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  • What you can imagine is really scarier

    目に見えない恐怖 それは格別だ

  • 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


  • 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]




    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


  • 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


  • 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.


  • 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


  • 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.


  • 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.


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


  • 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.


  • 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.


  • 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


  • 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.


  • Animal noises.


  • 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

What you can imagine is really scarier

目に見えない恐怖 それは格別だ


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B1 中級 日本語 恐怖 主人 プレイヤー 叫び声 ds ゲーム

デッドスペース3と効果音職人 - デッドスペース3の恐るべきサウンドデザイン (Dead Space 3と効果音職人 - Dead Space 3's Terrifying Sound Design)

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    阿多賓 に公開 2021 年 01 月 14 日