Next-Gen Audio in Killer Instinct

[Music] so we just sent a couple of things up here before we begin can I just get a bit of a show of hands who here has played this motion to killer instincts yep cool who's played the original killer istic maybe back in the day in the normal expectations who here has never played a fighting game whatsoever nobody's nobody's never played a fighting game before well that's awesome I need to do an introduction and that sounds really fantastic thank you so much honey so ladies and gentlemen do you remember the 90s Thank You CJ yeah do you remember this guy what about

let's go on this guy of course do you remember the video game arcade yeah or what I like to call the scene of the first loudness war no kidding I mean as a sound designer back in the day working on arcade games it was your job to make as much noise as possible because you had to lure any punter who was closing within earshot over to your machine because they had a shiny little corner in their pocket yeah and that was the goal is to try and bring people over now killer instincts was one of these loud games I mean most of you play before you'll know now killer instinct was developed by real we're in in the UK they're still going today but between 91 and 2006 rare released some of the most iconic video games of all time an incredible effort for any studio now reg

used revolutionary CGI technology to make killer instinct look really really good back in the day back in the 90s magazines described these Jools as movie-like now not only did Killer Instinct look really good the killer instinct sounded really good the two sound guys back in rare back in the day when Robin beamland and Graham Norgay now their approach was to make Killer Instinct sound like something you would hear on the TV or in a movie [Music] now this modern sound which is modern at the time really helped to lower those punters over with the shiny quarter in

their pocket the arcade machine it shook with the noises of the punches and kicks and it shook with the sound of this guy maybe you guys heard that one this morning yeah so anyway in 2012 late 2012 Microsoft bought us on to develop a new killer instinct as a launch title for the Xbox one now after 17 year hiatus and a huge fan base it was clear that we had a bit of a challenge ahead of us right so how do you modernize the sound of a classic 90s fighting game so we think that so we think that car design is fascinating it's fascinating because

every year they come up with a new model something fresh something unique something new you want to buy that car on the right it's always different every year but we change the essence of the brand and of the bmw m3 that we have here so imagine the ki-hwan was the car on the left and when Microsoft approached us and asked us to bring back to revive killer instinct in 2013 we had to imagine the car on the right and to do so we thought that one of the first thing that we had to update to modernize was the announcer so pre surveillant who is who was the producer on killer instinct gave his voice to the announcer he still works there today so okay I wouldn't DKI without the voice of Chris Everland

we recorded him twice we got to your big virtual sessions and it was very difficult to match the same performance his voice actually changed during those 17 years so what was fantastic is that Robin Vinland sent us the backup tapes from the original killer instinct so he transferred those dat tapes the digital tapes to proto sessions we send them to us and we could actually hear the original recordings of Kris when he was recording 94 and try to match the same performance and not try to match the process once so there was still one problem the iconic lines like the cuckoo cuckoo cuckoo breaker and the bill truck he was almost impossible to match the same

performance like so what we did was actually just to grab those stakes from the original recordings since we we had them and processed and we just had to process them and back in the day Robin used a noisy Berenger composer in DX 2100 chained by an answer Nick dp4 that's the beggar that you see at the top in the end Sonny cut the back at the bottom but today with Pro Tools we just used the plugins we pitched it down 2.5 semitones we use the renaissance compressor and and the waves Dobler and we managed to find something that was really close so next you are going to you're going to hear an AV c test of the

announcer when you hear first the original recording and then the 2013 version followed by the 90 1994 version was reported out of the Nintendo 64 so that's what it sounded like [Music] [Music] so as a kid as arcade sound designers back in the day our goal was to attract the crowd as McMansion to an arcade machine and make them spend our last corns that they had and we fought that

to attract the crowd like they used to do in the arcades back in the days the impacts were one of the biggest thing you could hear after the announcer so in order to bring them back in 2013 make some really interesting impacts we started recording banging things around and they started in the kitchen of double helix our studio and regarde about 1,700 takes lots of different things and some of the best ones actually came from hitting that black flavor share that you see in the back with a racket tennis racket oh sorry uh a ping-pong racket then we took all those takes we process them try to bring a little bit of crunch we use the filter freak from the sound

choice and the some compressor is like the c4 and a Dino's are from the RX advance to remove all that noise and then we got some interesting materials you're getting you're going to hear now the original recordings straight from this kitchen but add to compress them otherwise you would only hear a little and the processed version after all right so from those hundreds of takes we

had to categorize them into low medium and heavy for the game and this is what it sounds like for the low low impacts all right we have to create the medium ones and the heavy ones does the distinction between those categories is not that big we try really to make a really big difference between the low and heavy ones but then after I didn't feel right when you press when you use the low impacts but that was okay because the designers added new features to the game as we were developing it and one of them was the shadow moves and shadow moves for the ones who are not familiar with it are basically superpowers for the the characters then they can trigger at any time of the game when they feel they have their meters feel and so we're creating new impacts for it that's what

it sounded like so this so far we can go with that and the designers created new impacts well that was for the last hit of the combo and he basically launches the open and in the air so we had to come up with new sounds for that and this is what it sounded like all right so one of the most satisfying moment in the game in my opinion is when you take the opener and throw in on the ground it creates this blast the spreads dust and debris and we thought it was a great opportunity to use slapback echoes that quickly move from the front speaker to the back because the stage is in 2d it's a 2d plane so Freda game but it's a

2d plane so we want to create that third dimension that surround the the player [Music] so it gives a little bit of depth to the stage and this is an example of orchid slapback echo so here it sounds quite processed we could tell a little bit of story with those sounds because the Jaguar is a symbol of orchid she uses that as a secret weapon sort of so we use cougar sounds to create those slap back echoes that quickly move from the front speakers to the back and for sadirah for example who is the Spider Queen we use the female female whispers for

spinal who is the skeleton creepy dude we used monster growls etc for thunder it's obviously thunderclaps so just to try to tell a little bit of story so that stereo sound that you heard here is actually separating into two mono sound in the game for the left side and the right side and they all go through silences so the duration of those silences changes in real time in the game in this example the two characters on the left side of the screen so when the impact happens the silence for the right side for the right slapback echo is bigger than the left one which creates a delay in the right slapback echo which means it happens quicker on the left and after on the right which

helps to localize the character and gives a little bit of interactivity now [Music] now our kids our kids were very loud there was a lot of music a lot of people yelling around and and gudid your feedback was crucial for the players we wanted them in because the first time they came to the arcade machine they started to play we want them to stay there and keep investing coins right there was the archetype so in order to for them to enjoy the game they need to have audio feedback it's very crucial so

instead of going with like cliche with wishes when we play doing sort of thing you wouldn't cut through the mix so instead of that we amplified all the transients of any sound we we added impacts to every wishes and in this in this example here that you're going to hear it's just like punches and kicks for a character let's see what it sounds like now fighting game players don't only need to know when a sound happened this is great it cuts through the mix but players also need to know which sound was triggered and to do so we think that tonality is something that

very works very well like in the old games old game at that particularity because they're easy to detect and remember so we're going to do a little test here so the first try to tune to remember what was the game from the first sound here wow that was very quick for pure fast now let's try the second one the third one it's like how fast did it take for you to remember when you heard the first few millisecond of that sound it's very quick why the very iconic but that's because they were tonal so we did the same thing with killer instinct it's a little bit less straightforward but this is what he ended up in the game with

orchid try to hear those tonalities [Music] so yeah it's very punchy it's very tonal and you can detect those sounds very quickly and that's why we wanted to give to the fighting game players so those sounds all those electrical sounds and sparks what could we make them from well what about Tesla coil [Music] [Music]

now what would you use for the sticky sound of web for sadirah city ERISA Spider Queen she froze web everywhere on the stage sticky sounds terminologies what about duct tape what about that now this is what it sounded like in the game when it's mixed with all the sounds [Music] okay so that was cetera but Glacius is a

very interesting character one of my favorite in the game he's an alien and it doesn't have a mouth so how would you create the wide range of the emotions with vocalizations but that was a very tricky one but we experimented and we thought that we could use something that we call the reverse larynx technique which basically you in l air through your larynx and it vibrates your vocal cord in very non-human way and it creates those wishes those creatures sorry like that so that was the voice for glaciers so he doesn't have mouth where he can breathe on earth and you use these gills so I try to find fish in the union but I couldn't find any so instead we used my colleagues iron that is here you know the iron they

used for your dress your your shirts and this is what it sounded like for mammalian breathing on earth [Music] [Applause] now Glacius reacts differently to gravity on earth you see him is very slow when he moves and to give that sensation without going into the electronic sound world we used a very organic sound the elastic band so you can create things because this elastic band I can stretch it and I can control the pitch of it so you do things like that so you can rise the pitch up or

bend it down and you can after that one since Pro Tools you can process it you can slow it down even further pitch it down you can reverse it add a little bit of distortion and when I did in the game it could sound like that so there's a number character that I really like spinal the skeleton spinal is very interesting because yes travel all around the world with a ship and he learned many different languages suing the game his words that he uses for his attacks actually made of five different languages there's a Spanish when he says it's bad which means sword this Greek is Ramos which means terror and there's

also Italian this Indonesian and there is also Swedish and that's something that we put as well on the music all the lyrics were recording in Swedish in Sweden and this is an example of where we recorded it [Music] [Music] [Music]

that's really cool like recorders Viking yeah I think that for the Vikings everybody clapped for that right because it was the most difficult thing about working with Vikings is trying to get them sober to actually do something right excuse me there's like taking photos of things I wonder if I can ask you very quickly in a shoe like a like a few couple of words what music is to you wrong person emotion come on sweetness right yeah Vikings yeah so can I ask you a few short words what music means to you emotion yeah thanks man hey man how's it going that's a killer beard dude hello do you like my Jack there anyway so can I see you in a few short words what music is to you this is really really cool you

know why because these things represent exactly what music means to us right to us music is storytelling it was music that told us exactly what Luke Skywalker was feeling in this moment it was music that told us exactly what Jack and Rose were feeling in this moment and it was music that told us exactly what Marion crane was feeling in this moment now storytelling applies really really well to a fighting game why because we have a narrative structure here's what I mean two characters enter the round begins they beat the [ __ ] out of each other and the round ends that bear is our story that's our narrative structure right now

I want you to think of that like a scene in a film there are many moments there that you can choose to accentuate emotionally with music but the art comes from choosing the right moments now interactive music the art and interactive music is choosing the right gameplay moments to change the score now I want you to think of the interactive music system in killer instinct as like a pop song where we give the control of the structure over to the player so the structure being verse chorus etc we give the control of that over to the player now to further demonstrate this we're going to talk through a single round of killer instinct to see what happens the first fighter enters and around begins

[Music] the music gives that player an entrance it also sets up the mood for the impending battle now the second character enters and you hear the music build did everybody see that beat when he jumps down then it changes right that's the music system each character has a different intro animation and they're all different lengths which we love don't we audio people so the system changes into that build on the beat and make it sure that the same it's like the same on every level right so anyway we've got our two characters here and the round begins all right boom the fights on yeah at this point we change to what we call our normal state of music but I want you to think of our

normal state as like the verse of our pop song but we've split the individual components that make up a verse into individual files so what I mean by that is we have stuff like little interludes right we have part aids of the verse right and then we got like pop bees of the verse we have like different riffs and things cool and we arranged these individual components to form a verse in wise here each one of those components has multiple variations and this way we get hundreds of different combinations so the verse is always slightly a little bit different the goal of this is to give every single player some cool music to fight along too even if they're a

beginner but of course killer instinct isn't really for beginners well I mean people really want to you know get good of fighting games and things as such and you've all played killers so you'll play fighting games avoid so you'll understand the combo system combos essentially for those who may not know is about linking individual moves together to form a combo right so you link your punches and kicks and things together to form a combo now despite what you might have seen in that awesome match between Jen and I at the starting game those combos are actually really difficult to pull off so we wanted to reward the player who succeeds at that we wanted to give them a reward any player that successfully pulls off a 15 hit combo or more is rewarded with the first eight bars of our chorus [Music]

right now during those eight bars if that player successfully pulls up another high hit combo they're rewarded with the second eight bars of the chorus if they pull off another hi-hat combo and that so they're rewarded with the third eight bars of the chorus and so on and so on now what does this do well this exposes the interactive music system through the player it pulls the interactive music system out of the shadows where it normally sits trying to pretend that it's scored like a film right and puts it square into the players lap and they're aware of it so to further kind of explain this what I'm going to do is kind of set up how this works right we're going to do this some wires just for the sake of demonstration purposes we're gonna start with our verse and then we're gonna say that one of the characters has done a high hit combo we're gonna go into the chorus and

they're gonna fail to do another high hit combo within those first eight bars you'll hear the music drop back down into the verse let's try that Oh so fast chorus [Music] failed [Music] back down into the verse let's do that again but this time the plan is going to successfully produce a number 15 hit or hire combo within those first eight bars and you'll hear the chorus link together [Music]

[Music] cool makes sense here's a little bonus for everybody playing at home they're the observant audio people who view their might know that I we have something little kind of sneaky magical going on there right so okay if you've got a verse in a dance song and it's going one two three four with our kick drum then you have a chorus which also has one two three four with a kick drum we want to make sure that corresponds in nice and hard the best way to do that is to kind of take the kick drum away a little bit but of course how do you do that when you've just got two segments right well as a sneaky little trick going on here you observe and if you will know that here in the combo if you see in this section here I don't know how well you can see that from there we have to kick drums you can see that with the big square things there no loudness jokes please I know it looks like a block of cheese right here those two kicks but when we go from our verse into the chorus we hear those kick drums

disappear right everybody gonna get that it's a little bit hard to hear in the in the in the room here but anyway those first to kick drums in my block of cheese that you had there before well they're inverted they're exactly the same samples from the verse but we've inverted them again what happens when we put C sounds across on the other and ones inverted it cancels each other's that cancels each other out so we have this magical disappearing kick drum every time the chorus triggers yeah cool stuff huh anyway let's move on so back in the killer instinct you may have noticed that killer instinct is a bit of a busy game right there's lots of stuff going on yeah there's lots of stuff to pay attention to now I don't know how well you can see here but do you guys see this tiny little yellow bar do you see this yellow bar here everybody see that right here this big long red bar as the plays health there's a little yellow bar down here right that little yellow

bar is actually really really really important that little yellow bar can change the match it's basically like a special meter as the match goes on depending on certain circumstances that bar fills up it's very important so we don't know why I got so much little kind of screen real estate though but I guess everything is kind of competing right so if you can't have enough space on the screen we need to find another way to make that bar stand out now Jed here had a fantastic idea let's use music to make that little bar stand out I'm going to show you exactly what I'm talking about here to make that bar stand out we have mono layers of musical flourishes that can comment on top of the music just going to set one up here for you and you hear it come through one side of the speaker is Elian here by the way Elise Minh you

le shout out le she's not here that's Ellie singing by the way nobody knows so anyway so that mono layer there right is attached to the player who has a filled yellow bar and it plays on top of the music that's already playing it's that player so alright so what I mean by attached is that the player is over on this this side of the screen that means that piece of music there that little flourish is only playing out of that side of the speaker if the player jumps over the other side and they swap that layer crossfades over to the other theme right you guys getting that yeah if the second player also has a film meter then it fills out a little bit more so what does it do

well this slightly upsets the stereo balance a stereo image we have one side that has a little bit more information in it than the other what this does is subtly makes one side where the character is feel a little bit more powerful than the other side kind of cool all right so anyway following basic game design rules you want to reward the player who figures out your system if that player has a controller in their lap and they're going well if I push more of these buttons and the music changes and gets more intense what happens if I put it down you want to reward that person you want to reward that player they tries to figure out your system and break it yeah each level features a remix of each character or

that levels original theme from 1994 that only plays if both characters put their controllers down for a set period of time [Music] [Music] [Music] now if the players move it jumps straight back into the verse [Music] cool huh so anyway IO players have been beating the living crap out of each other for a little while and one has beaten the crap out of the other one more they end that's right

but of course this is a fighting game you don't just end the match right you want to completely decimate your opponent you want to beat the living crap out of it right you want make them feel completely bad and never want to pick up the controller again so the player has an option if they import a special series of buttons at the end of a match that exactly the right moment they're rewarded with this huge epic decimating ultra combo which of course you all know from the original game which looks like this right now he's dead yeah so with that moment it's a special moment at the end of the round we wanted to try something that's a little bit interesting I mean entire

match we've got punch kicker sound effects and we've got music that sits in the background in order to try something a little bit interesting we're looking around for different sources of inspiration and we came across these amazing music levels in Rain Man where the visuals on screen reflect the music [Music] cool huh so you see how the visuals are kind of matching the music yeah it's kind of really linked it's really really cool so why not make our ultras musical [Music] because enjoying that subwoofer they're now pulling that off it was really hard

so how do we do that right well every single level has 50 hits and think of these individual hits it's like a scale that's kind of raising up I can actually show you a couple here so this is the ones for the level that we've been playing through that's hit number one two three four five right you're getting what I'm saying so closely go right so 50 of these per level for those of you playing at home that's four hundred hits anyway once we've got those four hundred hits we give each character a sequence here's what I mean so this is a signature Jago the guy at the top there his sequence his matter sequence might be hit number one hit number four and then hit number eight same a wolf on the

other hand it might be hit number one hitting number five and then hitting them at nine spinal lastly might be hit number one hit number three hit number seven then hit number ten so this system selects these individual hits out and places them on every single punch and kick and what this does is ensures that every character has a melody for their ultra combo so this way jegos Ultra will always sound like jegos ultra regardless of the stage but it will be styled according to that levels music [Music] [Music]

[Music] [Laughter] cool so anyway what do we learn for this what is next general you well we fought the next gen took away all the technical restrictions that we use throughout on the previous consoles I

think really anything really creative or artistic requires careful restrictions that's right Nick it would be like thinking that friended using three hundred tracks in Pro Tools will give you better sound or having three hundred toppings on your pizza will make a better pizza thing is though finally kind of maybe next gen allows us to choose what those restrictions are my name is joy drum you clue and I did the audio and Killer Instinct my name is Makoto made all the music for killer instinct thank you guys very very much so we've got we've got about 15 minutes for questions so if anybody has a questions is back to invite you up so the microphone here and the man at the back mark would you mind just boost up the room lights a

little bit just so we don't have any people that trip over anything and while that's coming up GDC has reminded me to tell you guys after this you're going to get a little email that'll come into your phone and it's like an evaluation form if you wouldn't mind just spending two minutes filling that one out really helps GDC with with selecting talks and things in the future so does anybody have any questions yeah step right on up to the microphone then then I'd love to hear any thoughts you might have about how the process was mixing all all of the sound effects versus the music since both of them they have so much character how do you balance that kind of challenge right that's true when we started to work on tonal sounds way further it was very complicated to get them in tune with the music so Mika actually gave me one note he used like across all the stages the E

minor scale yeah so it's funny musical people were musical people right all right cope so Jed Liam the main sound design of a man everybody saw the Tesla things before right so it turns out that when we recorded the Tesla coil it was at a B flat right and and music for awkward stage was in E gosh really music people try to write G's know so I'm so good so what we had to do is basically give give Jed a set of notes that would apply to any stage and so the the pre-planning was involved as to what key each piece of music is in but yeah generally with mixing we had a ducking system so we had a priority system with over four levels what was the priority system Jed number one no there was actually like 15 different priorities yeah but well it's all automated so yeah you have in and outs and the announcer is the biggest priority the sound effects are the second one and there

during packs of music vocals things that's kind of thing so that's how we mix the game in your all time where's mentor that answer your question okay yep cool thank you man what's your question dude my question is for you thank you in terms of your thought your your choices for genres yeah I was wondering what was going through your head when you're like thinking hey did you ever go want to go orchestral heavy or rock heavy or because I know you're dealing with Amish honors there what was your sort of mindset are your thoughts on how you came about choosing those genres for the entire field yeah definitely absolutely great question okay so obviously if you're familiar with the original killer instinct soundtrack it's very varied I mean there's also the different races orchestral tracks as dance tracks as well that sort of stuff so it's quite varied so a lot of that information was already laid down so when we were doing orchids track that was cleaner that was going to be a dance track oasis year you're basing it off of yeah pretty much the only one we had was sadirah which is a new characters who was the Spider Queen that Jeff was showing

before right and Sierra went through about seven different versions on just couldn't get a right couldn't find music that was like a Spider Queen right so I remembered this girl I knew in high school that she was like it like a golf and she was just obsessed with spiders and marilyn manson so we ended up doing like this really heavy heavy track with singing and all that sort of stuff which kind of fit just because it was kind of you know fit the Spider Queen right imagine I don't know if you've seen the level as I was at Spider wanted it right yeah and imagine like she hangs out there with a respite or assassins they'll sit around listening to Marilyn Manson all day and if you remember the original teaser that we did for Sid where she used to look like way more evil and we changed the character design as well after but so the music affected the character design is that oh good yeah yeah that was my say it just meant depends on the character killer instinct is that I mean obviously a fighting game from the 90s is based on this really fascinating thing that we've really lost with films and cartoons these days which

is the idea of characterization do you remember back in the day when every cartoon there was a character that had the ability to solve any problem that came up so transformers is a good example and things like that the the characters would need to get across a gorge and they need there was no bridge there but they happen to have a transformer transformer new bridge right and then they can get across so it was all based on characterization so the original killer instinct had like robots and lizards and wolf people and you know all these sort of varied characters so the music really needs to be different for every single character so we get that characterization across I see really good question thank you thank you thank you hey buddy how are you doing well about you good thank you great expert great presentation thank you really enjoy you guys were Thanks a fan of the game I have questions for each of you first the technique that you had for when I noticed that you recording your sounds you had like a certain like of looks like a bat full of a filter of some sort

but what kind of microphones were you actually using the capture and what were your microphone placements for like just hitting for the charity do you have like a side mic set off here and what were your techniques for that that was absurdly random I that's true I don't even remember how I did it I record like yes 1700 takes oh yeah I usually have I like to have like one that is pretty cool and have one that is like medium distance and one that is like human fervor yeah I mostly I really like using MS microphones mid side because he helped me after to decide if I just want to use the directional mic the capsule or have like a little bit more of ambient sound it's actually really cool when you start distorting sounds because you also can apply just that affected other left and right so yeah it's just about like after experimenting when you search for the impacts I watch like a lot of movies and played a lot of video games all the way back from Raging Bull

that was designed by Frank water and you need all those like super cooling packs they deleted after but those those inspiration you know I check like all the movies and video games and we try to find like a unique style for killer instinct and it was just like you know looking for that happy accident to happen very nice work make my question for you is with the wise implementation you did that correct yes very very great work I like it interested in how you actually were able to crossfade or implement the the music for it to be transitional so seamlessly as far as like having the old theme rather than having new theme as soon as that player you know makes a jump how were you able to like implement that besides the whole phase cancellation good I mean so a couple of points here obviously I'm based down in Melbourne down in Australia all right these guys are in California so it's a big distance there it was Jeddah myself

with main sound people in the same we know so how does that qualify cross off we had Boyd post we had a great gal Greg Allen yeah a couple of different people helped us out and things along the way but is it basically Gemini and what was great about that is that we pretty much had free rein to do whatever we liked and that was great it wasn't political or anything like that we were just lets make musical ultras that'd be cool it was great right so anyway I believe I really really really strongly believe that if you're a video game composer and you're not implementing your own music then that's really wrong because essentially you're handing something that you're spending time energy and money over to an assistant that has nothing better to do that slices up your sounds and music and things so when you have control over that from the beginning you're able to compose knowing about your implementation techniques so with that session there it's all built in one huge massive session so it's all mixed mastered all in one massive session but there's kind of mustard mix

and things in like eight bars at a time so when we do recording it's really boring for the players because they kind of play eight bars and then stop we do another eight bars and then they stop though with phasing and things we didn't have any issues because of that why is this pretty handy with that sort of stuff if you're familiar with wise you'll know about the pre entry imposed to exit so we're just basically using that what's great about this system is that everything we used is off the shelf stuff I think we had any custom stuff we had some scripting stuff for the musical ultras yes but how they're being played back is all the comma because all these days yeah so you a question okay yeah yeah and you wrote the the lyrics and everything like that yes yeah well I had a little bit of help with the orchids named Ally Edwards who's the main vocalist on that on that theme she wrote a lot of a lot of the lyrics and that was a funny one the track is called touch me and I'll break your face yeah I love that track I thank you the original killer instinct obviously orchid was treated very so they're very overly sexualized in things

right and there's a line in the original song which is like touch me feel me and when we were talking about like the new orchid and how we want to do to come across we took that we don't want that touch me thing now we want that touch me and I'll break your face and then that became the whole that like I thought once we got that the song kind of wrote itself but I didn't feel comfortable writing lyrics for orchid being male so I wanted to give that to somebody else so that was Alli so she sung it and she wrote all the lyrics and things like that as well but we did heaps of stuff that I mean all the stuff in Sweden with the Swedish choir was written by pontus true felt he wrote all the translations and staff we could recorded that there 13 Viking men who were really into it and also stuff recorded in a gymnasium and got the work what else man yeah we did strings in Manchester we do brass in London we did stuff all over the place so Mike raised a very good point here about the sexual aspect of orchid and like every character was treated very carefully like Thunder you knows now like a Native American fighter and the

previous character was very racist so like every character we put a lot of efforts to make sure that it doesn't that he's not offensive for any oh yeah I mean we had like representatives in the nez perce tribe that basically designed Thunder for us all these war pain is traditional war paint and things Jen actually went to Idaho for a couple of days and recorded singers and things out in the wilderness and stuff like that as well so we're really fortunate to be able to have that access to that sort of thing yes Bravo work guys thank you very much does anybody have any other questions yo man thank you thank you GDC vault right after to watch it again my question is you have fulgor coming out soon I'm not sure how much you can talk about this but any uh you know cool sound things or music things you guys are working on focus that character so yeah football's coming out later this

month we can't see anything now um yeah it's very true to the original games so yeah if you're a fan of the only thing that I can say maybe is that we trade him we treated him with trying to blend New York and exciting to the electronic in the electronic into the organic that was like sort of the the idea for food or yeah there's lots of modular synth stuff and things that went into kind of designs and things so you're a rack and stuff distortion pedals very special character very different from the younger characters in the roster again tonal stuff is obviously gotta mean a robot so you've got lasers not sort of stuffs are tonal things again yep I think thank you then okay guys I think that's oh one more all right we will do one more just because I love your shirt I'm just curious now that you actually

you've done title do you feel that you could have actually delivered this audio solution the previous generation would you feel that actually no it needed this generation let's imagine you you say that let's imagine we try to make it to 360 we could but yeah we would have to down raise a lot of stuff and get a lot of content the system would work yeah the system would work with your stuff too yeah this is really interesting like I mean you I know we talked about next-gen and all that sort of stuff that's fascinating when you can have 500 mega sounds playing in a single level getting 500 makes sounds for hard drive quick enough becomes the problem so yeah it's yeah I think so I mean the same again there's creative restrictions it wouldn't have been this game but it would have been something else and you just work with whatever creative restrictions you have pretty managing like all the particles you'll never get down for 60s all the Lighting's real-time or 60 frames per

second so there's a lot of visual stuff that's happening as well it wouldn't be just audio that would be affected you know it just came out in the audio so yeah thanks so much to come to the talk guys really appreciate it [Applause] you