Size, ferocity and bad ass-ness are usually really important for a boss, but its really really important to clue the player in to when they’ve hurt the boss as well. Since the game is quite dark overall, we looked for opportunities for “Audio Tells” in every fight that would reinforce a sucessful tactic by the player. They would get a prototype of the boss working in a white box (a isolated testing map not yet integrated into the game.) I would get a run through of how the Boss fight was supposed to go, and how the player needed to play it in order to beat it. Ideas like this could come from anywhere, and usually required the collaboration of several people in other departments and the audio team.ĭS: You did all the boss fights… How was you approach to sound design on each of these fights? Could you give us some examples?ĪL: For the boss fights, I worked really closely with game play producers, animators and engineers. This kind of thing is everywhere in the game.
This is an example of how we as the audio team not only designed the sounds, but did a fair bit of level design in key places to pull off dramatic events. We constructed this “beyond the walls” kind of dramatic scene with sound effects, music and voice to lead into Issac’s first fight with a zombie.
This was a high tension moment and we wanted to shift into a really creepy messed up vibe in the workshop. In Ch 1, we knew that Issac was going to recieve the Cutter weapon after escaping the slashers in the elevator. We were given ample opportunities to weigh in on design, and occassionally we took the lead on desgining the experience of a section of the game. I also helped with the foley, ambiences, props, physics items and weapons.ĭS: What was the collaboration like between the sound team and the development team?ĪL: The audio team was really tightly integrated into the overall process, and sound was a major part of the design from beginning. I did the boss fights (Hivemind, Leviathan, Drag Tentacle and Brute) several characters (Divider, Exploder), the scripted sequences (like the elevator in Ch1), and cinematics (like the opening of Chapter 1 and the end of the game). Most aspects of the game’s sound was a team effort shared across the audio team. I came onto the project as the prototyping phase ended and full production started.
We have already seen good info about the sound of Dead Space, but here are some more specific questions from an interview that I had with Andrew Lackey, Check it!ĭesigning Sound: First of all, tell us exactly what was your job on Dead Space.Īndrew Lackey: I was one of three sound designers on the project along with Dave Feise and Dave Swenson. Dead Space is one of my favorite videogames and the sound there is really amazing.
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