The last of us analysis
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The scene takes place outdoors between a young girl and a man. They check on a buck and their mood shifts from relief to curiosity to tension as dreadful music plays. A third character appears aiming a gun, creating a hostile atmosphere. The girl feels fear and runs away on a horse as the man lets her go, revealing he knows she previously killed members of his group. Sound effects like wind, footsteps and panting were likely field recorded or done by Foley artists, while music was made with MIDI instruments and dialogue was studio recorded then edited.
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Ig1 task 2 analysis work sheet
The document analyzes sound design elements in the first two scenes of the game DeadSpace 3. In the first scene, field recordings of winds and snow were likely used to establish an isolated, arctic setting. In the second scene, vehicle sounds imply an indoor location in a city. Music and dialogue were used to create moods of confusion, loneliness, tension, anger and frustration. The game genre is described as a sci-fi shooter with horror elements, driven by a narrative focused on finding something important to humanity's survival. Field recordings and studio recordings were used for sound effects and dialogue to advance the plot.
Brienna hick dead space 3 cutscene audio
The document provides an analysis of sounds from the video game DeadSpace 3 between timestamps 3:45 and 9:22. It summarizes that:
The initial sounds establish a cold, windy, snowy outdoor setting. Foley artistry was likely used for footsteps and crunching snow, while weather effects used field recordings.
The mood is built to be serious and threatening through slow, building violin music and actors' urgent, angry voices in dialog, illustrated further by gunshots and thrown objects. Musical instruments were likely recorded by an orchestra, while dialog and gun sounds used Foley artistry and voice actors.
The sound clips convey the genre as a survival/horror or sci-fi game,
Meet the Pyro
1) The opening sounds establish a battlefield setting with burning sounds, breaking glass, and spent rounds clattering, alluding to a fire/flame-based character. Wooden doors being broken creates the image of a small wooden village or town.
2) The mood music has a slow beat and low pitch, creating anxiety and fear, while hissing sounds add to the sense of fear of the unknown. After the characters speak, the surreal baby-esque sounds and music contradict their descriptions, changing the mood.
3) The narrative from the characters shows they fear and refuse to acknowledge the Pyro, seeing it as inhuman and imagining dreams of chronic cruelty, showing their discomfort around it.
Dead space 3 sound design in computer games analysis work sheet
The document analyzes and summarizes sound elements from two scenes in the video game DeadSpace 3. Field recordings were likely used for environmental sounds like snow, ice, and wind in the first arctic setting. Musical instruments like violins were used to set tense and ominous moods. Gunshot sounds could have been either field recordings or studio recordings for clarity. The narrative in the first scene involves a character searching for an unknown object, while the second urban scene provides context about the player character's backstory and introduces enemy factions through dialogue recordings.
Halo 2 analysis
This document analyzes the sounds used in the opening cutscene of the video game Halo 2. It describes the sounds that establish the setting as possibly a factory or building due to an alarm sound and later explosions and gunfire, suggesting a war zone. It identifies lifts and aircraft sounds that indicate the character is in a building set in the future. The document states the mood is serious due to violent sounds of gunshots and explosions, and an emotional musical score. It suggests the game genre is a sci-fi first or third person shooter due to futuristic laser and gunshot sounds. The narrative involves humans fighting another clan on earth, as indicated by references to attacking and defending the planet.
Ig1 task 2 god of war
The document summarizes the sounds used in different parts of the God of War 3 video game. It describes the crumbling rocks, rushing wind, and metallic clashing sounds were likely recorded outdoors, while the electrical sounds were computer generated or edited. It also states the shouting was recorded outside, the music was recorded in a studio, and the narrative was recorded outside or in a studio and edited.
Sound design in computer games dead space
1) The ambient sounds in the video establish a setting that is either a very snowy place or near an ocean, as footsteps can be heard crunching in snow or on waves hitting rocks, along with a loud, strong wind and the sound of cracking ice.
2) The mood created by the intense music building in volume creates suspense, added to by the sound of gunshots.
3) Based on the sounds and suspense, the game genre is likely a horror/survival game or an action game.
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The document analyzes sound design elements in the first two scenes of the game DeadSpace 3. In the first scene, field recordings of winds and snow were likely used to establish an isolated, arctic setting. In the second scene, vehicle sounds imply an indoor location in a city. Music and dialogue were used to create moods of confusion, loneliness, tension, anger and frustration. The game genre is described as a sci-fi shooter with horror elements, driven by a narrative focused on finding something important to humanity's survival. Field recordings and studio recordings were used for sound effects and dialogue to advance the plot.
Brienna hick dead space 3 cutscene audio
The document provides an analysis of sounds from the video game DeadSpace 3 between timestamps 3:45 and 9:22. It summarizes that:
The initial sounds establish a cold, windy, snowy outdoor setting. Foley artistry was likely used for footsteps and crunching snow, while weather effects used field recordings.
The mood is built to be serious and threatening through slow, building violin music and actors' urgent, angry voices in dialog, illustrated further by gunshots and thrown objects. Musical instruments were likely recorded by an orchestra, while dialog and gun sounds used Foley artistry and voice actors.
The sound clips convey the genre as a survival/horror or sci-fi game,
Meet the Pyro
1) The opening sounds establish a battlefield setting with burning sounds, breaking glass, and spent rounds clattering, alluding to a fire/flame-based character. Wooden doors being broken creates the image of a small wooden village or town.
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3) The narrative from the characters shows they fear and refuse to acknowledge the Pyro, seeing it as inhuman and imagining dreams of chronic cruelty, showing their discomfort around it.
Dead space 3 sound design in computer games analysis work sheet
The document analyzes and summarizes sound elements from two scenes in the video game DeadSpace 3. Field recordings were likely used for environmental sounds like snow, ice, and wind in the first arctic setting. Musical instruments like violins were used to set tense and ominous moods. Gunshot sounds could have been either field recordings or studio recordings for clarity. The narrative in the first scene involves a character searching for an unknown object, while the second urban scene provides context about the player character's backstory and introduces enemy factions through dialogue recordings.
Halo 2 analysis
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Ig1 task 2 god of war
The document summarizes the sounds used in different parts of the God of War 3 video game. It describes the crumbling rocks, rushing wind, and metallic clashing sounds were likely recorded outdoors, while the electrical sounds were computer generated or edited. It also states the shouting was recorded outside, the music was recorded in a studio, and the narrative was recorded outside or in a studio and edited.
Sound design in computer games dead space
1) The ambient sounds in the video establish a setting that is either a very snowy place or near an ocean, as footsteps can be heard crunching in snow or on waves hitting rocks, along with a loud, strong wind and the sound of cracking ice.
2) The mood created by the intense music building in volume creates suspense, added to by the sound of gunshots.
3) Based on the sounds and suspense, the game genre is likely a horror/survival game or an action game.
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The document provides an analysis of sound elements in a video game cutscene from DeadSpace 3. It summarizes the use of strong wind sounds and crunching footsteps in snow to set the scene in a cliffside location. It describes the confusing mood set by the winds with the addition of machinery sounds, breathing, shouting and character voices. The horror genre of the game is reflected in the loud, unsettling guitar-based music. Character voices sound as if they have done something terribly wrong and discuss saving a character from space, with voices changing as the situation progresses.
Brienna hick hyrule warriors cutscene audio
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Ig1 task 2 far cry 3
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Ig1 task 2 analysis work sheet spiderman
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Task 2 analysis work sheet
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The document provides analysis of sounds from the video game DeadSpace 3. It summarizes:
1) The setting changes from outside in the wind and snow to inside near vehicles, suggesting the character moves from a mountain to a city.
2) The sounds were likely field recordings edited in the studio or created by Foley artists and sound designers, such as the gunshots and impacts.
3) The mood shifts from confusion to tension to anger, created by dialogue, heartbeats, and gunshots, with an orchestral score adding to the drama.
IG1 Analysis Work Sheet 3
The document provides an analysis of the sound design and narrative elements in the StarCraft II cinematic "Arcturus Betrayal". It summarizes that the setting is a sci-fi war between the Protoss, Zerg, and human factions on the planet Tarsonis and in orbit. Various ambient sounds and dialogue establish this setting and introduce characters like Kerrigan. The mood shifts between tense battlefield scenes and calmer orbital scenes through dramatic music cues. The genre is likely a sci-fi shooter or real-time strategy due to the military aspects and strategic commands. The narrative focuses on an important betrayal between the main characters Kerrigan, Arcturus, and Jim that advances the overarching plot.
Ig1 task 2 analysis work sheet devil may cry 3
The document analyzes the sound design of the game Devil May Cry 3. It describes the setting as a cavern or cave, with sounds of ice and echo to set a cold atmosphere. The mood starts as a horror atmosphere with wind and footsteps, then adds chains and builds to the boss music. The game genre is described as action-adventure hack and slash, with gun sounds representing the action elements. Production techniques like recorded instruments, software effects, and voice acting in a studio are identified as ways specific soundtrack elements were likely created.
Dead space 3 sound design in computer games analysis work sheet
The document analyzes and describes the sound design of two settings from the game DeadSpace 3. Field recordings were likely used for environmental sounds like snow, ice, and wind in the first arctic setting. Music using real instruments like violins was used to set the tense and ominous mood. Gunshot sounds were probably field recordings or studio recordings. The narrative in the first setting involves a character searching for an unknown object. In the second urban setting, dialogue reveals relationship and military details, with "Unitologists" identified as enemies. All dialogue was likely recorded in a studio.
F3 ar
The document provides an analysis of sound elements in a video game cut scene from the game F.3.A.R. It summarizes that the cut scene starts with distant rocket sounds, implying the characters are watching from afar. Sounds are also described as coming through a walkie-talkie, suggesting the characters are near electronics. Plane crash sounds set the scene of the characters possibly being in a plane. The mood is described as sinister with muffled, distant sounds and slow, mystical music creating a lonely feel. Based on the distant sounds, the game genre is identified as a mystery game where the characters may be investigating a crime scene. The narrative is then briefly summarized as the main character taking a pod with his dead
Dead space 3 Auditoral Analysis
The document analyzes sounds used in the game DeadSpace 3 to establish setting, mood, and advance the narrative. Field recordings were likely used to create the wind and radio static sounds to set an isolated, empty setting. Musical instruments created the calming background music, while the wind sound effect increased tension. Gunshots and heartbeats could have been digitally rendered or recorded to advance the horror shooter genre and story. Spoken dialogue was probably studio recorded for efficiency. Overall, sound design in the game effectively manipulates the story through environmental and narrative cues.
Ig1 task 2 analysis work sheet
This document provides an analysis of sounds used in the cut scene for the video game DeadSpace 3. It describes the sounds used to establish the snowy setting, including wind sounds and footsteps crunching in the snow. It notes that field recordings were likely used to create the ambient snow and wind sounds. The mood is described as anxious, scared, and confused at first, and then scared with a serious dramatic musical score. The genre is identified as sci-fi and action/adventure based on sounds of aircraft and spaceship doors. Software like MIDI is suggested to have been used to create the sci-fi sound effects. The narrative involves two people talking over a satellite phone with no signal in the snow before meeting another person and
IG1 Analysis Work Sheet 6
The document analyzes the cinematic trailer for the World of Warcraft expansion Cataclysm. It summarizes that the setting is presented as dark, with sounds of hammers and an evil voice, and the creature Deathwing flying. The mood created is one of helplessness and despair through the music and dialogue. The game genre is fantasy/medieval based on the presence of a massive dragon named Deathwing in the world of Azeroth. The simple narrative is advanced through Deathwing's dialogue describing events of apocalypse. Basic sounds were likely recorded assets while other sounds and music mixing required professional teams.
Task 2 analysis gears of war 3
This cutscene establishes an intense warzone setting through gunfire and explosions. The dialogue between characters indicates they are surrounded and in danger. Various production techniques were likely used to create the soundtrack elements, including field recordings, Foley artistry, MIDI, and voice acting. The intense sounds, aggressive dialogue, and sad music aim to build tension and show the serious, deadly atmosphere and sacrifice of the characters in this shooter game narrative.
Gears of war analysis
This document analyzes sound elements in the Gearsof War 3 game trailer to determine the production techniques used. Gunfire, explosions and shouting establish an intense war setting. Foley artistry was likely used to create the collapsing wood sound for emphasis during the cutscene. Voice acting with editing was used for character dialogue between multiple speakers. Trumpet music and vocals add tension while fire and explosions convey a serious atmosphere of struggle. The narrative dialogue and variety of human and non-human shouts required extensive editing of different voice actors. Overall it analyzes how field recordings, Foley artistry, MIDI software and voice acting were used to construct the audio elements establishing the shooter game genre and mood.
Task 2 analysis gears of war 3
This document analyzes sound elements in the Gearsof War 3 game trailer to determine the production techniques used. Gunfire, explosions and shouting establish an intense war setting. Foley artistry was likely used to create the falling wood sound for emphasis during the cutscene. Voice acting with editing was used for character dialogue between multiple speakers. Trumpet music and vocals add tension while fire and explosions convey a serious atmosphere. The narrative involves characters being surrounded and in danger, showing it is an action shooter game genre through the dialogue and intense sound effects.
Ig1 task 2 analysis work sheet mass effect
The document provides descriptions of sounds from the game Mass Effect 3 to analyze production techniques. It summarizes that:
1) The opening sounds of a spaceship in slipspace travel and mention of approaching the Sol Relay indicate the scene takes place in the solar system.
2) Most sounds were likely created digitally using software and foley artistry.
3) The hopeful, victorious music creates a mood that a big fight is about to happen. Orchestral instruments like violins were probably used.
4) Sounds of lasers, spaceships, and mentions of fleets suggest the sci-fi genre. Software was used to record and edit laser sounds.
5) The
Ig1 task 2 analysis work sheet 10
The document analyzes sound elements from the game Farcry 3 and identifies the production techniques used to create them. It describes the sound of the ocean smashing against rocks, the man being pushed off a cliff and landing in the water, gunshots in the background, birds noises, and a deranged killer's voice. The production techniques identified are field recording, computer generation, live recording then added to the game, and live recording then edited with software.
IG1 Analysis Work Sheet 2
The document analyzes the sounds used in the PlanetSide 2 cinematic trailer to establish the setting, mood, genre, and narrative. The setting is a futuristic war with radio communications, gunshots, screams, and explosions occurring. The mood is one of a brutal and merciless war conveyed through dramatic music and disturbing sound effects. Clues from the sounds suggest the game genre involves warfare and could be a first-person shooter or strategy game set in space. The narrative is brief and focuses on the horrors of war without providing details of the specific conflict, instead using sound to add complexity and depth.
Table ocarina of time
This document analyzes the soundtrack of the video game The Legend of Zelda: Ocarina of Time. It describes how the dark, orchestrated music with violins and piano creates a creepy and dramatic atmosphere that matches the rainy setting. The sounds suggest the game genre is fantasy/adventure due to the dark tone and medieval implications. The dark music and sound of rain imply an important cutscene that is setting up the characters for their next quest.
Cut Sequence 3
The document discusses the sound design of the video game The Last of Us. It analyzes how the soundtrack and sounds create different atmospheres like a post-apocalyptic setting, varying moods from calm to sinister, and support the zombie horror genre. Specific production techniques are mentioned, like using piano music to establish calm moods and sounds of birds tweeting, wind blowing, and flickering lights to set different settings and tell the narrative of a post-apocalyptic world overtaken by nature.
IG1 Analysis Work Sheet 1
This document summarizes the sound design elements of the soundtrack for the World of Warcraft expansion Wrath of the Lich King. It describes the setting as a frozen wasteland, which helps set a dark and dramatic mood. Medieval fantasy elements like swords and dragon screams indicate the game genre is fantasy. The narrative provides background on the character Arthas and his family lineage as rulers, with his father speaking from beyond about Arthas's challenges ahead in stirring the hearts of his people.
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Sound design in computer games analysis work sheet dark space 3
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Dead island analysis
The soundtrack uses various production techniques to help establish the setting, mood, and narrative of the game. Field recordings of insects were used to indicate the character was initially outside, while studio recordings of dialogue and sound effects show the character moving between different aggressive locations like a club and bathroom. Foley artistry and additional studio recordings were likely used to create impact sounds like thuds. The music and a human growl/groan provide clues about the zombie/cannibalism genre. All dialogue was probably studio recorded and later edited to introduce the main characters.
Task 4
Jake Hyatt provides a list of 5 items for Task 4, including portable field recorder bundle, condenser microphone with shockmount and pop filter, USB mixing studio mixer, MIDI keyboard controller, and MIDI interface manufacturer's website. Links to product images and specifications are provided for each item.
Role of the sound designer
The sound designer plays a key role in video game development by creating sounds that set moods, portray emotions and make games feel realistic. To be an effective sound designer requires many skills, including recording sounds with high quality equipment, modifying existing sounds, understanding pre-production to prepare needed sounds in advance, managing people on sound teams, creating simulated sounds that can't be recorded, conducting quality control checks, using industry standard software, communicating with other departments, editing sounds, recording instruments, and capturing field recordings.
Task 7 4 plugins
Jake Hyatt experimented with manipulating different sounds using VST plugins in his digital audio workstation. He began with a dog bark that remained recognizable but gained static and grittiness after applying the "battery acid" plugin. A man's laugh treated with the "losttechnology" plugin remained a laugh but took on an alien-like quality. Applying the "wow& flutter" plugin to a machine gun sound transformed it into something with a space-like feel. Finally, a cow moo processed with the "reflex free" plugin gained a large echo effect.
Presentation script
The document outlines plans for an audio production of a fantasy story involving a witch named Mixxy, an evil unicorn named Camellias, and a potoo bird narrator. Mixxy is given the task of planting magical seeds but loses them, allowing corruption to spread and turn the unicorns evil. In an opening scene, Camellias confronts Mixxy and leaves her with the responsibility of saving the land. The audio production will involve recording dialogue for the three characters and one word for the potoo bird. Music and sound effects will also be included to set the scene and represent the action. Studio recording and Foley artistry techniques will be used for most of the recording, with some field recording integrated for certain sounds.
Task 7 pitch & rate
Jake Hyatt was asked to modify the pitch and rate of audio clips to create new sounds from the original. For the first clip, no modifications were made. For the second clip, the rate was changed to 4 and the pitch to 10, dramatically increasing the speed and breaking the audio into sections of individual sounds. Changing the pitch of the third clip to -7 and rate to 0.0001 stretched it out significantly, making it incredibly slow with more bass than usual. For the final clip, changing the pitch to -40 and rate to 10 split the audio into different sections, allowing individual sounds to be heard that normally would not be, creating an almost beat-like effect.
Que Cards
The document outlines an audio recording titled "Unicorn Slayer" that serves as an introduction for a fantasy adventure game. It describes the main characters, including the teenage witch Mixxy who becomes the heroine, and her unusual bird companion Potoo. The recording introduces the inciting incident where Mixxy's carelessness causes magical seeds to be destroyed, angering the evil unicorn leader Camellias. The audio production will feature dialogue between characters, narration, and sound effects to tell the story and create atmosphere through the changing music. Studio recording and Foley techniques will be used to capture the necessary audio pieces.
Final presentation
The document outlines key details about a fantasy/adventure game including genres, influential games, characters, storyline, audio production, and recording techniques. The protagonist is the enthusiastic witch Mixxy who must defeat evil unicorns to save the land after failing a spring festival task. The game draws influence from Minecraft, Terraria, and features characters with unique voices including Mixxy, a narrator, Potoo the bird, and the posh Camellias. Audio production involves dialogue recording, music composition, and sound effects creation.
Task 7 2 envelopes
Jake Hyatt describes using track envelopes in audio editing software to adjust volume and panning over time. He used volume envelopes to make two audio clips start quietly and get louder, then quieter, to add dynamics. For the third clip he used a pan envelope to create a sense of movement by panning the audio from left to right. Adjusting envelope points allowed him to control where the volume and pan levels changed over the duration of each audio track.
Task 7 - overlaying sound
Jake Hyatt describes how to overlay audio in Reaper. He opened the Media Explorer to easily listen to sound effects without having to use a separate program. He dragged sounds from the library onto different tracks to create a dialogue. Some clips were too long, so he shortened them by adjusting the edges until the clips were the right length. Finally, he added a fade to the second track by adjusting the corners to gradually increase and decrease the volume of the audio over time.
Personal statement
Jake Hyatt wants to work in the game industry as a 3D modeler or storyline writer. He believes these are his strongest skills. To break into the industry, he needs to focus intensely on developing one skill to stand out. He is willing to dedicate free time to practicing and improving one ability. Jake feels he has a creative imagination and wide knowledge that could provide original ideas. While he lacks work experience in gaming, he is looking for a part-time job to learn about the workplace firsthand. His personal skills of being hardworking, dedicated, and punctual will also help him succeed in this competitive field.
Legal and ethical document
Jake Hyatt, a student at Salford City College Eccles Sixth Form Centre, completed a legal and ethical checklist for a BTec Level 3 Extended Diploma unit on drawing concept art for computer games. The checklist declares that Jake's work called "Daydream" was checked for decency, appropriate representation of race, gender, religion and sexuality, and was found to meet standards. Jake signed and dated the declaration on February 27, 2015.
First draft
Three detectives - Winchester, Hughes, and Hanlock - are investigating a serial killer murder case where the victims' hearts have been removed. They realize their prime suspect is impossible to have committed the latest murder since they had already shot and killed him. After extensive research, they determine the killer is actually a werewolf. They track the werewolf, revealed to be a man named Billy-Joe, to an abandoned warehouse. When confronted, Billy-Joe transforms into a werewolf before their eyes. The detectives and werewolf now stare each other down, prepared for a final confrontation.
Unit 73 assignment brief
This document provides an assignment brief for a qualification in creative media production. The assignment involves producing audio assets for computer game cut sequences, including recording dialogue and sound effects, and editing them together. It consists of 11 tasks, such as researching sound design terms, analyzing existing game audio, scriptwriting, recording dialogue in a studio, editing sounds using software, and programming the finished audio into a game. The tasks assess learning outcomes related to understanding sound design, pre-production documentation, communication skills, and applying audio production skills to industry standards. The deadline for completion is June 5th, 2015.
Sound recording glossary
This document provides definitions for audio and sound design terms as part of a glossary assignment. It includes:
- Definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations like mono and stereo audio, audio recording systems, MIDI, software sequencers, plug-ins, and audio sampling concepts.
- For each term, it also provides details on how the definition relates to the student's own production practice, such as how file formats allow easy transfer of audio or how limitations could impact a project.
- The definitions are from online research and each includes a URL source. This glossary is intended to help the student better understand key concepts
Jake Hyatt 2D Game Workflow
The document summarizes the process of creating a simple 2D sprite-based game. It describes designing a circle player character, adding movement controls and collision detection. It also covers creating enemy UFO sprites with animations, a laser weapon, and a scrolling space background. The goal was to build the foundation of a basic shooter game with potential to expand on mechanics and content.
Jake hyatt Y1 gd engine_terminology
This document contains a glossary of terms related to video game design produced by a student named Jake Hyatt. It includes definitions of common terms like alpha, beta, demo, debug, and gold as they relate to the game development process. For each term, Jake provides an internet definition as well as a description of how the term applies to his own work developing a game. The glossary covers topics such as game engines, testing, physics, lighting, and more.
Y1 unit 70 assesment brief
The document outlines the tasks and requirements for a unit on game engines. The student must submit a report explaining the purposes and components of game engines using industry terminology. They must also create a playable 2D game level using Game Maker and a 3D game level using Unity, both following industry practices and standards. The tasks are graded based on criteria around explaining game engines concepts, creating game levels, and demonstrating skills to a professional level.
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The last of us analysis
- 1. Salford City College Eccles Sixth Form Centre BTEC Extended Diploma in GAMES DESIGN Unit 73: Sound For Computer Games Game Title The Last Of Us (Start2:26:13 - Stop2:29:04) Provide detailed descriptions from chosen examples that establish… Clearly state what production technique(s) you think have been used to create specific soundtrack elements Setting We can presume thatat firstthe scene isset outside as we can hear gustsof wind and creakingmetal inthe backgroundfroma buildingnear-by.We knowthatthe scene movestoa differentlocationasrightafterthiswe hear multiplefootstepson a woodenfloorbutstill hearingafaintwindinthe back.Nextthe destination changesas the winddiesdownandyoucan hearthe cracklingof firewoodbeing burnt,from thisI can assume thatit isaround wintertime ornightas the temperature seemstobe low.Finallythe scene movesbackoutside asthe wind picksback up andwe hearsomeone runningonsnowandalsoa horse that then gallopsonthe snowaway fromthe camera as it getsquieterandquitter. To create the soundof the windand the creaking metal theycouldhave eitherbeenfieldrecorded or createdby a Foleyartist.The same two techniquescouldhave beenusedtocreate the cracking soundof the firewood. Finallythe sound of someone runningonsnowcouldhave been created/fieldrecorded. Mood At the beginningthe general moodisrelief as we hearthe pitchrise in the girl’s voice as she says“no infected”andwe can alsotell thisfromthe man’squiet chuckle shortlyafter.The nextemotioniscuriosity;we knowthisfromthe dialogue whenthe man says“let’sgocheck on thatbuck of ours”.From thiswe can alsotell that he is worriedincase the buck hasbeenstolenorhas beeninfected.Asthe destinationchangessodoesthe moodaswe hearpanting/lossof breathe fromboth characters suggestingthattheyare tiredfromwhateveractivitytheywere previouslydoing.Afterwardthe attitudechangestobecome tense asthe dreadful musicbeginsinthe backgroundandthe manuseshisdialogue andalmostbegins interrogatingthe younggirl.Subsequentlythe younggirl beginstofeelfearandshe quicklystandsupand we hearthe soundof a gun beingimmediatelybeingpicked up.Shortlyafterthe atmosphere becomeshostileasa thirdcharacter isintroduced and seemstobe aiminga gun andwhenhe firsttalkshe soundsaggressive andthe girl alsobecomeshostile asshownbyherdialogue whenshe tellsthe third character to move.The final feelingshowninthisscene fearfromthe younggirl,I knowthisbecause we hearfootstepsrunninginthe snowandquick,heavypanting. The pantingsoundcouldhave beenfieldrecorded or to wouldhave beenrecordedinastudioso that atmosphere was perfectlyquietsothatthe soundcouldclearlybe heard. The dreadful music was mostlikelymade bythe se of a MIDI instrumentandthe correctsoftware. The sound of the gunbeingpickedupwouldhave been createdby a Foleyartist.Howeveritcouldhave beenfieldrecordedbutIfeel thatthiswouldhave beentoodifficult. Game genre From thisscene we can assume thatthe genre of the game has somethingtodo withsurvival asfoodisscarce and people have toresorttohuntingwildlife.We can The onlythingthat can suggestthe genre of the game is the dialogue whichwouldhave been
- 2. Salford City College Eccles Sixth Form Centre BTEC Extended Diploma in GAMES DESIGN Unit 73: Sound For Computer Games alsotell thatsomethinghashappenedtothe people of the world(like anoutbreak) as theyreference themonlyas“the infected”whichmayhave drove people away fromthe cityand intothe forests,nature reservesandcountryside.Fromthese we can tell thatthe game isa post-apocalyptic/survival game. studiorecorded. Narrative The narrative of the storyis that thisyounggirl and a man crosspaths but thenhave to deal withthe situationof “the infected”.Afterfightingthemoff they gobackto warm upat the fire.Finallythe manrevealsinformationthathe alreadyknowsthe girl because she andthe other maincharacter previouslykilledmembersof his group.Learningthisthe younggirl standsup and isletgo by the man and his companionthatshowsup as he thinksthatshe won’tsurvive onherown.She runs to herhorse and thenthe horse gallopsawayintothe distance. All of the dialogue inthisscene wouldhave been recordedina professional studio andthen manipulatedorchangedpostproductionif itwas necessarytodo so.