![]() JM: There were a few major considerations that dictated the direction of ambiences in The Last of Us Part II. What went into creating those environments? Reverbs played a big role in further supporting these designed contrasts of dense versus open or active versus dead. From an interior hallway that opens into a back alley, into a parking lot, and into an open field to areas that funneled down, such as a hotel lobby that leads into a hallway, down an elevator shaft, and through a collapsed tunnel into an infected sewer. ![]() Because of that, I spent a lot of time adjusting the mixture of elements in the sounds and the density of emitters in the level editor to support this movement as areas opened up. I wanted open outdoor spaces to have a soundstage that felt wide and deep in contrast to the tight and claustrophobic interiors. Just like in music, my favorite parts are the transitions from one section to the next. ![]() I paid particular attention to this flow from one kind of space into the different environments it connected to. JM: While designing the ambiences for The Last of Us Part II, I spent a lot of time considering the “openness” or expansive quality of one space versus the dense or enclosing aspects of an opposite space. What feeling did you want the sound to impact on the player? Ultimately, we did end up recording and using elements from all over, as long as they had minimal animal noise and zero machinery or human “sound pollution” in them. We did our best to ensure accurate biophony and geophony per area based on the season, from Jackson, Wyoming to Seattle, Washington. We ended up spending a lot of time sitting in the rain. And since about a third of our Seattle locations take place while it’s raining, it meant that this weather element needed proper attention early in production. Justin Mullens (JM, Sound Designer): Making a game in Seattle means one thing for sure – rain. Can you tell me about the designs for some of these areas? The Last of Us Part II is set in parts of the country the first game didn’t explore - with new seasons and climates from snowy mountains to the temperate forests in the NW - and the main locale being (what remains of) Seattle. The game is a meditation on the cycle of violence that comes from revenge at any cost, so making things feel real and often unsettling was paramount in creating the desired experience for the player and having them connect to those themes in a certain way. There are more moments and opportunities to go big in The Last of Us Part II, but we absolutely still retained the idea that not everything needs to be big to be evocative. Detail, subtlety, and hyperrealism were important pillars of this game’s soundscape. Rob Krekel (RK,Audio Lead): That same DNA definitely still exists in the approach we took to The Last of Us Part II. Was that the same approach for The Last of Us Part II? ![]() The Last of Us Part II – Official Accolades Trailer | PS4Ĭreative director Neil Druckmann on the first The Last of Us said, “The game’s audio was approached in a more ‘Hitchcockian’ way - more about the psychology of the story and using sound to support that.” Also, “don’t be afraid to be subtle. Here, Krekel, Justin Mullens (Sound Designer), Neil Uchitel (Senior Sound Designer), Maged Khalil Ragab (Dialogue Supervisor), Mike Hourihan (Supervising Dialogue Designer), Grayson Stone (Dialogue Coordinator) and Beau Jimenez (Sound Designer) talk about ways of connecting the player to the game through sound - by building reactive environments, by using extensive Foley, by designing human attributes into the various deteriorated stages of Infected, and by enveloping the player with a rich, well-balanced surround mix. Audio Lead Rob Krekel (who was a sound designer on the first release, working under Audio Lead Phil Kovats) and his sound team at Naughty Dog may have had a daunting task in front of them, to build on the success of The Last of Us, but they more than delivered. And like its predecessor, the game is a feast for the mind, the eyes, and the ears. The wait is over and the fans are feasting on Naughty Dog’s latest offering. The Last of Us Part II has officially become Sony’s fastest-selling game. Could they make another hit like The Last of Us? Would the fans love it? Aircraft – Jet/Propeller Plane Sound EffectsĮven before its release, Naughty Dog’s The Last of Us Part II was winning awards: for ‘Most Wanted Game’ and ‘Most Anticipated Game.’ That much fan pressure had to make the game development team sweat.
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