Written by Jean-Edouard Miclot
Modern sound design, particularly sound to picture, originated in film, where storytelling has always been paramount. In fact, the film industry established a standardized vocabulary that we still use today in games.
We use the term “storytelling” in so many different situations that it can become confusing
However, we sometimes misuse certain terms, such as “Foley,” which refers to traditionally recorded sounds that are synchronized to picture. Similarly, we use the term “storytelling” in so many different situations that it can become confusing. Simply put, storytelling involves the “why” behind every decision that we make when designing sounds.
1- Why we should or should not hear a particular sound at any given moment.
2- Why it should sound a specific way.
Examples:
To illustrate this point, let’s take a fictional video of a human character entering a room and opening and closing a door with no dialogue or music.
Sound designer A thinks it’s an easy task and might approach this task with a rush, quickly search their library for the cleanest and loudest generic door sound, and then add a few plugins to make it even bigger, cleaner and more impressive. They may even include a roomtone that they recorded themselves, and add their own music as a way of demonstrating their versatility. Finally, they might polish the mix with all the tricks they learned in school and then send it off for review with the satisfaction they gave everything they had.
In contrast, sound designer B approaches the same scene with a more skeptical mindset. They understand that achieving simplicity can be challenging. They take a step back and analyze each shot individually, paying close attention to the character’s outfit, animation, and facial expressions (if any). They examine the room’s floor, ceiling, and walls, as well as any windows or props, lighting, and subtle camera movements. They ask themselves questions like:
• What is the story here?
• Why is the character entering this room?
• What are they thinking at this moment?
• Where could this be happening?
• When is this taking place?
• What happened previously?
• What’s happening offscreen?
The sound plan:
Sound design is not just about making things sound good, but also about telling a story through sound
By considering these questions, sound designer B can create a more thoughtful and intentional soundscape that enhances the story and gameplay experience.
In short, sound design is not just about making things sound good, but also about telling a story through sound.
That’s why they imagine the character is a young business man in distress after noticing a blood stain on his white-collar shirt and they think he’s seeking refuge from the police in an abandoned shelter.
Here’s the sound plan:
• The character should struggle to unlock the wooden door quietly, with a rattling door knob.
• There should be no key sounds since the character doesn’t own this place.
• The door hinge should squeak to reinforce how old the shelter is.
• The wooden floor might creak due to moisture and termites.
• Neighbors’ reactions should be heard through the thin drywood, such as a cheap doorbell, a chair being dragged upstairs, and footsteps as they go answer the police officers.
• The point of view should remain on the wounded character, struggling to breathe and staying hidden from the police.
Sound designer B knows that these decisions will have a massive impact on how the audience understands the scene. With no dialogue or music, sound is on its own to tell the story though. They listen to random sounds that might help them think non-literally while trying to keep the soundscape grounded and believable. Hopefully, in the end, sound was used not just to embellish a picture with mild emotions, but also to support the intention of the whole team.
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Sonic storytelling:
This thought process can be applied to any moment of gameplay for any sound: a simple punch, a military weapon, a creature vocalization, an alien planet ambiance, a spaceship, a UI sound etc. Even all the tech and implementation techniques play a major role in making these stories possible.
The takeaway is that any sound has storytelling potential. Whether working on a fist fight, a car race, a simple interaction, or an epic battle, you can always shape your ideas to tell a story
The takeaway is that any sound has storytelling potential. Whether working on a fist fight, a car race, a simple interaction, or an epic battle, you can always shape your ideas to tell a story. It doesn’t matter if the gameplay is on a phone or a next-gen console, or if it looks like Candy Crush or God of War. Always ask yourself first, “What’s the story here?”
About Jean-Edouard Miclot:
Jean-Edouard Miclot is an Audio Director at Amazon Games Studio. He’s currently working on an open world MMO game called New World and worked in the past on games like Killer Instinct and Gears Of War. Learn more about him on LinkedIn here.
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