Assuming that anyone is paying attention, consider this idea for a mobile audio game:

Imagine a college student in their dorm room studying, around 7 PM (near a pre-arranged game time window). They get a notification on their smartphone that reads: "Warning: Breakthrough imminent. Follow beacon to rendezvous."
They grab their AirPods and head out. Once outside, they hold their phone in front of them and turn slowly left and right to orient on the faint crackling rendezvous signal coming from somewhere nearby on campus. Their odd behavior draws a puzzled glance from other students, but the player can hear a strong friendly beacon appear as another nearby defender joins the team. They know that they won't be alone very long. Then they spot the player near the other end of the building, holding their detector at ear level and turning slowly while listening intently. They look up and, with a hand signal, motion toward the nearby open green space between the dorms. On the comm channel, their filtered voice can be heard, "Head toward building C!".
As they approach the the green, they hear the friendly beacons of two other defenders. Only four. Barely enough to zip the rip. We'd better not lose anyone.
They are all heading toward the same point in our reality where the attempted breakthrough was detected by C & C. As they arrives within the game radius, the rendezvous beacon goes mute. The beacon location turns out to be near the center of a lawn that is a favorite for picnickers and students who enjoy studying in the sun. One student, who's seen this crazy behavior before, sighs, closes her book and walks over to sit on a bench out of the way. The sun was going down anyway.
Suddenly, with no time to talk, breakthrough occurs and they hear the buzzing, chittering sounds of the outsiders as they tear through the veil between realities. There are multiple signatures and one is nearly on top of you! Fortunately, you can tell from the staticky noise that it's still disorganized from breakthrough and vulnerable. Over the comm channel you call out to your teammate that you've got one located already and need an assist to take it down. As she approaches, you call out: "It's a buzzer and alone! Flank it on the north side and we'll try a high-low squeeze! You take high!" A moment later, you hear the high pitch of her emitter just as you trigger the lower pitch of yours. The buzzer entity trapped between you screams and tries to escape. With alarm, you realize that while you were getting into position, the buzzer's low-frequency has firmed up and now you're at a disadvantage. This one sounds strong, maybe level 3 and armored low -- and it's getting closer. Frantically, you stab at your emitter to raise its pitch while backpedalling to stay out of its kill radius. You yell to your teammate: "Close the gap and pour it on - it sounds weak on top!"
The buzzer screams again as you find its vulnerable range and begins to crackle and break apart as you exorcize it.
On the other side of the green, the other two defenders of your small team are working together to isolate a screecher and break it up. There's another vague signature somewhere nearby but it's mostly white noise, probably a newbie level 1 and no threat to you at your level. You start quartering the green, searching for the rip. Any remaining attackers are drawing power through it and you intend to cut their supply line, ASAP.
You trigger a resonance scan using your favorite sample: a grand piano just playing scales. Hey, its not fancy and it's slow, but it works. As you near the South end of the green, you catch an echo on G and scrub back 3 seconds to catch it again and pin down the direction. Walking East and scrubbing more, you narrow down the tear's location. You're getting a strong resonance now on that G so you let the sample play. Somewhere behind you, you still hear the white noise and you see your teammates moving purposefully over that way. The rest of the sample gets no response, so you restart it to try to find the combination that the attacker's used to break-through. Only the original combination can zip the rip.
Suddenly, right at the start of the sample, there are three hits nearly in a row on C, E, and that G you found first. In disbelief, you scrub back and check again, then call out: "Guys, you're not going to believe this! It's C-major! That's like using 1-2-3 on your luggage! I think there's only three, and I'll bet they're engineers. Seriously? C-major?"
The girl that helped you squeeze the buzzer calls back "We've got the newbie trapped. It wouldn't be fair to snuff her. We'll herd her back toward you and push her through."
You watch as your team-members carefully push the weak white noise signature across the green, poking at her to keep her moving and getting tinny little screeches in response. Finally, she's trapped in the center of all four defenders at the tear, which ironically, is centered on a trashcan. Then you and two others set your emitters on pure middle-C, E, and G respectively and pan them up and down and left and right, covering the entire rip. Slowly, the white noise signature fades out as the rip closes on it, sealing it safely away from our reality.
"Well, that wasn't so hard, was it? I thought we were in trouble with only four and no heavy. It sounds like this was just a scouting incursion. But, they'll soon be back, and in greater numbers."
Far away, in another time zone, the two exorcized engineering students and the surviving freshman that they'd persuaded to download the game for a minimum team for breakthrough were comparing notes: Buzzer: "I heard a three and maybe a four. Two on one, I didn't have a chance, but we expected that." Screecher: "The others were only twos, but they'd bought some 4-note armor and I only had time to figure out 3 on one of them. Next time, I think we can get more players on a weekend. We can use the park." White Noise: "Do you guys do this often?"

Some notes:

• Team against Team play
• Team against AI play
• One on One duel
• One versus AI practice
• GPS and compass/gyro enabled, obviously
• Head tracking spatial audio AirPods are a serious advantage, else hold a stereo phone sideways close to your head.
• All opponents are invisible. Little sighted advantage.
• Advantage to good hearing and musical abilities for puzzles. Simple chords for fast-paced combat. Advanced puzzles in single play.
• Gameplay values strategy over speed. Walking is fine.
• Safe clear play area is defined with audible warning at edges
• A game for the blind that the sighted will want to play, with advantages to both.

-- Daniel Birket

This issue is only a test of the link from Emacs Magit Forge to the
GitHub API and the issue list of this project. It's OK to close and
delete this issue.

Hello, contributors to 'lucia',

• @kianoosh-shakeri - accessible programs, games, C++, python, NVDA
• @cartertemm - Missouri, USA - AGK Audio Game Kit, AGK3, python, NVDA
• @ultrasound1372 - Texas, USA - "blind programming hobbyist", python, NVDA
• @brightening-eyes - Tehran, Iran - 'soloud' audio engine for games, C, C++, python
• @pauliyobo - Italy - 'soundRTS' real-time audio game, NVDA, accessible, agk3
• @Amerikranian - python for visually impaired, audio game
• @Genroa - accessible, java, javascript
• @bhanuponguru - audio games, python, 'ag_py' audio game engine in python

I am Daniel Birket, an old sighted software engineer. I'm writing this issue with your usernames at-mentioned to introduce you to my friend @lawrenceper , a blind college student who aspires to learn programming and write accessible software, particularly for music. He is a composer and digital musician. (Listen to 'DJ Allegretto' on YouTube.) We met some years ago through the Be-My-Eyes app when he needed a human screenreader to help install a Linux distro. Since then, I've served as a remote sighted aide to his studies.

My hope is to connect Lawrence with a community of programmers here on GitHub that share his interests and that can serve as role-models and help him to follow his dreams, despite the difficulties presented by the frustratingly ignorant and apathetic sighted world. Please say hello.

Lawrence has recently been studying Python online. In the interest of applying what he is learning and introducing him to more rigorous programming techniques than text-book examples, I have proposed that we collaborate to create a moderately-simple text and audio game in the vein of the classic "Colossal Cave Adventure" text adventure. (Please see the requirements document in this repository's design folder for details.) I invite you to follow this repository and offer encouragement, advice and help.

I have noticed, among your collective repositories, that there are several audio games, engines and libraries in addition to 'lucia'. I plan to review them for possible inclusion or just to study for techniques. As yet, we are just starting on this project. I also have much to learn as most of my 40 years of software experience is in a unique field. I have only written a quick weekend video game in python just to get the feel of it. Your advice and feedback is welcomed.

@Amerikranian, thank you for writing https://amerikranian.github.io/Python-guide/ . It looks very helpful.

Daniel Birket

@lawrenceper , the SDL2 audio mixer library (which pygame also uses) is a multi-channel stereo player capable of many sound formats. It can play this formats:

• FLAC
• MOD
• MP3
• OGG
• MIDI
• OPUS
• WAV
• AIFF
• VOC

I read that MIDI synthesis is CPU intensive relative to a simpler format like WAV. Obviously MIDI is a lot smaller, but you would be at the mercy of the playback library for sound quality compare to what you could tweak with audio tools.
I don't know much about audio formats beyond WAV is simple but bulky and MP3 is compressed. Size doesn't seem to be a huge factor these days but I still like efficiency. Note that the library seems able to handle multiple formats at once.

It also has one long-playing 'stream' channel intended for long audio, like music, not short samples. It is also able to loop samples, so if you have 5 seconds of swamp frogs croaking, you can loop them as needed. There is also volume control, including fade-in-fade-out. I imagine sequences like:

• fade-up scene ambiance (forest sounds and stream), looping
• play scene description "You are standing at the end of a road before a small brick building. Around you is a forest. A small stream flows out of the building and down a gully."
• player types "go forest"
• play action audio (footsteps on leaves), limited loop
• fade-out forest with stream and halt and fade-in forest and light wind, looping
• play scene description "You are in open forest, with a deep valley to one side."

Scene descriptions might be synthesized from text.

Anyway, I'd like your thoughts on what format would be good to use store channels of audio for playback during the game, including:

• scene ambience
• character speech
• scene description/ action narration
• object and action foley sounds

Hi all,

This issue was created to address an issue with PySDL2 on Linux during my experimentation. The issue occures when a WAV file is trying to load. When pysdl.sdlmixer is loading an audio file without root privileges, it fails to load with a "segmentation fault" error. However, the issue does not occure when run with the propper permissions, E.G. sudo permissions. See /sandbox/SDL_AudioPlay/audio2.py.

I don't yet know if this issue occurs on other operating systems like Windows or Mac. Experimentation with /sandbox/SDL_AudioPlay/audio2.py on those operating systems would be greatly appreciated. I saw a post online that suggests to try installing PySDL2 without the "pip install" utility by putting the PySDL2 binaries in a custom folder (Nordeide, 2014). I may try that suggestion on a blank Raspbian installation in the future.

Does anyone have any other suggestions for a fix?

Thanks!

References

Nordeide, L.M., (2014, Feb 10). PySDL2: Playing a sound from a WAV file take two - using SDL2_mixer. Retrieved from https://larsnordeide.com/python/pysdl2-playing-a-sound-from-a-wav-file-with-sdlmixer.html