Sinag is a very early game prototype. It is based on Angeline's research regarding electronic game accessibility and the effectiveness of audio production. It aims to be a fully inclusive game for the disabled, especially for the visually impaired and blind.

the In addition, she also created multiple sound design assets, collaborated with music composers for game music, and designers for the visual aesthetics. These assets will be key for future development.

The story of Sinag is based on Philippine mythological creatures, and set in a post-apocalyptic Philippines.

SINAG FOR MAC

SORRY! THIS WILL NOT WORK FOR M1 APPLE SILICONE MAC COMPUTERS >.<

SINAG FOR WINDOWS

PLAYER/SINAG

MONSTER/ENEMY

AUDIO CUES TRIGGERS

Game accessibility functions allows people with various types of impairments. Though, due to the extensive list of accessibility guidelines, Angeline focused more on accessibility functions for the visually impaired and/or blind. These functions are of the following:

TEXT TO SPEECH

In order for a non-visual player to know the controls, Angeline has provided a voice over for each of the menu buttons.

AUDIO CUES

These audio cues were carefully placed in the world in order to assist non-visual players. These were all then incorporated to their respective triggers within the game level.

3D AUDIO

It will allow the listener to perceive sound from multiple directions, including height (above or below). This will help non-visual people to distinguish the position/location of certain game objects.

CHARACTER SOUND AND VISUAL DESIGNS

SINAG

Sinag is based on pre-colonial Philippine tradition. They were known as mystical healers, and served as the mediator between the spirit and human world.

FOLEY

DIALOGUE

They were used as Sinag's reactions for certain events.

MYTHOLOGICAL CREATURES

Every creature found in "Sinag" storyline are based on Philippine mythology and folklore. Due to the fact that these creatures are fictional, both visual and sound design assets were created based on folklore descriptions.

Here are some examples:

DIWATA

They are known as nature spirits, and are often stewards of nature. They are mostly known as good, but there are tales that state otherwise.

In order to incorporate their elemental beings in audio, I made use of each diwata's element and integrated it respectively. In addition, I made use of a simple chime sound to state that they are good.

BUNGISNGIS

They are described as a large strong man who is always laughing. Though, despite their strength, they are easily outwitted.

MANANANGAL

According to folklore, they are vampiric female cannibals. In order to search for their victims, they would separate their upper and lower torso, spread wings and fly.

SIGBIN

Their description vary in folklore. There are stories about them being dog-like, or somewhat a hornless-goat with large ears, and others would say they are similar to a kangaroo.

This is one of the more interesting visual designs. Other than basing the designs on folklore stories, they were primarily based on the sound design itself. Which breaks away from the norm of 'sound design follows the visuals'.

To integrate sound effects and Dialogue, Angeline made use of an audio middleware called Audiokinetic Wwise.

Here are some examples of her process:

FOOTPRINTS

TRAVERSAL CUES

It was inspired by Angeline's production bible cover design... made better!

Braille was incorporated into the design to accomodate non-visual people. There are two aspects to the packaging. A box and the CD casing itself.

On the box, the braille title camouflages as if one of the magic particles floating around, and a less discrete braille for the story synopsis. Hopefully, this would also trigger a visual person's curiosity.

The CD case itself will have the same front cover, and a worded (not braille) synopsis.

Event though this is a very early prototype, Angeline was able to conduct product testing to improve her game level. During this time she was able to understand how different people play games, how they react to the sounds, how they feel about the game controls, etc.

Yes, those are fluffy koala blindfolds.

These past trimesters have been full on. I dove into a world (game design and sound designing for games) that I barely had experience with. Did I regret it? Not really, but I did questioned myself every now and then. Was it worth it? Definitely.

Sound designing for games is a completely different experience compared to sound designing for films, commercials, etc. It is immersive, and the sounds unveil as things are triggered. I love it. Though, I know I still have a lot to improve on.

One thing is for sure, during this process, I experienced the intensity of needing a team (it was pretty much a slap on the face since I tend to work independently, but I do not know and cannot do everything). I couldn't have done it without them, and without my lecturers' support and constant reminders/well-ness checks/advice (thank you additional dads! Hehehe).

There are a lot more aspects (game logics, sounds, accessibility features, visual design) that I would love to integrate. Though it would take a lot more time, and I will need a bigger team. With that said, I'm definitely going to continue on with Sinag after this course. It has a long way to go, but I know in myself that it could be what I set it out to be.

So buckle up, buttercup. It's going to be a looong ride.