Sound off: iPhone gaming's audio problem

Can you hear that?

Probably not, if like most gamers you flick the silent switch on your iPhone before playing a game. Of the hundreds of games populating the App Store, few earn the prestigious honour of having the volume turned up.

Lacklustre sound - both effects and music - have been a sore spot for iPhone games since July and yet such little attention has been invested in the problem. High expectations for shiny graphics and slick controls abound, but audio design lags behind like a toddler chasing its older siblings.

Sound design is practically infantile when compared to the maturity of visual and interface design on iPhone. Too much more weight is given to how games look and feel than to how they sound.

It's not a new issue, of course. Mobile games have suffered years of poor audio quality, but much of that is a result of limited hardware: tiny speakers, minimal audio channels, and space constraints.

Most importantly, good audio has always been viewed as optional on mobile. Gamers looking to entertain themselves on the go don't necessarily want to engage the audio for a number of reasons: they may play in a space that doesn't warrant sound being turned on or they simply don't care.

That justification for limiting audio in a mobile game, however, is a clever cop out for cutting quality. You don't omit or limit features in a game because only a certain number of players will use it. Going by that sort of logic, multiplayer modes are a waste and should be dropped from titles because not everyone will play them.

The hardware defence, though, has been compelling until now; until, that is, a new generation of mobile devices shattered barriers for audio designers. iPhone in particular is built with sound in mind - the device has a built in music player that pumps out crystal clear tunes. We never would even have iPhone if it weren't for its predecessor the iPod.

The point here is that iPhone, as part of a new line of mobile handsets, has started the effort of addressing hardware limitations with regards to audio.

And still we suffer with game after game bearing awful audio. Tinny effects, atrocious synthesised scores, and horrific voices plague even the best of games. With the hardware there and the drive for compelling experiences, why is this still an issue?

Endemic to the audio question is the continued perception that sound design is a secondary concern in the development process. This paradigm must change. Developers need to recognize the value solid audio design contributes to the gaming experience.

The return on the investment comes in several forms: better reviews, industry leadership, and customer recognition and retention. Of course the latter is the most compelling reward, affecting the bottom line. Simply put, if your game sounds good then players will be happier about it as whole.

Take the recent release of 1112, Episode 1. An amazing soundtrack punctuates this down tempo adventure game, creating a stylish, emotive atmosphere. It's nothing short of brilliant. Yes, the team at Agharta Studios no doubt had to invest much effort into the game's audio design, yet the dividends are clear.

On the other side of things, a game with stellar gameplay and poor audio is ruinous. Hero of Sparta, which is among the top games of the year, features some of the worst sound. It's glaringly bad and places a mark on an otherwise outstanding game.

To Gameloft's credit, however, this is a rare exception for a company that has long been pushing audio quality on mobile.

Some games don't even have any sound. Fieldrunners, which received odd billing by Time as one of the year's top ten games, was released without any audio - no music, no sound effects.

Offering gamers superior audio is still a challenge, yet it's one that developers must take up.

Hardware limitations remain, although less at the end of processing power and channels. On iPhone, the issue is one of space. As wonderful as the audio in 1112, Episode 1 is, it requires a hefty 125MB download. The immensely entertaining Soul Trapper, Episode 1 doubles that total.

Finding a balance between space and quality is the challenge here. Compression techniques need research and developers ought to figure out clever ways of providing good audio without sacrificing quality.

Ditch voice acting in lieu of great music or have a foley artist sample sounds instead of including a cheesy soundtrack. Compromises are a fundamental part of the development process, yet there's a mindful way of approaching audio that doesn't have to obliterate quality.

Heed your challenge, iPhone developers. Your gamers are listening.