Issue link: https://digital.copcomm.com/i/1524863
70 M PS E . O R G create, and how did you overcome these challenges? Blake Collins: Weapons and armor are always a challenge. Our world of Spider-Man is somewhat 'grounded in reality,' but there is also tech with some sci-fi elements. Starting with our prop guns or swords is always great, but then we wanted to go a little further and started pairing things together so they didn't sound standard. For example, with the character of Scorpion, we saw he was very plated in a metal-type suit. So, we took a knight's shoulder piece that telescoped together with all its slats and paired that with a car door to get some low-end body. We then performed that with his movement. On the mixing side, I added a little pitch shifting and some low sub to get that weight to the floor. Joanna Fang: Another challenging sound was the symbiotes. On the performance side, all of these enemies were in bare feet but as Blake mentioned, they scale up by size and by the degree of infection. So, the questions became: "How many variations of bare feet can our Foley artist perform" and "What's the balance between wetness and sticky slimy goo?" Depending on the size of the symbiote and during gameplay asset recording, I would vary between heel-toe footsteps versus toe-heel. Additionally, I'd walk on the inside of my sole and lean forward for the heavier symbiote variants and try to "rez out" the floor. Context really matters beyond simply stomping harder so hearing the big picture in our heads, concepting the interplay between chamois and leather with