![]() ![]() ![]() Procedural generation was used to blend different layers of audio in-game, to match whatever the player was up to. Meanwhile, the score (the musical one, not the one from our review that people are still mad about) was achieved by mixing synth with recordings of practical sound effects, like a squeaky paint roller, oil drums being banged around, or a piano that was taken half-apart, laid it on its side, and struck with a rake. The licensed music was masterfully dispersed throughout the full game, with songs from Low Roar or Silent Poets coming to a swell right as Sam crested a hill overlooking some bleak, scenic vista. The earliest trailers gave our ears a tease of what the full game would have in store, from deep-cut licensed tracks like Low Roar’s “I’ll Keep Coming” to the haunting, ethereal, experimental score from Ludvig Forssell and Joel Corelitz. Long before we had any idea what the hell Death Stranding actually was, we knew one thing for sure: it would have an amazing soundtrack.
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