The third game in the BioShock series leaves the bottom of the sea behind for an entirely new setting - the floating city of Columbia, circa 1912. Come to retrieve a girl named Elizabeth, ex-detective Booker DeWitt finds more in store for him there than he could ever imagine.
Kind of crazy actually, wonder how that came across in development and what they felt it added to the game. Something you are just barely aware of when playing the game but not enough to actually have meaning as a song, just ambiance.
I wouldn't read too much into it. Most likely they just found that the sound of singing slowed way down was particularly unsettling in the right ways for what they were going for. Sound designers go in for all sorts of crazy stuff like that. Sometimes you just don't realize what you need is the sound of a jar of nails falling on a hacksaw suspended between two guitars until you try it.
I wouldn't read too much into it. Most likely they just found that the sound of singing slowed way down was particularly unsettling in the right ways for what they were going for. Sound designers go in for all sorts of crazy stuff like that. Sometimes you just don't realize what you need is the sound of a jar of nails falling on a hacksaw suspended between two guitars until you try it.
Yep. It may have meaning or it could just be a sound guy wanting an ominous sound and used some slowed down music to achieve it.
Isn't this just the same sort of thing they did in Inception? Slow the music waaay the hell down to get a weird effect in the background? Hardly seems all that mind blowing.
I wouldn't read too much into it. Most likely they just found that the sound of singing slowed way down was particularly unsettling in the right ways for what they were going for. Sound designers go in for all sorts of crazy stuff like that. Sometimes you just don't realize what you need is the sound of a jar of nails falling on a hacksaw suspended between two guitars until you try it.
Yep. It may have meaning or it could just be a sound guy wanting an ominous sound and used some slowed down music to achieve it.
Pretty much. I actually use a capellas slowed down far beyond being intelligible (Enya's a pretty good example) and then chopped up into the most effective bits as ambience a lot of the time. Frequently by the end it's so mangled that even sped up it doesn't sound like a cohesive song any more, but this just strikes me as a sound designer using that trick (which isn't a particularly new one) and just being happy with how it sounded without even having to chop it up.
There's definitely something fitting about it in a game so obsessed with time shifting and such, though.
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