Issue link: https://digital.copcomm.com/i/1524863
M OT I O N P I CTU R E S O U N D E D I TO R S 87 BY ROBERT REEVES Somewhere between Tokyo and Kyoto, on a well- earned vacation across Japan, Richard Lapington finds a moment of quiet in the smooth glide of a bullet train. As audio director at Remedy Entertainment, Lapington has spent years immersed in a very different soundscape—the eerie, atmospheric world of Alan Wake 2. Now, despite spotty Wi-Fi and the lure of scenic vistas rushing past his window, he takes the time to reflect on his team's monumental achievement. "The goal was to keep the player in the moment," Lapington explains, articulating the core philosophy that guided Alan Wake 2's sound design. "Nothing in the audio should sound out of place or draw negative attention to itself." It's a deceptively simple statement that belies the complexity of the game's sonic landscape—a masterwork of audio storytelling that has drawn anything but negative attention. Indeed, Lapington and his team's efforts have been recognized with both a BAFTA and a Golden Reel Award from the MPSE for Outstanding Achievement in Sound Editing - Game Dialogue/ ADR. The latter accolade was accepted in person by Taneli Suoranta, senior dialogue designer, marking him as the first Finnish recipient of a Golden Reel in a gaming category. From the unsettling vocalizations of the game's enemies to a dynamic weather system that took two years to perfect, Alan Wake 2's soundscape pushes the boundaries of immersive audio. It seamlessly blends atmospheric horror, surreal dreamscapes, and even a show-stopping musical, creating an auditory experience as central to the game as its visuals. What follows is not just a technical breakdown of Alan Wake 2's audio design, but a journey into the creative minds behind it. As Richard shares his team's triumphs and challenges, he reveals the art and craft hidden in every raindrop, enemy bark, and unsettling silence.