than what you actually see.

人は 初めての場所で まず周囲の音に 耳を澄ます

When I'm on my own, in an unfamiliar place

直感的にね

I'm listening to see what there is around me.

音で危険を 察知するんだ

It's an instinctive thing that we all have,

【『デッドスペース３』の 効果音に迫る】

Your first-line of defense when it comes to fight or fright, is sound.

恐怖って どんな音？ [キル・スクリーン編集長 ジェイミン・ウォーレン]

[THE SOUNDS OF DEAD SPACE 3]

目前に迫るモンスターの声？

[WTH KILLSCREEN]

ヴィセラル・ゲームズ社は 音で恐怖を巧みに表現

What is the sound of fear?

ここ カリフォルニア州のー

Is it a monster directly in front of you? Or is it your imagination gone wild?

本拠地を訪れて 『DS３』の話を聞いた

Survival Horror makers of Viceral games have mastered the art of turning

主人公は エンジニアのアイザック 敵は 変異生命体ー

terror into audio with their hit franchise Dead Space. We traveled here

その名も ネクロモーフ

to Redwood City California to talk to the audio team about manufacturing fright

主人公は 静かな通路や 部屋を移動していく

for their forthcoming Dead Space 3.

[音響監督 ニック・レビアーズ]

Dead Space follows an engineer named Isaac Clark as he battles human corpses infected

そんななか 敵が 突如 飛び出るんだ

by a parasite known as necromorse.

音は 緊張感を 高める効果がある

The classic vibe of Dead Space, is you're walking through these corridors with not much

主人公の動く音とかー

going on, you know room to room.

何気ない音が プレイヤーを ゲームの世界に引き込む

And you know some studies, say something, someone

リアリティーの追求だ

is going to jump out.

どんな映像でも 音を消すとー [シニア・プロデューサー デヴィッド・ウォルドマン]

The sound of fear to me is all about building the tension before that moment happens.

味気なく感じる

I believe that the Folle sounds, if they're right you know, just the mundane sounds the characters

音が 臨場感を高め ゲームの世界にー [エグゼクティブ・プロデューサー スティーブ・パプーティス]

make when they're moving around the it connects them with the world and helps you

信憑性を持たせる

to empathize with the world completely

音響デザイナーは プレイヤーの目線を意識しー

It all goes back to creating a reality

画面に映るアイテム全てに 音をつけていく

for the horror to exist in.

『DS』の音は 長年かけ 作り上げた

Take anything that you have a media whether it's video game or movie or

リアルな音が出せるなら 何を使ってもいい

television turn off the sound all the emotional content is removed from that scene.

スイカは 皮が硬く 中は水々しいので 最適だ

The audio is the component that will add to the immersion that really

パキっと割れる音と 中の液体音でー

allows players believe that they're in a place.

実際に頭蓋骨を割るより それらしい音が出る

It allows them to get lost in what they're doing.

いろいろ試す

Our sound designers for our games have to be aware that the player

これは 骨が折れる音

could be looking anywhere at any given time.

普段はスタジオでやるがー

That challenge means, that if I'm going to put a bunch of stuff in the room,

予約が取れなかった

you know what, all this stuff better work and it all better have

人間の声もよく使う ネクロなんかにね

sounds because that's really going to add to the experience.

まず 同僚の叫び声を 加工した

So our audio team has done a bunch of different things over the years

それに 少しずつ 音を加えたんだ

to kind of capture and create the sounds that we use in Dead Space.

動物の声とか

As long as it comes out and it sounds believable and it sounds unique

[シニア音響デザイナー デヴィッド・ローミラー]

then I don't really care where it comes from.

うなり声も

A melon is a nice thing, because it's got a kind of boney other shell

恐ろしい叫び声の 出来上がり

and a very squishy, watery inner.

中には 日常の音を 使ってるケースも

So if you hit it hard enough, you get the kind of crack of the shell

例えば 姪っ子の声

and then you get the splurge of the liquid inside.

甲高い叫び声が ピッタリだと思った

And that probably has more of the sense of smashing a skull

奇妙だ

and mushing the brains inside than actually doing it for real.

時間軸があるホラー映画と 違って ゲームの世界ではー

We do a lot of that.

プレイヤーが主人公を 操るから 難しい

Snapping sticks and celery to get bone breaking sound

このゲームでは 対戦時に 〝恐怖システム〟が作動

We wouldn't normally choose this kind of thing outside.

恐怖を感じる音を 出すよう指示するシステムだ

The studio that we would normally record this is unavailable.

息づかいや鼓動で 主人公の心理状況を操作する

It's been booked out by the SIMs.

画面に 恐怖度数が

On this game, for the necromorse stuff in particular

今の値は 0.1 リラックスしてる状態

we've done a lot of voice recording

恐怖状態では 音楽もー

I started with a pretty heavily manipulated sampling of

息が荒くなり 鼓動も早くなる

one of my coworkers screaming down in our recording room.

恐怖システムは 戦闘を激しく演出

Bit by bit I will start adding in plug-ins and audi processes

背景音が ネクロの声と共鳴し 破滅のシンフォニーが生まれる

and other samples.

次第に音楽が止むとー

Animal noises.

ようやく安堵の息をつく

Little growls. It's the little stuff right.

乗り切った 達成感さえ感じる

And then you get the entire composite terror sound of

昔の音は 臨場感もなく もっと単純だった

a necro screaming.

今 ようやく 重要視され始めてる

There's been a few things I've heard out in the world

プレイヤーがオレの仕事に 気付かなくてもいい

unintentionally have made it into the game

気付かないのは いい仕事をしてる証拠だ

One of them was in my little niece she had this scream

字幕翻訳　日本映像翻訳アカデミー 字幕監修　大石レナ

that was completely singular

and I had to have it. And it's in one of the creatures.

Pretty other worldly.

Fear is kind of tough in an interactive environment. One of the advantages that a

horror movie has is you're controlling the time line.

whereas we have Isaac

running around completely under the player's control.

Obviously a lot of our game is scripted. We know exactly what we are gonna do,

but parts of the game which are interactive we have the fear system.

The fear systems important because it tells audio what to do to

make the player afraid.

It controls the kind of physiological responses of Isaac,

particularly aware of his breathing and heartbeat.

Up there at the top we can see the Isaacs fear value.

He has only .1 fear of a possible one.

That means Isaac's pretty relaxed.

No we've got some fear.

The music is louder.

The breathing is louder. Heartbeats at full rate.

I'd like to think that that fear system adds to the intensity of the combat.

You know, with the staccato background,

The necropmorphs kind of with their vocalizations chiming

You're starting to create this symphony of destruction.

And that fear music is degrading and getting quieter,

and there's this exhalation, you're like phew, I did it.

And it just feels like you survived something that was significant.

The past audio wasn't at the same fidelity level and wasn't

as complex and wash't as capable.

I think now people are starting to think of it as a real important component.

Uh, I don't care if players don't notice what I'm doing.

Uh to be honest, I mean, you know

it sounds like a cliche, but if players don't notice

but notice that you're doing your job right