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 91 gameplay loop can be very different to what is needed to tell the story of the beat. In Alan Wake 2, we leaned more into the story elements than the gameplay. Additionally, Alan Wake 2 was built on the foundation of our previous title, Control, which was quite different in terms of audio. Control is a fast-paced, systemically driven game with a strong emphasis on gameplay, set indoors with a 'new weird' vibe. Alan Wake 2 is a slow-moving, narrative-driven, investigative horror experience, mostly outdoors with a lot of rain. Simple things like the geometry detection system we used in Control didn't translate well into outdoor environments. The granularity and detail of the Foley system also needed updating due to the slower character movement. RR: Twin Peaks is definitely in there. What were some of the other key influences that shaped your vision? RL: When putting together the original audio design documents, I used a core set of references. I tend to refer to references for specific ideas rather than provide examples of how it should sound. This is the list from the audio vision document • Homage to the Original: Alan Wake and Twin Peaks • Pacing and Flow: True Detective Season 1 • Camera and Character: The Last of Us: Part 2 • Duality and Contrast: Stranger Things As you can see from the list, the references form the basis of the audio pillars. So, each reference Alan explores the Dark Place, an alternate world where he finds himself trapped. Saga Anderson investigates the fictional town of Bright Falls, Washington, where all is not what it seems. Remedy's in-house Northlight Engine produces stunning visuals that pair with the team's audio design to produce beautiful and terrifying environments.