We are planning systems in which the foley responds very dynamically and closely with the engine to make the sound fit exactly what is going on in the game, both in sounds and mix. as a mutant is further away, you hear more of the far mics in the mix than the close mics and vice-versa). We intend to mic this foley at different angles and distances, so that at the game's runtime we can dynamically mix these elements for the player (i.e. Once the game reaches a point in production where we can get a full list of all of the foley sounds needed, we are going to have full custom foley for the game (no library sounds). I'd like to share a few plans about our foley system, to give some insight into our dedication to sell a compelling experience to our players. Some of the sounds in the demo are very good and some are temporary sounds, standing in until we reach full production and we can replace them. We intend for the same in System Shock: Heavy and oppressive atmospheres, the feelings of isolation, pacings and breaks from the oppression where the player can take a breath (like the elevator) before being buried under the weight of Citadel Station and SHODAN again. The sound design in the old games were as much a part of the emotional experience for the player as the music. This is where the old System Shock games (System Shock 2 in particular) really excelled. More than anything, we want to promote a strong oppressive atmosphere (have I said that word enough?) for the player. Many of the same principles apply to the soundscapes of the game as the music. Check out the first minute of my Intro remix with zircon for reference:Īs much as I want to talk more about our musical plans, I've got plenty that I want to talk about on the sound design front as well! We believe it is possible to retain a strong atmosphere, while incorporating many synthetic elements in the soundtrack. While we feel that porting the original music over would run counter to our vision, we don't intend to lose the Cyberpunk feeling of the game by neglecting to reflect that Cyberpunkness in the music. We are planning to have many more electronic elements in the score for the final game than we have in the demo. I'd like to clear things up and put fans' minds at ease. We have received a lot of feedback when it comes to the balance of electronic and orchestral elements in the soundtrack, and fans who feel very strongly about both directions. It is important to avoid a more arcadey, extreme approach like other games (see DOOM), but there are points in the game in which it could fit, if used sparingly. ![]() Plenty of restraint will have to be used on the score, to keep the atmosphere of the game intact. Secondary goals of the score are to structure the narrative and represent characters/environments, increase tension in extreme stress (such as combat), and using diegetic music in the world to tell the story of Citadel Station through its own environment. The purpose of the score of System Shock is, more than anything, to strengthen the immersion and atmosphere of the game. The Shock series’ greatest strength was always the intense atmosphere present in the game the isolation, the tension, even the outright horror. Just so you guys know where we are coming from, I'd like to start by posting the "Purpose" section for the audio from our own internal audio design documents that we refer to when making decisions: The Shock games have always had some of the most immersive sounds for its time and it's been my job to make sure that our game hits the same benchmark of quality. ![]() ![]() I've been working with Nightdive Studios on this demo since it started. Hey everyone! I'm Jonathan Peros I'm handling the audio efforts on System Shock. System Shock "Insect" T-Shirt System Shock Music & Sound Design plans
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