![]() ![]() ![]() However, wav data are basically not included. It’s quite a busy scene, and he hopes it will be a good reference for you. Many of you will be worried about performance, so he made some performance captures of an actual in-game scene. ・Quality and performance can be balanced by the sound team. ・The richer we make it, of course the heavier it becomes. After that, all that the programmer had to do was call up events, so work became very easy. Once they got used to it, the sound team started setting the necessary processing within the event. When we first started using Wwise, he remembers saying over and over again, “There’s nothing the programmer can do. So if the sound team asked me to lower the BGM volume during pause, all he could say was, “You have to make that event.” There’s not even an API to change the volumes. (There are parameter controls and other functions in Wwise, but the main feature is events.) ![]() From the programming side, the only thing we could do was execute events, and at first, it felt like his hands were tied. The biggest difficulty during the initial integration of Wwise was that we couldn’t do anything from the programming side. There are parts that will ultimately have to be adjusted, like I/O and streaming, but at first, we just kept the sample as is. In other words, what programmers can do is quite limited, as he will explain later. We built it to have some level of compatibility with the existing sound system. He thinks it took about 2 weeks to build the basic sound system. ・If we didn’t know what to do, we just used the sample for the time being, and it would run. He received some questions after the presentation, so he would like to explain a little more on how long it took to integrate Wwise, as well as some points on how we worked with Wwise. Ohmori was in charge of sound programming for this project. Note that sound effects are turned off in the videos so you can hear the music better. Interactive music in METAL GEAR RISING: REVENGEANCE Using Audiokinetic’s Wwise in METAL GEAR RISING: REVENGEANCE We hope this may help game developers who are considering implementing Wwise. Ohmori, in charge of the sound programming, will also explain some details. The presentation is geared toward audio professionals and may not be familiar for many people, but we would like to share some of the material we showed. Kentaro Nakagoshi, Lead Sound Designer (SE), who were responsible for audio for METAL GEAR RISING: REVENGEANCE, had the opportunity to present the significance of introducing Wwise into the production. Naoto Tanaka, Music Director (BGM) and Mr. at the Canadian Embassy in Akasaka, Tokyo. METAL GEAR RISING: REVENGEANCE Technical report on Wwise, the audio authoring middlewareĪudiokinetic, the developer of the audio authoring middleware Wwise, held a launch event for their Japanese company Audiokinetic K.K. ![]()
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