here and we need that one last push to get us through this last leg of our journey.
We will let you know when we go live on Kickstarter – Keep an eye on our Website, Twitter and Facebook for instant updates, videos and more.
In this week’s blog we will be talking about the music and sound effects of ARC Continuum. We interviewed the man behind the music, Paul Ruskay, founder of Studio X Labs and a veteran in the gaming industry.
About Paul Ruskay
Dan: What projects have you worked on in the past? What are you doing to make ARC stand out from them?
Paul R.: Homeworld series, Turok, Strike Suit Zero, Max Payne. I think that ARC will stand out as a very interesting blend of the ancient and the futuristic story telling. For the game’s soundtrack I collaborated with a wonderful santoor player who added that ancient sound to my science fiction synthesizers. It was amazing how many different moods could be created with that one instrument. I think in the context of the art direction and story, the Santoor blends nicely to create a sense of culture and place.
Dan: So why do you want to be part of ARC Continuum?
Paul R.: It was easy to see a considerable amount of work had gone into the game when I first saw it in May 2016. Arc Continuum was an already fully formed world with characters, art, animation and narrative. It was easy to get inspired by working with an already so realized vision. In the end, it was an easy decision to join the team since science fiction is such a fun genre to work in. That, and we would be using both Unreal and Wwise to produce the game.
Process of Sound Design
Dan: What is the process for creating music and sound effects for games? (e.g. recorded instrument, edited, put through Wwise etc.)
Paul R.: The process is to first establish what audio engine will be used for the project and who will be responsible for what on the code and content creation side. From there, you build categories of sound banks that are based on the in-game animations or FX. These sound banks generate your first pass at the audio events needed for the game. Once you have that first pass at music and sound triggering in game and bug-free, then you can really start to tune and mix the layers into a final mixed experience. There is a lot of setup on any project just to get the basic audio triggering, but once that is done, you shift into refining all of the elements together.
Dan: The music of ARC Continuum feels very ancient and mysterious, what is your creative process to give it that feel? Do you draw from any particular inspiration to influence this process?
Paul R.: For the soundtrack of Arc Continuum, I looked for an ancient instrument that matched the tone of the game and came across the santoor. After some research, I felt that it would be the right combination of ancient and mystical feeling, and looked for someone who was an expert in playing the instrument. A percussionist I know introduced me Saina Khaledi who has performed on the santoor for the last 20 years. For the recording session, I created simple melodies for Saina to listen to and improve upon. It was interesting to hear how she would take the simple melodic ideas and improvise upon them with intricate flourishes. The blending of the synth sounding elements with the santoor really combined into the perfect combination of elements for the game’s soundtrack.
Dan: What is the most important aspect of any piece of sound or music in games design?
Paul R.: I think the most important aspect would be how all of those pieces of sound and music blend together to create the overall user experience. The great thing about working with Wwise on this project is that it allows you to craft that moment-to-moment mix in a very intuitive way. When designing audio or music for a game, it is so important to be able to get your work into the game engine as quickly as possible and test it. Testing in game allows you to understand the frequency of the audio event and how it triggers in game. From there, you can create an audio asset that is custom to how it will trigger in-engine. There are also a whole host of post-processing (filters, reverbs, delays, flangers) that goes on in Wwise as well which allows you to create an immersive acoustic world. So I always try and listen to all the audio elements from the end users stand point. You constantly need to be asking yourself questions on whether music is too loud or busy. Is the main weapon too loud or will it cause ear fatigue? As the whole experience gets tuned, all of those smaller decisions will make up your final releasable mix.
Creating Mystical Music
We want ARC Continuum to feel like a real world and the ambient tracks play a massive role in making the world feel alive. Taraan has an ancient history but at the same time is far more technologically advanced than our society and the music has to reflect that. To do so we have incorporated some ancient instruments, such as the santoor, an instrument that has roots as far back as 1600 BC. By blending this ancient music with electronic tracks we create a nice blend of ancient yet sci-fi music.
For today’s blog post, we interview our Game Director, Derek Tam to explore the unique powers in our game.
Q: What was the design creation process from concept to playable powers in the game?
DT: Designing time powers is not as simple as making something exciting and putting it in the game. The powers need to go through a few filters.
First we had to explore how time is perceived by the player. Everyone has a different interpretation about how time exists. For example, going back in time to perform an action should change the future timeline from that point. However, some people believe that a new timeline is created while the old one still exists. There is a great range of possible interpretations of time, it’s such a strong presence in our culture. Then, we had to imagine – what would time feel like on a distant planet, an alien culture. How does time fit into ARC Continuum’s world? This opened up another dimension of possibilities.
Time Powers – Dash
From there, we explored how the player could experience these unique time powers. How do we create powers that are universally recognised as being associated with time while still being fun? Time seemed to us most interesting if we could push it to its extreme – this sounds great, but can we maintain the thrill of being all powerful for the entire game? We struggled to design powers that are grandiose and epic while still maintaining replay value.
Q: How did you overcome this conundrum?
DT: After many long debates, we eventually decided that time is still fun to play with on a smaller scale. This fits well into the ARC-Continuum universe. As the narrative continued to grow, we found our direction in thinking in more tangible terms about the ARC itself. As such, we broke time into three elements: spatial, dilation and gravity. We used these ingredients to flesh out our powers, giving each a distinct purpose within the game.
Time Powers – Blink
Q: How does this play out in the game?
You have many options throughout the game, but we felt that a power making an enemy slow down (dilation) is a better than making an enemy heavy (gravity). Both these powers come from time, but ultimately time dilation is a better game choice. Be sure to check out the video for more on the time powers!