Tag: synaesthesia

#oneaday Day 78: The Colour of Flavour

I think it’s kind of interesting how specific colours have very much come to be associated with specific flavours — and that those colour assignments are almost (albeit not entirely) universal, at least when it comes to packaging.

Take a green packet of crisps, for example; you know that depending on if it follows the Walkers or Golden Wonder model, it will be either salt and vinegar or cheese and onion flavour. Red packets will be salted. Crimson will be smoky bacon. Orange will be chicken. Brown will be beef.

But it’s not just crisps. You can generally identify tinned fish by its colour: sky blue for tuna, pink for salmon, sardines and mackerel can vary, but often red or dark blue.

And it’s not even food for humans that follows these conventions. The packets of cat food we have follow a similarly recognisable system, too: sky blue for tuna, pink for salmon, red for beef (outside of crisps, this is a common assignment), orange for chicken.

These often make a certain degree of sense. Onions are greenish, for example, so it makes sense for them to be assigned the colour green. Bacon is pink and goes a bit darker when you cook it — particularly if it’s smoked — so crimson makes sense. Blue makes sense for tuna because it’s from the sea and the sea is commonly represented as blue, and salmon is iconically pink, so its packaging is pink. Brown and red both make sense for beef based on its colour after and before cooking, and its status as the most common “red meat”.

I suspect we’re at a point where we can directly associate tastes with colours in an almost synaesthetic manner, even outside of the examples that have some logic behind them. If someone says a fizzy drink “tastes like red”, I bet you know what they mean, don’t you? And interestingly, a drink tasting like “red” does not mean it tastes like either salt or beef. This even progresses into areas that make no sense, like “blue raspberry”. Raspberries aren’t blue. And yet if I say “blue raspberry” to you, I bet you know what it tastes like. (Very little like raspberries, as it happens.)

I’ve mentioned in my writing and my videos before that I feel like I have a certain degree of synaesthesia. When I’m playing a video game, for example, sometimes on-screen actions will be satisfying in a way that I can only describe as them “tasting” nice or having good “mouthfeel”. I wonder how much of that is something that has happened independently of all this, and how much is a result of how much, today, we directly associate colours with flavours.

Apparently from a casual Google, I’m not the first person to feel like this. There’s a paper from 2015 published on Biomed Central that is “on the psychological impact of food colour”, for example. Their hypothesis was that “colour is the single most important product-intrinsic sensory cue when it comes to setting people’s expectations regarding the likely taste and flavour of food and drink.”

I’ve only skimmed the study so won’t go into detail, but one interesting thing that was picked out was how these colour-flavour assignments can have different cultural meanings. For example:

A diagram of cross-cultural colour-flavour associations, demonstrating a dark red drink and a sky blue drink. Beneath the images are Taiwanese and British flags indicating the perceived flavours of those colours in the different territories. In Taiwan, the red drink is assumed to be cranberry. In the UK, cherry or strawberry. In Taiwan, the blue drink is assumed to be mint; in the UK, raspberry.

The paper’s “conclusion” section seemed remarkably inconclusive, though it did admit that “colour cues influence our food and drink-related behaviour in a number of different ways” and “food colouring undoubtedly plays an important role in driving liking and the consumer acceptability of a variety of food and beverage products”.

It also noted that “identifying consistent colour-flavour mappings and training the consumer to internalise other new associations is one of the important challenges facing the food marketer interested in launching new products or brand extensions in a marketplace that is more colourful than ever.”

So basically, a lot of it comes down to marketing. I still think it’s interesting how obvious “standards” have developed, though — and it’s interesting to consider that those standards might not be universal from one country to another.

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One A Day, Day 43: Synaesthetic

Played a bit of Chime tonight. This is a game I picked up from XBLA a little while back but it got sort of lost in the midst of Mass Effect 2’s marvellousness. I took the time to go back and play through the other levels in it tonight and wouldn’t you know it? It’s great.

If you’re not familiar with Chime, it’s “that charity game”, where 60% of the game’s royalties go to the OneBigGame cause, who in turn pass it on to Save the Children and the Children’s Starlight Foundation. And it’s only 400 points, which is not bad at all, especially considering it’s actually a good game, too.

It’s a puzzle game that initially appears to be very much like Lumines. You have a grid with a beat bar moving across it, there’s various shapes of increasing awkwardness thrust into your hands along with a hypnotic, minimalist, reactive soundtrack. It’s there the similarities end, though, as in Chime you’re not dropping things in a Tetris style, rather you’re sticking them wherever you like on the grid in an attempt to produce “quads” – rectangles and squares of at least 3×3 in size. When you create a quad, it gradually fills with colour and while it’s doing this, you can stick further shapes to it to make it bigger. Once it’s full, it becomes locked in place and will only disappear once the beat bar passes over it. When it disappears, it leaves a mark on the grid, and it’s your eventual aim to cover as much of the grid as possible in this manner.

That’s it. As all good puzzle games should be, it’s simple but addictive. Where Chime really shines, though, is in how the gameplay shapes the music. Where you put the shapes on the grid, coupled with how large the quads you produce are, affects the music. As time progresses, the basic backing of the music goes through its structure, but various melodic passages, stings and samples are triggered by the things you have stuck to the grid. All of it is completely seamless, too, meaning that there’s none of the “forced” sound that Lumines sometimes has.

One of the nicest things about Chime is that you can just use it as a musical toy, too. The game’s “Free” mode allows you to simply place shapes and create quads without a time limit pressuring you to cover as much as possible, and the game’s six tracks are all very different from one another, ranging from the artsy end of things with a Philip Glass track, through Moby, one of the guys from Orbital and one of the guys from Lemon Jelly, among others. Six tracks may not sound like much, but the replay value offered by the different “mixes” that your gameplay will produce makes them more than enough. Plus, for 400 points you really can’t complain too much.

I’ve been fascinated by synaesthetic (if that’s even a word) games ever since I first played Rez on the Dreamcast, and Chime is a more than worthy addition to that canon.