In the world of co-op zombie-killing games, Left 4 dead Many set the standard in 2008 and don’t look back. To this day, it is still considered by many to be the pinnacle of the genre, which is why a ton of people at Turtle Rock Studios are excited about the group and return to the genre for the first time in a dozen years. 4 blood in the back.
If you somehow miss thousands of ads and ads across many platforms, 4 blood in the back This is an intense, action-packed first-person shooter where you and three teammates face off against a seemingly endless guy from “Ryden” যাwhat commonly known as zombies and other uncharted monsters. It is a post-apocalyptic hemorrhage that requires teamwork, steel nerves and lots of bullets.
To provide the right kind of atmosphere for this type of violence, Turtle Rock has come up with a variety of DIY instruments and obsolete methods for scores. It is certainly different from action / horror games that rely on more traditional themed orchestral soundtracks, presenting a unique listening experience to the world.
Spin Talked to 4 blood in the backLead audio designer Silvano Mathews, audio programmer Alex Pappas, composer and game audio expert Martin Stig Andersen, and composer Nathan Whitehead to learn exactly what happened to create the new game score.
Spin: What do you think 4 blood in the back Is the soundtrack unique?
Martin Stig Anderson: To me, it is the opposite of creativity and darkness with hope and determination – a combination of raw energy and emotional depth. While supporting the mood and intensity of the game, the music also provides plenty of audio signals that can help the player survive. The high level of interactivity in a co-op experience is doubtful 4 blood in the back Unique score.
Silvano Mathews: We wanted the whole thing to sound very DIY. As if all the material was just temporary equipment, you could be lying around the street 4 blood in the back. Really trying to meet those limitations for a very honest golden palette that we were able to draw. It really gave the soundtrack this unique, raw attitude that we think the game wanted.
Nathan Whitehead: In one of our initial meetings, Silvano brought a shovel guitar – which sounds – a real shovel fitted with a string of guitars and a pickup. I immediately bought one of these, and as a result many guitar sounds have been tested. The Belch guitar makes a raw, metallic sound and it’s something you can imagine someone building in the world of Back 4 Blood. It inspired me to use alternative tunes and techniques with all my guitars. I tuned a resonator guitar to the lower C and played it with a bow. I’ll just stay and record and capture all this long time sounds and little riffs. You can hear this kind of barking / screaming sound at the top of the main theme – it’s from humble resonators and this sound has become a key element throughout the whole score. I think there was a nice color for the resonator 4 blood in the back Because it can sound very organic as an acoustic instrument, but it can also produce gorgeous, aggressive, metallic sounds when you really dig. I went through a lot of bows to do it.
Considering that people probably already think they know what to expect when they play Left 4 dead, How loud 4 blood in the back Musically went to create a new environment and atmosphere?
Andersen: The overall environment 4 blood in the back Very wide and submerged in comparison Left 4 dead And the call for a more environmental vibe – almost as if music is somehow coming out of the world of play. The studio’s DIY concept for scores has helped keep us away Left 4 dead.
Matthews: 4 blood in the back It has its own world, and we certainly wanted to reflect music. There were some functional ingredients that we took Left 4 dead To help meet the needs of gameplay like scene music and boss music – but the soundscape itself stands entirely on its own. One thing we really had to consider was that all the bosses could be active at once. We chose to go with this “band” concept where Hag was the singer, Breaker was the bass and Ogre was the drums. It gives them their own frequency space when they are present at a certain time. There are cases of different designs with which we have had to take a new approach. I think the theme actually contains what sound 4 blood in the back What and how is this raw dance of heroism and darkness.
Since you mentioned DIY instruments like shovel guitars before, are there any of them that stand out to you?
Andersen: With the advice of exploring Silvano Hilbili instruments, I bought a huge zinc washtub. Before looking for other instruments, I disappeared into a rabbit hole with a tub. In addition to using it as a washtub lightning, it was also used for percussion sounds and strange metallic tunes. Re-amping or “globalization” sounds by playing instruments in the tub via an audio transducer and then picking up sound with a microphone and contact mix. We put things on it that would sway, play strange homebuilt instruments through it, fill it with water and record it on the hydrophone and much more. The tub is often present on scores and even has a suite using tub materials. The tub is now in my garden. Every time I move it back and forth, I hear a sound in the back 4 blood.
How different is it to make for a game like this? Where people can repeat it for the sake of narration because it’s something more narrative-driven than where people will end it and probably take it away.
Andersen: There needs to be enough variety in the music for the player to become boring and it has to respond to the game in a meaningful way. It needs to be an active companion that helps the player to get involved and navigate the game world. During the round, the music also needs to be very dynamic. Unlike most narrative-driven games where there is a clear line between search and battle that the music can respond to, you are always fighting 4 blood in the back, And the combination of intensity, number, and enemies is changing from moment to moment. Everything needs to flow and be able to adapt to the music consistently. For the round, we initially opted for a modular approach to composition where small pieces are layered and stitched through play based on intensity, player and enemy action and other factors. Such a nonlinear approach clearly limits the existence of linear instruments such as melody, chord progression, and metric, so the emphasis is on raw energy, texture, and atmosphere. In contrast, we occasionally have bespoke music set pieces to bes up things and music identities for each bass type.
Alex Papas: As Martin noted, players are almost always in one fight or another, although the intensity is ever-changing. Each player is given a “personal threat” value that represents how risky their character’s current position is. It is driven by various parameters, including the number and type of rides nearby. This allows the game to create a musical experience that responds to a player’s preferred style of play and matches the excitement of the situation they are currently in. Controlled musical experience for their teammates, who are shooting within the army at safe distances, and can accommodate any situation in the middle because the tide at the drop of a hat can turn for or against you.
Whitehead: I think a big difference is the level of music interactivity 4 blood in the back Required. We really wanted the score to be able to tell the story of each play in a way that is unique to the player’s experience. Martin has done amazing work on this front. We’ve also created Safe Room and various versions of pre- and post-round music that reflect how players move forward. If you suffer a nasty defeat, you will hear a change at the end of the round and when you return to the safe room. The mood is now less heroic, with more anxiety and inconsistency. Some of these changes are subtle, but hopefully they will help create an immersive experience that is diverse and engaging.