Introduction to Game Audio Project Management: Tips, Considerations, and Case Studies

in ,

Game Audio Project Management (Part 1: A General Overview)

Introduction

This post is Part 1 of an introduction to project management in Game Audio Development. In this post, we will cover general ideas, tips, and considerations for organizing and planning game audio projects. We will also discuss the different aspects of game audio, including sound design, music, dialogue, and their implementation using audio middleware. By the end of this post, readers should have a better understanding of how to communicate effectively, set realistic deadlines, and use tools and techniques to manage their game audio projects.

Outline:

  1. Communication

  2. Timescale & Deadlines

  3. Adaptive Music System

  4. Considerations for Audio Development

  5. Case Study: Implementing an Adaptive Music System

  6. Challenges and Pitfalls

  7. Conclusion

  8. Communication

Communication

Effective communication is key to the success of any game audio project. It is important to stay informed about the progress and goals of the development team, and to share your own updates and concerns with them. One way to do this is by participating in regular meetings, either with the entire team or with a representative who is knowledgeable about the project. You can also join development or artist channels on platforms like Discord, Slack, or Teams to stay up to date with the team's progress and share your own updates.

Don't forget that audio is an integral part of the game experience, and should not be treated as an afterthought. Make sure to communicate the importance of audio to the team, and be proactive in seeking feedback and collaboration with other developers and artists.


Timescale & Deadlines

Effective planning and organization are critical to the success of game audio projects. One important aspect of this is setting realistic timescales and deadlines. It is essential to have a clear understanding of the overall project schedule and any specific deadlines that apply to the audio work. For example, if there is a deadline for a demo or alpha build, the required audio must be prioritized to ensure it is completed on time.

One effective method of project management in game development is to set quarterly goals and break them down into smaller sprints. For instance, if the goal is to implement an adaptive music system, the tasks involved can be organized into weekly or bi-weekly sprints to keep the project on track. Additionally, it can be beneficial to organize tasks for the quarter, as it provides a general guide and top-down view of everything, allowing for a better understanding of whether the project is on track or not.

Task managers like Asana provide useful tools for managing tasks and projects. The list view is commonly used in game development, but the timeline view can also be helpful. The timeline view is essentially a Gantt chart view where tasks can be dragged into a timeline, new tasks can be created, dependencies can be shown, and everything can be organized with a top-down approach. Below is a real-time example specific to game audio for Black Box VR.

Example of timeline / gantt chart view for top approach of organising tasks using Asana.

Adaptive Music System

An adaptive music system is a way to dynamically change the music in a game based on the player's actions or the state of the game. Implementing an adaptive music system can involve several tasks, such as composing the music, setting up events in audio middleware like Wwise or FMOD, and integrating the music into the game engine. Here is an example list of tasks that might be involved in implementing an adaptive music system:

  • Compose 5 minutes of exploration music.

  • Compose 5 minutes of combat music.

  • Compose transition bridge from exploration to combat.

  • Compose transition bridge from combat to exploration.

  • Mix and master the music.

  • Set up Wwise music events for exploration, combat, and transitions.

  • Set up RTPCs (Real-Time Parameter Controls) and game states in Wwise.

  • Add an adaptive music class and dependancy classes in the game engine (e.g. Unity).

  • Set up a test scene with buttons to test the functionality of the adaptive music system.

  • Integrate the music functions into the game.

  • Test the adaptive music system for bugs and performance issues.

Case Study: Implementing an Adaptive Music System

To illustrate the process of implementing an adaptive music system, let's consider a hypothetical example.

Imagine you are working on a fantasy RPG with a team of developers. You have been tasked with implementing an adaptive music system that will dynamically change the music based on the player's actions and the state of the game. You have decided to use Wwise as your audio middleware tool, and have set a deadline of 8 weeks to complete the work.

To plan and organize your tasks, you decide to break down the work into weekly sprints. In the first week, you focus on composition and mixing. You compose 5 minutes of exploration music, 5 minutes of combat music, and two transition bridges between the two states. You also mix and master the tracks to ensure they sound professional and polished.

In the second week, you set up the Wwise events and RTPCs for the exploration, combat, and transition music. You also add an adaptive music class and dependancy classes to the game engine (in this case, Unity). You set up a test scene with buttons to test the functionality of the adaptive music system.

In the third week, you integrate the music functions into the game and test the adaptive music system for bugs and performance issues. You also spend some time optimizing the system to ensure it runs smoothly in the game.

In the fourth week, you continue to test and optimize the adaptive music system, as well as make any necessary bug fixes. You also spend some time creating documentation for the system, so that other members of the team can understand how it works and how to use it.

By the end of the eighth week, you have successfully implemented an adaptive music system that meets the desired level of quality and functionality. You present the system to the rest of the team and take action on any feedback from QA or other team members to enhance the experience or resolve any unforeseen bugs.

Considerations for Audio Development

There are many factors to consider when planning and organizing game audio projects. These can include:

  • The use of audio middleware like Wwise or FMOD: One of the key considerations in game audio development is whether to use audio middleware like Wwise or FMOD. Audio middleware can be powerful tools for managing and implementing audio in games, but they also come with a learning curve and may not be the best option for every project. Consider whether audio middleware is necessary or beneficial for your project, and if so, how to integrate it into your workflow.

  • The complexity of the audio work. Is the project primarily focused on sound design, music, or dialogue? Do you have experience in these areas, or will you need to bring in additional resources or expertise?

  • The size and structure of the development team. Are you working on a small indie project, or a larger AAA title with a more complex team structure? This will affect how you communicate and collaborate with others, as well as how you plan and organize your tasks.

  • The budget and resources available for the audio work. Do you have sufficient time and resources to complete the audio work to the desired level of quality?

Challenges and Pitfalls

Implementing audio systems such as advanced dialogue, crowd reactions and adaptive music can be a rewarding and challenging task, but there are also a few challenges and pitfalls to be aware of. These can include:

  • Changing deadlines: As with any game development project, it is possible that the timeline or goals of the project may change. Be prepared to adapt and adjust your plans as necessary to meet the changing needs of the project.

  • Working with large teams: Coordinating and collaborating effectively with a large team can be a challenge. To overcome this, make sure to communicate clearly and frequently with your team members and be open to feedback and suggestions.

  • Technical issues: There may be technical issues or roadblocks that arise during the implementation of an adaptive music system. Be prepared to troubleshoot and problem-solve as needed to overcome these challenges.

  • Be prepared to cut features: While it can be tempting to add advanced or specific audio features to a game, it's important to first ensure that all essential elements are covered. Consider if the game will still work without these advanced features. One common example of this is dialogue; using generalization can often get you 80% of the way there and free up time to work on other features.


Conclusion

In this post, we have delved into the intricacies of managing game audio projects, highlighting the importance of effective communication, setting realistic deadlines, and utilizing tools such as Trello or Asana to stay organized. We examined the various components of game audio including sound design, music, and dialogue, and the utilization of audio middleware to streamline their implementation. Through a case study of implementing an adaptive music system, we have also highlighted some of the common challenges and pitfalls that game audio professionals may encounter when managing projects.

By following the advice and strategies outlined in this post, game audio professionals can improve their ability to plan and organize their projects, thus increasing their chances of success. Additionally, the adaptive music system task breakdown discussed in this post can be applied to other audio tasks in dialogue systems, procedural sound design systems and even designing software tools to help the development go faster. This can help not only in the game audio industry but also in other related fields. Overall, the goal of this post is to equip game audio professionals with the necessary tools and knowledge to manage their projects effectively and efficiently, ultimately leading to the creation of high-quality audio experiences for players.


References