SHR6E032F~002 Portfolio and video evidence TEMPLATE
1. Project Overview
This project focuses on game audio design within the context of a side-scrolling pixel-style platformer. As a collaborator, I was responsible for music composition, sound design, and the creation of visual assets for the game interface.
The project is strongly inspired by Revue Starlight, a Japanese 2.5-dimensional multimedia franchise that combines animation, stage performance, character songs, mobile gaming, and live events. A defining characteristic of this work is its strong sense of theatricality, expressed through stage-like visual presentation, symbolic imagery, emotionally intense character relationships, and a distinctive approach to musical storytelling.
Drawing on these influences, the project is positioned as a non-commercial fan work rather than a product intended for profit. It serves as an interdisciplinary creative exploration, bringing together game design, music production, and visual art. Within this framework, particular emphasis is placed on the role of music in shaping atmosphere and supporting the player’s experience across different sections of the game, including the user interface and gameplay.
Through this project, the aim is not only to reinterpret the source material, but also to explore how audio design can contribute to a cohesive and immersive interactive environment.
While the project draws on the core worldbuilding and character traits of Revue Starlight, it introduces significant creative reinterpretations that transform the material into a new form of expression. For example, the main character has been redesigned as a goose, which not only alters the visual style but also introduces a sense of humour and changes the nature of player interaction.
This approach to working within an existing universe is not intended as replication, but as reinterpretation. The project seeks to reframe the emotional tone and thematic elements of the source material through original design choices. As such, the levels, narrative progression, character interactions, and overall visual style are newly created.
Therefore, the project can be understood as a non-commercial, educational fan reinterpretation, rather than a direct adaptation of the original work.
2. Panopto Video – Final Product (10-12 Minutes)
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=b5e7e5b6-5a3e-4198-853b-b43901448b08
3. Chronological Monthly Diary
Month 1–2: Initial Development
During the first stage of the project, both my collaborator and I shared a strong interest in Revue Starlight. Following a series of discussions, we decided to create a fan-based reinterpretation as a way of expressing our appreciation for the franchise.
While exploring existing fan works, we observed that there were relatively few game-based reinterpretations. This led us to develop our own game project. After considering the scope of what could realistically be achieved within a small team, we chose to create a 2D side-scrolling platformer with a pixel art style, as this format was both achievable and suitable for integrating audio design.
Month 3: Development Stage
During this stage, responsibilities within the project were clearly divided between collaborators. I was responsible for visual design, including UI creation, as well as music composition and sound design. My collaborator focused on level design, game testing, and programming.
This division of roles allowed the project to progress more efficiently, with each contributor focusing on their respective areas of expertise. Development during this period was carried out in stages, with visual assets, audio elements, and gameplay mechanics being developed alongside one another.
During this stage, I also explored the use of middleware such as Wwise and game engines like Unity in order to better understand how audio can be implemented within an interactive context. In addition, I used a digital audio workstation specifically designed for 8-bit style sound production to compose and design audio for the project.
As these tools and workflows were relatively new to me, I engaged in independent research through online tutorials and video resources. This process supported the development of both technical skills and a deeper understanding of game audio production.
Month 4: Integration and Testing
During this stage, the first level of the game was completed and the various elements of the project were brought together for initial testing. This included integrating visual assets, gameplay mechanics, and audio components.
Through ongoing online communication, it became clear that the workflow was not as efficient as expected. As a result, we decided to shift towards in-person collaboration in order to improve coordination and productivity. I travelled to Manchester to work directly with my collaborator, allowing for more focused development and immediate testing.
This period of in-person work enabled more effective problem-solving and faster iteration, particularly in relation to gameplay adjustments and the integration of audio elements.
Month 5–6: Development Expansion
Following feedback received during the Christmas presentation, we decided to expand the scope of the project by developing a second level and adding more original music.
Through further discussion, we introduced a new gameplay structure that combines traditional 2D platforming with a boss chase sequence. This new mechanic was designed to increase both playability and engagement, while also providing additional opportunities for varied audio design.
These changes allowed the project to move beyond its initial concept and develop a more dynamic and interactive experience.
Month 7: Asset Development and Collaboration Expansion
During this stage, work focused on asset integration, visual production, and music composition. Different elements of the project, including artwork and audio, were developed and refined in parallel.
As development progressed, it became increasingly clear that managing all aspects of the project with only two collaborators was challenging. In response, we decided to expand the team by inviting an additional contributor to assist with UI design.
This adjustment helped to distribute the workload more effectively and allowed for further refinement of the visual interface, contributing to a more cohesive overall outcome.
Month 8: Testing and Video Production
During this stage, we focused on final testing and video production. We chose to carry out testing in person, and I travelled to my collaborator’s home to work together on refining the second level.
Compared to the earlier stages, this level contained a higher number of bugs and required further adjustments. However, in terms of narrative development and level design, the outcome was largely in line with our initial expectations.
Following the testing phase, we proceeded with recording gameplay footage and editing the final video. This involved selecting appropriate sections of gameplay and ensuring that the audio and visual elements were effectively synchronised.
4. Evidence of Planning/Process
Planning
The planning stage of the project was organised using Notion, where we established the overall structure and direction of the game. Initially, we planned to create six levels, each corresponding to different “revues” from Revue Starlight, which helped define a clear conceptual framework for the project.
Once the structure had been established, Notion was also used to plan the production schedule. Tasks were broken down into stages with approximate timelines for development, allowing for a more structured workflow and clearer coordination between collaborators. This helped maintain a consistent sense of progress throughout the project.
Sound Design/Music Design
The sound design aimed to reinforce gameplay feedback and establish a cohesive 8-bit inspired audio identity. For the first level, I developed an 8-bit inspired sound palette with a focus on light harmonic textures and supporting bass elements, creating a lighter musical arrangement to establish progression within the game.
A range of interactive sound effects were designed to enhance gameplay feedback, including jumping, landing, object interaction, and item collection. These elements were iteratively refined through testing within the gameplay environment to ensure clarity and responsiveness.
The jump sound effect was designed to create an upward motion, inspired by classic platform games such as Mario, as well as theatrical references from Revue Starlight. It was constructed using a rising pitch in D major, primarily based on a square wave, with additional triangle waves layered an octave and two octaves lower to create depth and movement.
For landing actions, a soft percussive lo-fi drum sound was used to simulate physical contact with the ground.
For object interaction, such as opening boxes, a short and crisp percussive sound was designed to represent a lid-like motion, created using layered drum-based samples.
For item collection, I aimed to create a bright and sparkling effect to match the aesthetic of the source material. The sound was initially constructed using stacked intervals (B and D), later enhanced with xylophone layers to achieve a shimmering timbre, reinforcing positive in-game feedback.
In terms of stylistic approach, different musical styles were used to distinguish between interface and gameplay contexts. For the main menu and settings screens, I chose to use lighter musical styles, including jazz-influenced and ambient instrumental elements, rather than restricting all audio to an 8-bit aesthetic.
This decision was made to avoid stylistic monotony, as using a single musical style throughout the entire game could reduce player engagement over time. By contrast, once the player enters the gameplay environment, the music shifts into a more consistent 8-bit style. This aligns more closely with the pixel-based visual design, helping to create a cohesive audiovisual experience.
This contrast between interface and gameplay music was intended to support immersion, allowing players to clearly differentiate between interactive states while maintaining a unified overall aesthetic.
UI / Visual Process
The UI design was developed through close reference to Revue Starlight, with particular attention to symbolic and narrative elements from the original series.
The pink “T” symbol used in the settings interface originates from the film adaptation, where it represents the protagonist’s return to the stage and symbolises the centre of the theatrical space. In this project, it was adapted as the visual identity for the settings menu, reinforcing its role as a central control point.
A tomato icon was designed to represent backstage content such as credits and the gallery. In the original series, tomatoes symbolise stage “fuel” or performance energy. This concept was reinterpreted to suggest that both creators and performers function as a form of “stage fuel” within the production process.
The button interaction sound “わかります” is taken from the voice of the giraffe character, who represents the stage creator. This was used as a meta-referential element, connecting both audience and creators through a shared symbolic voice.
Finally, the right-side emblem is based on the official Revue Starlight logo and was used to represent the save function.
These design choices were intended to enhance player readability and reinforce the emotional tone of gameplay.
Use of Software and Tools
Aseprite was used as the primary tool for visual asset creation due to its compatibility with Unity’s workflow, allowing sprites and animations to be exported and implemented efficiently within the game engine.
This pipeline enabled a smoother production process, as assets could be transferred directly into the development environment without extensive conversion. As a result, both visual and technical development were streamlined, supporting more efficient collaboration between design and implementation.
In addition, Unity was used as the main engine for integrating visual and gameplay elements, supporting overall development and testing.
5. Reference Material/Inspiration
The primary source of inspiration for this project was Revue Starlight, a representative 2.5-dimensional cross-media work that combines animation, stage performance, character songs, mobile games, and live events. A defining characteristic of the original work is its strong sense of theatricality, expressed through stage-based visual presentation, symbolic imagery, emotionally intense character relationships, and a distinctive music-driven narrative style.
These elements informed several aspects of the project. The symbolic visual language of the source material influenced the UI design, while its theatrical structure and emphasis on performance shaped the overall tone of the game. In addition, the integration of music as a narrative and emotional driver inspired the approach to audio design, encouraging a closer relationship between sound and player experience.
In terms of gameplay design, classic platform games such as Super Mario Bros. provided a key point of reference. The structure of side-scrolling levels, the use of responsive character movement, and the role of interactive sound effects in reinforcing player actions all informed the development of the game mechanics.
From a musical perspective, the project draws on both retro 8-bit game sound aesthetics and lighter instrumental styles such as jazz and ambient music. This combination was used to create contrast between interface and gameplay contexts, supporting variation in player experience while maintaining an overall sense of cohesion.
These references were not directly replicated, but instead reinterpreted and adapted within the context of the project. As a result, the final outcome reflects a combination of visual, musical, and interactive influences, forming a non-commercial fan reinterpretation that responds creatively to its source material.
6. Use of Technology
A range of software tools was used to support visual production, audio design, programming, and project management, enabling an efficient and structured workflow.
For visual development, Aseprite was used to create pixel-based assets, including UI elements and interface graphics. Its sprite-based workflow ensured consistency with the retro aesthetic and allowed for efficient asset export and integration.
For audio production, Lovely Composer, FamiStudio, and Ableton Live were used at different stages. Lovely Composer supported rapid idea generation, while FamiStudio enabled detailed 8-bit sound design through precise waveform control. Ableton Live was used for arranging, mixing, and finalising audio tracks.
Unity was used as the main game engine to integrate visuals, audio, and gameplay systems. It allowed real-time testing of mechanics and interactions, improving iteration speed. Wwise was used as audio middleware to manage sound triggering and dynamic audio behaviour, providing greater flexibility without modifying core game logic.
Project planning and communication were managed using Notion, Discord, and WeChat, ensuring clear coordination.
Overall, these tools supported a cohesive workflow and consistent retro-inspired design across the project.
7. Evaluation
Evaluation
Overall, the project successfully achieved its aim of creating a cohesive 2D game experience integrating visual design, audio production, and interactive gameplay. A key strength is the consistency between its retro-inspired visuals and audio direction, forming a unified aesthetic. The combination of pixel art, 8-bit inspired sound, and stylised UI contributed to a clear visual and auditory identity.
The project successfully integrated multiple creative disciplines within a single workflow. Symbolic UI design and music-driven decisions supported the overall theme, while the use of Wwise within Unity enabled responsive audio behaviour, improving player feedback. The use of different audio tools also supported an efficient balance between rapid idea generation and detailed refinement.
From a gameplay perspective, the progression of mechanics across levels demonstrated effective initial planning. Although only two of the planned six levels were completed, the implemented sections introduced varied mechanics such as platforming, rhythm interaction, and chase sequences, helping maintain engagement and variety.
However, there were limitations. Due to time constraints and the workload of asset creation and animation, only part of the planned content was completed, and some areas lack polish. Time management in early stages also affected production speed, and pixel art animation proved particularly time-consuming. Narrative elements were simplified due to team size and production constraints.
Despite this, the project remained feasible due to clear role division within the two-person team, enabling efficient parallel development. The choice of pixel art and a 2D platformer structure also reduced complexity and supported rapid prototyping.
Unity was used as the main engine, Aseprite for visuals, and multiple audio tools for sound production. Git was used for version control, while Discord, WeChat, and Notion supported communication and planning.
In future iterations, the project could be expanded by completing remaining levels and refining gameplay systems. Improved planning and deeper audio-visual integration would further enhance the experience.
Overall, the project demonstrates successful integration of visual, audio, and gameplay design within a constrained development environment, highlighting the importance of scope management and iterative development.
8. Bibliography
“高崎｜劇場版 少女☆歌劇 レヴュースタァライト｜イオンシネマ”. Archived from the original on 13 June 2021. Retrieved 26 March 2021.
“Bushiroad Reveals Revue Starlight Franchise With Stage Musical, TV Anime Projects”. Anime News Network. 30 April 2017. Archived from the original on 1 May 2017. Retrieved 29 May 2017.
“Shōjo☆ Kageki Revue Starlight Franchise Gets 3rd Manga Adaptation”. Anime News Network. 7 January 2018. Archived from the original on 8 January 2018. Retrieved 5 August 2018.
“Shojo Kageki Revue Starlight Franchise Gets Smartphone Game”. Anime News Network. 24 June 2018. Archived from the original on 24 June 2018. Retrieved 5 August 2018.
“[Important] Notice Regarding End of Service | News | Revue Starlight Re LIVE Official Site”. 15 August 2024. Archived from the original on 15 August 2024. Retrieved 9 January 2025.
Kenney. (n.d.) Cursor Pixel Pack. Available at: https://kenney.nl/assets/cursor-pixel-pack (Accessed: 28 April 2026). Licence: CC0.
Kenney. (n.d.) Pixel Platformer. Available at: https://kenney.nl/assets/pixel-platformer (Accessed: 28 April 2026). Licence: CC0.
Spring, D. (n.d.) Mountain at Dusk Background. OpenGameArt.org. Available at: https://opengameart.org/content/mountain-at-dusk-background (Accessed: 28 April 2026). Licence: CC-BY 3.0.
Wulax. (n.d.) Fumiko Complete Charset. OpenGameArt.org. Available at: https://opengameart.org/content/fumiko-complete-charset (Accessed: 28 April 2026). Licence: CC-BY-SA 3.0.
Lanea Zimmerman. (n.d.) [LPC] Food. OpenGameArt.org. Available at: https://opengameart.org/content/lpc-food (Accessed: 28 April 2026). Licence: CC-BY-SA 3.0.
MillionthVector (M484). (n.d.) Bullet Collection 1 (M484). OpenGameArt.org. Available at: https://opengameart.org/content/bullet-collection-1-m484 (Accessed: 28 April 2026). Licence: CC-BY 3.0.
bevouliin. (n.d.) Cute Duck Animated Set. OpenGameArt.org. Available at: https://opengameart.org/content/cute-duck-animated-set (Accessed: 28 April 2026). Licence: CC-BY 3.0.
Ansimuz. (n.d.) Space Merc Redux: Platform Shmup Tileset. OpenGameArt.org. Available at: https://opengameart.org/content/space-merc-redux-platform-shmup-tileset (Accessed: 28 April 2026). Licence: CC-BY 3.0.
YKZ_. (2019) This is Un…. Weibo. Available at: https://weibo.com/2689269783/4450087260813501 (Accessed: 28 April 2026).
Appendices
Visual Design Process
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=69cfe77e-9154-4cce-b131-b43a017db610Art
