Sooo... being a fan of Skyrim (Modded & Better looking Version only) I decided to create a complete Skyrim Win7 theme and UI hashing together existing customisations and creating my own.
EDIT: I have also created a custom Skyrim Screensaver to go with the Package:
FEATURING:
Custom Windows Start Orb created by DanteJinx
A Skyrim Inspired Rainmeter Skin by Axerron
Modified to Auto-Hide by DanteJinx
Skyrim Sovngarde Screensaver Created by Chekole & DanteJinx
CREDITS:
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All content for theme package customised and/or created by DanteJinx (Me)
Custom Desktop Icons Provided from Skyrim Windows Theme by Vikitech
including system sounds and wallpaper art content from Bethesda's Skyrim Website
Skyrim Login Screen using yvidhiatama's Win7 Login Loader
Skyrim Boot and Resume Screen using braddy's Win 7 Boot Customiser, Bethesda Artwork and
Custom animated Skyrim Logo created by DanteJinx
Skyrim Windows Cursors by Sirea
Custom Skin and Icon Set for RocketDock by DanteJinx
Custom Skyrim System Font (Daedric Alphabet) by DanteJinx
Trajan Pro Font by Carol Twombly
Windows 7 Start Orb Changer v5 by Trishan Bagaria
Custom Skyrim Logo Orb created by DanteJinx
Skyrim Screensaver by DanteJinx
Created using InstantStorm Screensaver Maker
MCN :: CTVQD-MBB8K-3GFD9
Please donate anything you feel worthy!
You can download the Complete Package Here:
Downloads:
Please leave a comment to say thanks! And feel free to contact me about any errors/feedback.
Linking once again to what I learned during the group project, my knowledge of just what is capable with the implementation of sound within games has actually improved since I last wrote about it. (Sound as a Pound)
I took it upon myself to include sound in the project and although I relied a lot on free to use sound samples, I also recorded some of my own. I was surprised at how well I’d guessed how some sounds are used in game. In that they work much like lights, for simple ambient or resonant sounds they are place in a level and given a radius in which the player can hear them, growing louder the nearer you are to the sound emitter. However it did surprise me how you can apply several effects to the sounds within the UDK game engine, such as pitch changes and tone alterations.
Whilst I only really used the simple ‘place in scene’ method, there are also scripts and the possibilities of adding interactive sounds via the kismet function.
My understanding of how game music and ambient sound is still pretty much the same as it was, music is used to create drama, tension and generally to add that extra stimuli to the experience, and ambient sounds to create tension and atmosphere. I have started to notice the advanced effects for sound in latest games, such as call of duty. For example when you are injured or subject to a flashbang, the sound alters pitch and tone and adds the effect of a muffled, half deaf resonance. I thought that was brilliant when I first experienced it, it really made the game that much more realistic.
In-between the last blog on the subject and now I also stumbled across ‘the barber shop’ audio sample from Qsound labs (The Barber Shop - Binaural), a great example of the Binaural audio technology that is really impressive in creating a fully emmersive experience with sound. I did a little research on whether this can be used in games and found quite an interesting debate about it here: Theif - Binaural Forum they essentially covered the pros and cons, such as the impact it would have on the interactivity and immersive experience for the user, but pointed out limitations on memory and how the technology could be taxing on performance. Surely, however, with the rapid way in which gaming technology is evolving, it is only a matter of time.
I’ve found myself becoming more and more interested in the musical scores for games, one of which you may have guessed from my Masters time-lapse video, is the soundtrack for Red Dead Redemption. The entire soundtrack comprises of everything a game should have in terms of musical score, from high-octane, action filled chase music to beautifully composed wild west ambient scores. The surprise for me was the inclusion of the ‘Far away’ Track written and sung by Jose Gondalez. I really wasn’t expecting that, and when it kicked it in it went amazingly well with riding the horse at high speed through the beautiful landscapes. I thought the entire score really captured that Wild West feel, and much credit goes to Rockstar games, Bill Elm and Woody Jackson for hitting the nail on the head.
Its rare that friends of mine, when talking about gaming, mention sound as part of their experiences. Which when I think about it is a crying shame for Sound in games in relation to the experiences we have when playing them, is not only paramount but a brilliant and useful tool.
Sound, in gaming, has come a long way since the beeps and bleeps of the early days but essentially it still plays the same role, to enhance and bring an extra sensory experience to make that virtual world in which we are exploring, that much more real. Typically sound in games can be split into three categories, Sound Effects, Game music and Atmospheric sound.
Sound effects, much like in film, are the audible events which replicate what something would 'sound like' in the real world, footsteps, breathing, doors opening, guns firing are all examples of such. The advantage that games have over the real world is that the sounds do not necessarily have to be natural. Aliens, sci fi weapons, monsters, or other sounds of science fiction are just some examples of when the game sound effects transcend what we may encounter naturally. For that reason, whilst alot of sound in gaming is real pre-recorded audio, a lot of game sounds are generated using computer software.
Historically sound effects in games are scripted, pre made audio files that either play when certain events are triggered or (in 3d games) 'attached' to moving models or placed in scenes to give the illusion that sound is emanating from them.
The effective use of sound effects results in an enrichment of the virtual experience, being a huge fan of Dead Space and well made horror games, sound (and sometimes lack of sound) is used as an effective tool in adding to the atmosphere and sensations that the game is trying to emulate. Screams, footsteps, and memorably in Dead Space, the sounds of tools falling from platforms and echoing in their descent really made my ears prick up and cause a state of alertness, its for this reason more than others that I enjoy horror games, not because of the gore (im not that twisted) but because they effectively scare me and I find that exhilarating and makes the virtual experience all that more real.
Speaking of atmosphere, games often include a soundtrack devoted entirely to creating a particular ambiance/feel to levels or events within games. Not really music, and not really sound effects, the ambiance soundtrack is often comprised of both but in a much more subtle manner. Different games often have different 'vibes' for example, an action packed adventure may use atmospheric sound to add drama to cut scenes, or moments in the game to build tension, these tracks usually work together with game music, for example a level may require the player to use stealth, therefore the atmosphere would need to be quiet but full of tension, when that tension is broken (such as the player needs to escape) this is usually when game music takes over. With horror games or moments within games that require the player to feel fearful, the ambient soundtrack is often eerily composed, with indistinguishable sounds that may coincide with sound effects that are used to create high tension and dread within the player. A great example of this would have to be within Silent hill's franchise, Akira Yamaoka does a fantastic job manipulating and creating sound to enrich the frightful atmosphere of the games. The use of a recording of a french air raid siren to signify when the game is about to take a darker tone is absolutely fantastic and still makes me shudder listening to it out of context.
Game music, much like the atmospheric soundtrack is also used to heighten the sense of drama, excitement and mood of playing games. The best, and my most favorite example of this would have to be Martin O'Donnell and Michael Salvatori's brilliant compositions for the Halo Franchise. Capturing the sci fi and adventure feel to the world of halo was masterfully done and in a way that really enhanced the action and sense of exploration during gameplay. The use of a full orchestra to produce a lot of the soundtrack was fantastic.
Game music is appreciated widely both in games and out. A notable example would be the movement of 8bit music fans, whereby the emulation of early game music is now played in clubs and venues, spawned artists in the form of 8bit DJ's and most probably due to its nostalgic appeal has become a music genre of its own. Original soundtracks to games are sold in their millions and whilst many people may fail to appreciate its origins, game music is a widely respected genre of music.
Welcome to Game Art Jinx, a website covering all things computer game and art related and my personal journey from someone who had barely played games to an aspiring game artist.
In it I cover, in depth, subjects relating to computer game art and design and from time to time an update on my personal progress. Initially this blog started out as a mandatory part of my Critical Studies for BA Honors Game Art Design degree, but I hope to evolve it into a place where any one interested in the world of games and art can enjoy.
I am currently in my third and final year at De Montfort University, Leicester, I intend to work on producing a strong portfolio to meet industry standards in 2012 and use this site as a home to document my learning and progress.
I also run a small freelance design company over at:
Thanks for taking the time to check out my site! Please feel free to leave comments, in fact, I urge you to! :)
