Created a write-up of my approach to mixing the audio In this video I have reimagined the audio, focusing on using the interplay between music and sound effects to communicate information clearly to the player and enhance elements of the game and puzzle design, while keeping the player immersed in the game world. The Golden Rule: Clear communication comes first through clearly mixed audio. The 'Golden Rule' I used for this redesign was reserving the high and low frequencies for sound effects, and keeping the music generally within the middle of the frequency spectrum. At the start of this video I follow this rule, creating a clear aural distinction between the two audio elements (music/sound effects). This separation coupled with a sparse musical arrangement enables you to be fully immersed the world: you can hear gears turning, footsteps, and maybe even the trickle of water! Breaking the Rule: When you complete the crux of the puzzle, the music transforms. Bass is added and richer chords are played, creating a more lush and relaxed musical atmosphere. However these additions take up a wider frequency spectrum than the previously sparse arrangement. This breaks the 'Golden Rule', but here I do it on purpose. Tension... : Before solving the crux of the puzzle there is a natural tension in the gameplay. You are looking for ways to solve the puzzle! When following the 'Golden Rule' set for this mix, the sparse musical arrangement adds to this tension the game and level design provides. By allowing you to hear more of the sound effects, this puts you in the characters shoes and contributes to the tension; you want to find the exit! This also gives you the maximum amount of aural information, and you feel like you have all the information you need to solve the puzzle. ...and Release: After solving the hardest part of the puzzle there you have basically won! In this level when you step on both buttons at the same time you have solved the hardest part, and comparatively the rest of the level is just busywork. The music changes here, reflecting the change of mood in the gameplay. By adding parts and breaking the Golden Rule, the music slightly obscures the more diegetic sound effects. This puts a little space between you and the game world, allowing a breath and a chance to prepare for the next level. Important Sounds: Of course, no matter where you are in the level there are some things that need to be clearly communicated. As such I have selected four sounds that lower the volume (or duck) the music as they play, to make sure you can hear them no matter the state of the music: the tap that sets where the character will move, the buttons being activated, the sound that plays after both buttons are activated simultaneously, and the tap that will send the characters through the door at the end. I decided to have these sounds duck the music for two general reasons. The first is that they are important interactions with the world, telling the player that they are heading in the right direction. Second is that they take up a lot of the mid range, and so need to step in front of the music somehow as they play. Keeping Everything Copacetic Many of the sound effects featured in this clip are tonal, meaning they have a musical note of their own. As such I made sure to keep all tonal sounds within the key of the music. The buttons play a perfect fifth away from each other and the sound that plays when both doors are opened play a harmonized melody in the key of the music. Taps on the normal ground plays the root note while tapping to move to a button plays a fifth higher, and the final tap plays an arpeggiated chord. For this remake I used the soundscapes made by Disasterpeace as a big inspiration, in an attempt to keep everything within the same style. Hopefully this writeup gave you some insight into how I approached the reimagining of this short slice of gameplay from Monument Valley! As you can see, the world of interactive audio in a game is multifaceted and complex.