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  • What you can imagine is really scarier

  • than what you actually see.

  • When I'm on my own, in an unfamiliar place

  • I'm listening to see what there is around me.

  • It's an instinctive thing that we all have,

  • Your first-line of defense when it comes to fight or fright, is sound.

  • [THE SOUNDS OF DEAD SPACE 3]

  • [WTH KILLSCREEN]

  • What is the sound of fear?

  • Is it a monster directly in front of you? Or is it your imagination gone wild?

  • Survival Horror makers of Viceral games have mastered the art of turning

  • terror into audio with their hit franchise Dead Space. We traveled here

  • to Redwood City California to talk to the audio team about manufacturing fright

  • for their forthcoming Dead Space 3.

  • Dead Space follows an engineer named Isaac Clark as he battles human corpses infected

  • by a parasite known as necromorse.

  • The classic vibe of Dead Space, is you're walking through these corridors with not much

  • going on, you know room to room.

  • And you know some studies, say something, someone

  • is going to jump out.

  • The sound of fear to me is all about building the tension before that moment happens.

  • I believe that the Folle sounds, if they're right you know, just the mundane sounds the characters

  • make when they're moving around the it connects them with the world and helps you

  • to empathize with the world completely

  • It all goes back to creating a reality

  • for the horror to exist in.

  • Take anything that you have a media whether it's video game or movie or

  • television turn off the sound all the emotional content is removed from that scene.

  • The audio is the component that will add to the immersion that really

  • allows players believe that they're in a place.

  • It allows them to get lost in what they're doing.

  • Our sound designers for our games have to be aware that the player

  • could be looking anywhere at any given time.

  • That challenge means, that if I'm going to put a bunch of stuff in the room,

  • you know what, all this stuff better work and it all better have

  • sounds because that's really going to add to the experience.

  • So our audio team has done a bunch of different things over the years

  • to kind of capture and create the sounds that we use in Dead Space.

  • As long as it comes out and it sounds believable and it sounds unique

  • then I don't really care where it comes from.

  • A melon is a nice thing, because it's got a kind of boney other shell

  • and a very squishy, watery inner.

  • So if you hit it hard enough, you get the kind of crack of the shell

  • and then you get the splurge of the liquid inside.

  • And that probably has more of the sense of smashing a skull

  • and mushing the brains inside than actually doing it for real.

  • We do a lot of that.

  • Snapping sticks and celery to get bone breaking sound

  • We wouldn't normally choose this kind of thing outside.

  • The studio that we would normally record this is unavailable.

  • It's been booked out by the SIMs.

  • On this game, for the necromorse stuff in particular

  • we've done a lot of voice recording

  • I started with a pretty heavily manipulated sampling of

  • one of my coworkers screaming down in our recording room.

  • Bit by bit I will start adding in plug-ins and audi processes

  • and other samples.

  • Animal noises.

  • Little growls. It's the little stuff right.

  • And then you get the entire composite terror sound of

  • a necro screaming.

  • There's been a few things I've heard out in the world

  • unintentionally have made it into the game

  • One of them was in my little niece she had this scream

  • that was completely singular

  • and I had to have it. And it's in one of the creatures.

  • Pretty other worldly.

  • Fear is kind of tough in an interactive environment. One of the advantages that a

  • horror movie has is you're controlling the time line.

  • whereas we have Isaac

  • running around completely under the player's control.

  • Obviously a lot of our game is scripted. We know exactly what we are gonna do,

  • but parts of the game which are interactive we have the fear system.

  • The fear systems important because it tells audio what to do to

  • make the player afraid.

  • It controls the kind of physiological responses of Isaac,

  • particularly aware of his breathing and heartbeat.

  • Up there at the top we can see the Isaacs fear value.

  • He has only .1 fear of a possible one.

  • That means Isaac's pretty relaxed.

  • No we've got some fear.

  • The music is louder.

  • The breathing is louder. Heartbeats at full rate.

  • I'd like to think that that fear system adds to the intensity of the combat.

  • You know, with the staccato background,

  • The necropmorphs kind of with their vocalizations chiming

  • You're starting to create this symphony of destruction.

  • And that fear music is degrading and getting quieter,

  • and there's this exhalation, you're like phew, I did it.

  • And it just feels like you survived something that was significant.

  • The past audio wasn't at the same fidelity level and wasn't

  • as complex and wash't as capable.

  • I think now people are starting to think of it as a real important component.

  • Uh, I don't care if players don't notice what I'm doing.

  • Uh to be honest, I mean, you know

  • it sounds like a cliche, but if players don't notice

  • but notice that you're doing your job right

What you can imagine is really scarier

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B1 中級

死亡空間3と効果音職人--《死亡空間3》的恐怖音效設計。 (Dead Space 3と効果音職人 - Dead Space 3's Terrifying Sound Design)

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    阿多賓 發佈於 2021 年 01 月 14 日
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