The Power of Sound Effects

As someone who is a big fan of Subnautica, I often keep up with updates to the game, usually via various Youtubers who cover the game extensively.  Without spoiling too much, a huge portion of the end game is in development right now (when this article was written anyway).  Since it’s a key story point, it’s being tweaked to be as impactful as possible.  Animations, voice acting, textures, and tons of other aspects keep being overhauled to present the most satisfying moment that could be achieved.  However, in some of the more recent updates, one additive that added a ton of impact caught my eye: the sound effects.

Sound effects are one of those aspects of creative media that often get overlooked.  Whether the sound effects are audio or implied to with words, they make a huge difference despite being minor additives.  Unfortunately, in numerous indie industries, they can often be underused.  While certainly you run the risk of oversaturating a piece with sound effects, they are still an essential that should never be neglected.  To hammer in this point, let us examine why the sound effects make a difference in two industries: gaming and comics.

 

In the case of gaming, it is a very audio-centric media in most cases.  Though one could play games in complete silence, most people would concede the sounds make a difference.  Yet, as much as a background soundtrack adds to a game, so does the sound effects.  Take any game which involves swords or guns that you use to attack people.  Now, if you can, imagine if there were no sound effects.  No swosh or chink for those swords, no popping bullets, no anything; just imagine if you only had the animation, even if there’s a nice accompanying soundtrack.

Now ideally, if you can picture it, you’d realize how odd that’d be.  There would be a sense of emptiness to each attack.  Since in real life objects like this have sound effects, it is also something that would break immersion; the game is giving no feedback to the attack, so it feels unreal.

This being the key concept: sound effects in games provide feedback.

Let’s take a look for the moment at Dragon Age: Inquisition.  One key mechanic to the game is its search function.  Essentially, when a player presses a hotkey, a little circle fans out from the inquisitor and detects objects, whether it be resources, loot chests, or something hidden.  It is a pretty vital component if one wants to find the collectibles in the game as certain ones can only be found via this mechanic.  Now, of course, there are visual cues via the object highlighting, the mini map, and more.  Thus, one can still use the mechanic on visuals alone.  However, the sound effects for the mechanic make a big difference.  There are different sounds for finding nothing, finding a resource, or detecting a hidden object.  By consequence, one can put their eyes to more important things on the screen and let the sounds guide them.  Not only does this provide great feedback, but it streamlines the process of navigating.  In otherwords, one can run and scan rather than take those few moments to check if they found anything every moment.

There are a plethora of other ways sound effects play a role, whether it’s feedback from opening chests in The Legend of Zelda series or through loud thunderous sounds of dragons flying overhead in Dragon Age: Inquisition.  The sounds give a true sense of presence and aid in immersing someone into the world.  Like in real life, one expects sounds when objects interact, so providing them in key moments makes a huge difference.

 

Nevertheless, games are not the only medium in which sound effects make a difference.  Let’s now turn to comics, which out of the gate obviously lack the same audio component games do.  For comics, the sound effects are part of the visuals and come in varying styles.  Whether they say “Pow,” “Kablam,” or anything else, they are generally something present in a lot of comics.  That being said, some people may question whether they’re important, since these “sound” effects are visual instead audio.  Yet, much like games, they provide important feedback.

In a similar function to the last exercise, let’s put our imaginations to work.  Imagine any two characters you want in a fight, and one panel features one of the characters dramatically slapping the other.  Now, because imaginations are pretty robust, you surely imagined the slap sound that would occur in the moment.  For comics, the way this is conveyed is with the sound effect text, which depending on how its styled can have a different effect.  Instead, though, try to picture the image without that text.  All you have is a slap making contact, but no feedback on whether it hit.

In the end, the effect that occurred for games occurred here as well: without the sound effect, the moment felt empty and lacking impact.

Even when the sound effects are visually very small, they play a role in conveying the world and making it feel real.  Speaking personally, I barely even ever read what the sound effects say; at the same time, when they aren’t present, I take extreme notice of how silent a comic’s world consequently feels.  As a result I feel confident saying that even their presence alone is enough to convey that there is noise in the world, which makes a world of difference.

Of course, sound effects can be used to aid the story too in this case.  For instance, when the story wishes to have an eating scene, it’s not uncommon to have a panel where a characters stomach growls.  This is shown not only by a close up of the stomach, but through sound effects to emphasize the growling sound.  The reader is left with no confusion about what’s going on, so even without dialogue the visual and sound effect convey the character’s need.  This, in turn, helps immerse one more into the moment; like in real life, the visual clues and sound are all that’s needed to convey the unspoken message.  There are numerous other ways the visuals and “sound” effects in comics can be utilized in a more poignant matter, so they are not something to be discounted.

 

Hopefully, at this point, I have conveyed why sound effects play a vital role.  With them, you can make something more immersive and impactful in both small and big ways.  Without them, you risk turning the consumer away from the product due to the world feeling empty and hollow.  In the end, even if it is a tedious aspect to consider, one should always try to include sound effects.  They can make or break a project sometimes, so to neglect them is to do your project a disservice.  The internet offers tons of sound effect resources, so there’s really no excuse not to use them.  So, go forth, and remember like the world, your work should have sounds.

 

Dragon Age: Inquisition is © to Bioward, EA, and all affiliated parties.

Image: Link opening a chest from ZeldaDungeon.net.

Comics and Diversifying Your Platforms

“Don’t put all your eggs into one basket.”

This is a common saying that gets passed around, but I think too few people actually stop to think about what this concept means.  Particularly for indie creators, whether they’re creating games, comics, or otherwise, there seems to be a general trust that goes towards third party businesses as far as making your content available.  Unfortunately, the risk for betrayal is somewhat high and may catch the more naïve off-guard.  Today, I would like to analyze this statement a bit, particularly as it pertains to comics.  Why comics?  Well, I will tell you why.

For those not heavily part of the indie comic scene, Tapas (formerly branded as Tapastic) is one of the most popular hosting sites available right now.  It offers content creators an easy to use platform to post their works, receive feedback, and generally do all the things one would expect a host to be able to do.  Over the past year or so, Tapas has changed focus to their mobile app and its premium content.  In the last few days, Tapas went a step further and redesigned their site.  Their initial choices in the design were to push the premium related content to the top of the page, and forcing the entirely free content to the bottom.  While criticism and feedback have since prompted them to change this, I think it is important one stops to think about this.

ice_screenshot_20170418-234435

First off, at the end of the day, one must remember Tapas is a business whose goal is one thing: to make money.  As such, it is hard to fault them for wanting to push their premium content.  After all, even if they were a non-profit business, employees, servers, and the like all cost money to maintain.  One also cannot fault the premium content creators either, as they are putting their heart and souls into their projects just as much as any other indie creator.

However, when one considers this in the larger picture, it becomes clear Tapas is pushing an antithesis of what the comic community generally wants: more visibility for indie creators.  Instead of promoting a wide variety of comics, the promotion goes to the most successful and who will make the company money.  Again, while no crime, for the average creator this probably defeats the purpose of why they joined the site.

This is not to mention that, while possibly unintentional on Tapas’ part, their wording choices for how they now view creators is a bit telling of their future business model.  In a post from April 17th, 2017 regarding their updated terms and policies, Tapas said the following:

“Many of the terms introduced along with the Tapas app concern purchases and content we’ve published, versus the self-published, user-generated content we previously focused on almost exclusively. Self-publishing and UGC are not going away, and we remain dedicated to supporting independent creators – we’re simply expanding to offer more professional titles as well.”

In this statement, Tapas makes a clear distinction between self-published creators and “professional” creators; in other words, creators who don’t make them money and creators who do.  This, combined with their initial choices for the redesign, clearly demonstrates that Tapas not only wishes to offer more “professional” titles, but probably promote it imminently more than the “self-published” creators too.  Though certainly a sound business decision, this does leave a lot of indie creators at an impasse.

Thus, let us turn back to the original idea: not putting all your eggs in one basket.  For those who have been using Tapas as their main and only site for their comic, this change suddenly threatens their presence and ability to gain an audience.  Though they may work just as hard as premium content creators, there is a large chance that their work will get buried by these creators simply because of how the business will choose to market.  In the end, this makes it harder for newer creators to even get their foot in the door, let alone have hopes of becoming well-known at some point.

Consequently and in retrospect, diversifying where and how you deliver your content as a creator is extremely important.  For comics, there are numerous other hosting choices such as LINE Webtoon or Smackjeeves, where a creator can try to gain footing.  There is also the option of hosting the comic on your own website, whether it be professionally designed or an impromptu hosting site using blog rolls.  There a ton of options for creators, and there is no real one right choice.  What is important, though, is that you make your comic available in more than one location.  In this way, you will always be protected when a company makes business decisions that aren’t beneficial to your content.  Yes, it is admittedly a lot of work to manage multiple mirrors.  However, the safety net it provides is one that will save stress later, such as in this recent incident with Tapas.

This, of course, applies to other creative mediums as well.  In your love and passion for your content, always remember that it is partially a business.  It is almost always a wiser decision to diversify yourself to protect from an unknown future, and it isn’t a crime to remember using a third party shouldn’t be only beneficial to the third party.  So please post in lots of places and try numerous different things.  One day those third parties you rely on may not be there, and you will have to deal with that future.

 

Tapas/Tapastic is © to Tapas Media, Inc.

Image: Screenshot- From Tapas’ front page showcasing the premium content rolls.

Multi-device vs. Specialization: Company Edition Pt. 1

Over this past week while working on administrative tasks for StArt Faire, it became necessary for me to analyze the best use for two different platforms.  However, I was overtaken by a feeling of the stark difference between the company practices.  Namely, where the companies focus device wise and how that affects me as a user, not only in my enjoyment but in my desire to even use the platform.  Thus, my goal today is to write down my thoughts about these stark differences.  Please keep in mind that the platforms I’m about to compare are from widely different industries.  Nonetheless, they are the best representatives for what I’m about to talk about.  Let us continue on this journey as I compare Tapastic and Discord.

 

Tapastic

For those unfamiliar with the webcomic industry, as far as mass hosting goes, Tapastic is one of the hugest platforms out there right now.  It offers numerous of the expected services such as: easy uploading of comics, the ability to schedule releases, the ability to comment on others’ comics, an upvote/downvote system for those comments, etc..  There is also a good sized user-base from which creators can gain readers, so it is one of the go-to sites all around.

That being said, after some internal changes in 2016, Tapastic became extremely focused on its mobile app called Tapas.  The change in focus was extreme enough that Tapastic even made a new Twitter account to reflect this change.

taptwitteraccount

Under normal circumstances, an app is usually not a bad thing.  In fact, it is becoming more common for creators to make sure their content is mobile friendly, as a huge chunk of their views comes from mobile users.  Unfortunately, however, Tapastic’s change of focus was so thorough that their desktop version is now severely neglected.

Their mobile app has numerous features you cannot even access via their site.  For example, the mobile app allows writers to post regular novels, and include paywalls for their content.  Comic creators can also use these paywalls for their content and, unfortunately, there is no way as of yet to get past these on a desktop.  Even more recently Tapastic added a tipping feature where one can watch ads, gain coins, and then give them to creators they wish to support.  Of course, as is the theme, this is something you can only do via the mobile app.

Now it’s quite easy to say, “Just get the app.”  The unfortunate fact of the matter is many people do not have access to compatible mobile devices.  This is not to mention the numerous people who may not like reading from their phones or tablets for a variety of reasons, whether it be text size, screen brightness, etc..  Yet, Tapastic has made the mobile app a near essential component to use their platform to the fullest.  For those who are skeptical that Tapastic really is neglecting its desktop version, at the time this post was written, the Twitter link at the footer of the site still links to their old Twitter account.  I don’t know about you, but a company who cannot even be bothered to check their links is one that is not being very attentive.

The unfortunate consequence of this mobile focus is that Tapastic is ruining the experience on desktop.  Readers who are desktop oriented cannot financially support the creators they like, nor can they even read some of the comics that are exclusive to the Tapas app.  Inevitably, this shows a lack of care for creators, in my opinion, as this essentially cheats creators out of fans and financial support they might otherwise have.  These lack of desktop features likewise affect readers, as with an increasing exclusivity for the app, readers are left with less content to peruse.  The end result is the desktop version becomes increasingly unenjoyable; between the desktop site breaking for long periods of time and the knowledge that you’re missing out on a lot of features, it is just a discouraging experience to use Tapastic on a computer.

At the end, this specialization of focus ruins a lot of the experience.  It can be no wonder why a good chunk of the user-base is leaving for LINE Webtoon, whose desktop version is friendlier in several respects (though does suffer its own issues).

 

So how does this relate and compare to Discord’s company practices?  Tune into the blog tomorrow where I will discuss how Discord chooses to handle various devices.  I will also conclude this segment with the next post, and specify why the differing industries don’t make a difference~!

 

Tapastic is © to Tapas Media, Inc.

Image: Screenshot- From Tapastic’s old Twitter account.