Audio Design Matters

For those of you who follow the build of inensity to channel emotion, holy hot crap.


Man, that fuzz scratches to crushes in a way crab-core emulates like coors emulates pilsner urquell. Breakdown is a goodly-sized break. Allows for another build. I do like builds. Interesting the muted second build after the breakdown. I do disagree with the slowdown at the middle, but that could be intentional by the writer? Think it should have went a little less psychedelic crust. Feels a bit off message/Dystopia. It does finish strong though. Damn. All of that desert could be worth it. It really raises the final build. Single picking, to shredding, to heavy sludge fuzz. Kiss. Perfecto. An epic finish to blazing start start. Great sonic hooks. 

Take note, game devs. Think about how people talk about games. It's sonic. The more that you add jingles. Whatever happened to the memorable jingles. Feels that art was lost with overly complicated symphonies. Feels like we're missing the classic simple melodies that we can jump back. Nintendo knows this well. Most devs seem to miss this. 

Can't you hear these in your head? 

"SEGA!" - Sonic (++?)

"SE-GA" - All other sega games

"Eh-oh!" - Teletubbies

Coin Collection Sound - Mario

"It's Built!" -Spellfast

"It's in the game!" - Unknown Game, From Unknown Publisher***

We do this across the board and find it a key component to "polish." Don't you think you should be doing this? 

-Mr Doom


***Until they fork over their motorbike fight simulator IP I crave. Imagine the possibilities on mobile riding a ton of different roads whooping each other's asses, getting stronger/slower, like an IO game. I'd play the hell out of that.

Michael Doomclass