Sound Design - Tibet

The mystical and natural setting of Tibet provides a rich environment for sound design. We're aiming to focus heavily on these native sounds, and to emulate local musical theory. There are interesting areas for experimentation with the mythological and technological influences on the region and make full use of them, blending them into thematic soundscapes designed to be unique to each faction. Aside from this there is the normal, generic environmental sound and music to cover - the mundane Tibet and its new influences in a lesser capacity. I will cover this section first.

## Environmental Sound

'Environmental' consists of the sound and musical effects pertaining to the general style seen across Tibet, not necessarily associated with a particular group. This extends to elements not typically classified as environmental for simplicity.

### Diagetic Sound

Once a cold and distant place, the warming of the world exposes Tibet in a multitude of ways. Its new vibrancy should be tempered with the solemn knowledge of the disaster that brought it and the loss of serenity that came with it. There are several distinct environments in the Tibet region with the unique environmental soundscapes, its beauty also a calamitous place as a nature finds its place in this new world.

* Atop the desolate mountain there is yet some calm, wind blows against rock and wind chimes, and sand blows past the player.
* Sub-tropical regions are contrastingly loud and bombastic places filled the natural noises of animals that have migrated from China and India.

When combat arises these sounds fade away to unique faction-based sounds that often follow a similar diagetic style, though changed by magical influence. This magical influence is pervasive across the environment, it alters the soundscape of areas with the manipulation and blending of sounds. Natural sounds such as water emulate animalistic noises in a parallel to how Tibetan and Chinese folk music seeks to emulate nature.

### Non-Diagetic Sound

Concerning the sounds not derived directly from the environment and characters present in it, this mostly consists of the UI but to a lesser extent audio ques that are related to but do not reach the complexity of music. MMO design makes heavy use of UI to support its complex mechanics and a strong soundscape is required to support this. Inspiration is drawn from traditional Tibetan musical instruments and from simple natural interactions such as rocks hitting each other, water splashing, wind through a crevice.

* What this thus means in design is emulating the typical jingles, wooshes, crumples of MMO UI interaction with sounds very specific to the Tibet of Silk Road. It is not particularly experimental or unique but it reinforces the flavour of the setting.
* As an example a particular motif will be wind chimes, well at home in the high breezy land of Tibet and classically associated with spiritualism. This sound will be used upon completing objectives and quests for Tibetans and Shambhalans, a more complex chime for a greater achievement.
* Contrastingly a Resukhanapan completion chime will be sound of rock cracking from lightning, the elements showing destructive and fierce power.

### Music

Most music heard in-game will be associated to a faction thus this section dedicated just to generic starting locations that are not tied to a faction or dependent on their presence. It's simply the introduction of the player to Tibet.

As they enter Tibet they are greeted by what seems to be a beautiful sight, its landscapes are vibrant and varied. The accompanying music aims to be solemn with hints of sadness to unsettle the player and make them aware that something is deeply wrong before they even talk to someone. Reaching the mines it becomes more sinister as the player begins to engage in combat. Fighting mythical creatures means the music is based on folk music, as will be detailed further, and this also serves as an interesting introduction to the culture and flavour of Tibet they will be experiencing.

## Faction Sound

Due to how they appear all over Tibet there are specific soundscapes for each faction that they bring with them, rather than areas have highly developed sounds of their own. The following are summaries of the most important.

### Resukhanpan

An ancient and supernaturally focused force, the soundscape of the Resukhanapan focuses on sounds derived from nature; wind, rock, lightning, water. In a sense rejecting human sounds as they do with the human world.

* Each individual Resukhanapan is typically aligned with a singular element of nature and their sounds and music reflect this. Despite this all sounds are twisted by their demonic nature; water sounds like a roar, lightning like a shriek. As man has corrupted nature no so do the Resukhanapan.

Unique amongst factions there is a great deal of procedural music; the same track is created in several elemental styles and a mixture will play based on what kinds of Resukhanapan are present, the elements overlaying each other into a unified piece of music.

The magical element to the Resukhanapan is not directly apparent in their aural design, however this connection to nature harkens directly to a spiritual connection between man and nature. Chiefest exception though is the sound effects featured in combat where natural sounds are very deeply twisted. This ensures clarity where the sounds important to combat, that reflect what an enemy might be doing, are distinct through sounding more unnatural and threatening.

### Chinese Army

Representing an invasive and highly militaristic force the soundscape of the Chinese Government forces is based very literally on their real-world counterpart.

* Music is based on military band; brass sections fierce and triumphant, and military drums being a particularly common feature.
* Sound effects are straightforwardly copying and enhancing real sounds such firearms, tanks, boots marching.

Generally their sounds are rhythmic and forceful, in fast and heavy beats. It reflects the domineering attitude of China to the area, and to the industrialised approach they take to warfare. Notable examples would be;

* Chinese Soldiers; as they increase in levels their music evolves from simple drum beats to intense marching songs.
* Officers & Camps; here propaganda music blares from in-game speakers. They feel in-control here and threatening, there is a particular fear of the authoritarian here. Not just a generic military threat.

Ultimately what makes them unique is a projection of power, a physicality to their aural design. Metal, explosions, marching - it sets it apart from others. It lacks subtlety and is bereft of any sense of spirituality.

### Shambhala

The folllowers of the Order of Shambhala are those most familiar and at home in Tibet, their soundscape shares much with the environmental sounds. They also take particular inspiration from the holy and ritualistic music of Buddhist and Tibetan religion, folk sounds though more minimalist and serene.

* Examples of this style would include the use of wind chimes, and dungchen horns. Long and rhythmic styles in contrast to the fury of Resukhanapan.
* There is also a sense of focus, restrained strength. Combat sounds make use of the physical sounds of the human body in martial arts. Grunts, lunges, and breathing.

Steeped in both high magic and high technology, the more esoteric and mystical elements of the Shambhalans is represented with the deepening of their soundscape. Plasma weapons and magical staffs sound like the unified chanting of thousands, the thrum of power still connected to the human form like an extension of martial combat.

For some of the more physical and present sounds wood is a keystone; a real blend of man's technology and nature. It directly contrasts other factions, standing in the middle between the pure nature of the Resukhanapan and the pure technology of China. A balance.

### Mythical

Being folklore that has come to life the soundscape takes its inspiration from a blend of natural animal sounds and from folk music, especially those from festivals and celebrations.

* These will typically be traditional compositions that would be familiar to the real peoples of Tibet. Some minor elements of strangeness would be added to reflect the idiosyncratic quality of myths; rapid changes in pace and tone, playful twangs.

* Contrasting this the sound effects would largely focus on creating appropriate animalistic sounds as inspired by real animals. The trampling of snow, roars, claws, shaggy fur - the aim being to give a physical presence to these whimsical stories, that quality of fancy being isolated to their music.

As an example; Snow Lions are a staple of Tibetan folklore and feature often in the game.

* Their music is directly taken from playful and exciting folk music. It begins softly to show their grace and fearlessness before becoming a joyous, if threatening dance.

* The roar is especially important, to reflect its mythical power it blends the actual sound of a tiger with thunder and snowy landslides.

### Bosses

Bosses are provided with one or two unique pieces of music to reinforce the specialness of the encounter. Sound effects feature more cross-usage but may be altered to grant them a greater intensity in this instance.

As one example; Druk is an angered dragon spirit who's wrath cannot be quelled unless the player finds and returns their jewels. The soundscape is inspired by Chinese dragon dances, a cacophony of deep drums and cymbals crashing like thunder and water.

Bosses in most cases fit into other factional categories but generally will be deeper and more bombastic versions of the typical music from their respective faction. Final bosses set themselves further apart with uniquely reserved elements such as vocal performances, only the Shambhalans feature this in regular sound as a reflection of their duty to guard the greatest danger in Tibet, and work to emphasise their unique faction sounds.

Hugh Brown, 1702324