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[an error occurred while processing this directive] FEATURES Best and Worst Games of 1999 [Intro] Best
Audio: Computer game audio has been the bastard child of graphics forever. After all, if we were audiophiles, we'd be listening to our top of the line vacuum-tube home stereo systems and not playing computer games, right? But it was almost inevitable that someone would finally figure out that paying serious attention to the sound support for a game would reap untold benefits in terms of information-management and player immersion. Starfleet Command has done just that. Interplay evidently intended top-notch sound in SFC from the very beginning. First, the inclusion of the musical composer from one of the latter TV series guaranteed a subtly consistent motif from the TV series that are the inspiration for most players. Second, they went the "extra mile" and included a full sound suite for each different race - granting players an environmental 'feel' for each race with a minimum of obvious clues. Third, a powerful system for dynamic sound management - applying 'suspenseful' music to stressful situations isn't new, but their application of it and the sophisticated implementation is commendable. Finally, the extensive library of effects sounds is the most useful we've yet witnessed. SFC is widely regarded as a serious candidate for information overload, with the multiple time-sensitive systems that have to be managed simultaneously. But the SFX (such as the sound of the transporters firing) allows the player knowledge of important events without the distraction of a popup nor forcing them to look in a notification window for information - keeping the player's mind 'in the game' at all times. Sound in movies or games is rarely noticed, unless it sucks. Starfleet Command is a noteworthy example more companies need to follow, and earns our "Best Audio of 1999" award. |
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