{"id":177,"date":"2025-07-28T09:00:34","date_gmt":"2025-07-28T08:00:34","guid":{"rendered":"https:\/\/blogs.napier.ac.uk\/sounddesign\/?p=177"},"modified":"2025-02-25T07:03:02","modified_gmt":"2025-02-25T07:03:02","slug":"david-chan-on-game-audio-when-it-is-done-right-no-one-will-notice","status":"publish","type":"post","link":"https:\/\/blogs.napier.ac.uk\/sounddesign\/2025\/07\/28\/david-chan-on-game-audio-when-it-is-done-right-no-one-will-notice\/","title":{"rendered":"David Chan on Game Audio: When It Is Done Right, No One Will Notice"},"content":{"rendered":"

Game audio is an invisible practice, when executed well, players barely notice it. Yet, it is fundamental in shaping an engaging experience. In an insightful online guest lecture, David Chan, Audio Director at Hinterland Games, explored the philosophy and craft of video game sound design. Drawing from a career spanning over 37 titles, including Mass Effect<\/em>, Knights of the Old Republi<\/em>c, and Splinter Cell<\/em>, he detailed how sound can enhance immersion, create emotional impact, and bring virtual worlds to life.<\/p>\n

\"David<\/a><\/p>\n

The Philosophy of Sound Design<\/h3>\n

Chan described sound design as performing two essential roles: creating an illusion and reinforcing reality. He linked this to historical examples, such as stage performances that used wooden blocks to mimic galloping horses or metal sheets to simulate thunder. The same principles apply to games, where sound designers must craft worlds that feel authentic, even when they do not exist in reality.<\/p>\n

A clear example comes from Red Dead Redemption<\/em>, where audio designers carefully reconstructed the sonic environment of the Old West. The ambient sound of the game\u2014horses neighing, conversations on the streets, distant gunfire\u2014contributes to a sense of time and place. Chan explained how these elements reinforce reality, ensuring that the world feels lived-in. He noted that the game\u2019s soundtrack, inspired by spaghetti westerns, further supports this atmosphere, seamlessly integrating music with environmental sounds.<\/p>\n

How Sound Shapes a Scene<\/h3>\n

One of the most striking examples Chan presented was how sound can completely change the mood of a scene. He demonstrated this by stripping the original audio from a video clip and replacing it with two different soundscapes:<\/p>\n

    \n
  • The first version used subtle ambient sounds like birds chirping and distant city noise, creating a neutral, everyday setting.<\/li>\n
  • The second version replaced these with an ominous drone and eerie music, transforming the same footage into something foreboding and tense.<\/li>\n<\/ul>\n

    This exercise highlighted how sound designers influence perception and steer player emotions without altering the visuals.<\/p>\n

    A more extreme example of this approach comes from Splinter Cell<\/em>, where Chan and his team had to create the illusion of a prison riot without actually animating one. Due to technical limitations, they could not show hundreds of rioting prisoners on-screen. Instead, they relied on audio cues\u2014distant shouting, the clanging of metal doors, and muffled alarms\u2014to make players believe chaos was unfolding nearby. As the player moved into enclosed spaces, the soundscape changed, becoming quieter and more muffled, reinforcing the illusion that the riot was occurring just out of sight.<\/p>\n

    Designing Sound for Fictional Worlds<\/h3>\n

    One of the key challenges in game audio is developing sounds for fantasy and science fiction worlds. Chan spoke at length about Star Wars: The Old Republic<\/em>, a game set in the Star Wars universe but in an era not explored in the films.<\/p>\n

    He explained that while they aimed to remain faithful to the franchise\u2019s iconic sounds, many of the game\u2019s effects were newly created. For instance, the game introduced new droids that needed to sound as if they belonged in Star Wars, without directly copying R2-D2\u2019s beeps and whistles. The sound team designed robotic sounds that felt authentic to the universe but were built from scratch.<\/p>\n

    Another challenge was designing energy weapons for the game\u2019s melee combat\u2014something rarely seen in the Star Wars<\/em> films. The team had to develop a sound signature that fit within the established audio landscape while remaining distinct from traditional blaster sounds. Chan saw it as a success when players assumed the game had simply reused sounds from the films, when in reality, much of the audio was entirely new.<\/p>\n

    In Prey, Chan tackled a different challenge: designing sounds for organic weapons. Unlike traditional sci-fi firearms, these weapons were hybrids of living creatures and technology. One example was a grenade-like alien that the player had to rip apart before throwing. To make this sound believable, the team blended:<\/p>\n

      \n
    • Wet, organic textures to give the impression of tearing flesh.<\/li>\n
    • Squelching and bubbling effects to suggest the creature was still alive.<\/li>\n
    • Mechanical clicks and pings to remind the player that it was still a weapon.<\/li>\n<\/ul>\n

      This careful layering of sounds helped create an unsettling but intuitive experience for players.<\/p>\n

      Building a Scene with Sound<\/h3>\n

      Chan provided a detailed breakdown of his sound design process using a scene from Prototype. He demonstrated how game audio is constructed layer by layer:<\/p>\n

        \n
      1. Environmental Ambience \u2013 The first layer consisted of background sounds such as distant city noise, wind, and subtle echoes, setting the foundation for the world.<\/li>\n
      2. Character Actions \u2013 Next, footsteps, breathing, and interactions with the environment were added to reinforce the character\u2019s presence.<\/li>\n
      3. Emotional Elements \u2013 Music and additional sound cues were introduced to enhance tension, guiding the player\u2019s emotions.<\/li>\n
      4. Final Mix \u2013 Once all elements were combined, the scene felt alive and convincing, despite being constructed entirely from separate sound sources.<\/li>\n<\/ol>\n

        This method is essential in games, where every sound must be placed with intention. Unlike film, where microphones capture real-world sounds during production, game soundscapes are built from scratch.<\/p>\n

        The Risks of Distracting Sound Design<\/h3>\n

        While sound design enhances immersion, poorly implemented audio can have the opposite effect. Chan discussed how reusing sounds from other games can break immersion. He pointed to Team Fortress 2<\/em>, which reused audio effects from Half-Life<\/em>, making the soundscape feel out of place.<\/p>\n

        He also shared humorous examples, such as a reimagined Super Mario Bros<\/em>. scene where realistic voice acting was added to Mario\u2019s jumps, falls, and collisions. The exaggerated grunts and pain sounds turned the classic game into something unintentionally comedic, showing how audio choices can completely shift a game\u2019s tone.<\/p>\n

        Another example came from The Elder Scrolls IV: Oblivion<\/em>, where a voice line was accidentally repeated in the same conversation. These small mistakes, while often unintentional, can pull players out of the experience and serve as a reminder that they are in a game.<\/p>\n

        The Human Side of Game Audio<\/h3>\n

        Chan also discussed the role of voice acting in game sound. He played outtakes from recording sessions, showing how voice actors experiment with different tones and deliveries. He noted that good voice performances must match the world\u2014whether it is gritty realism in Watch Dogs<\/em> or over-the-top fantasy in Jade Empire<\/em>.<\/p>\n

        He also shared a humorous example from MDK2<\/em>, where an alien species communicated by expelling gas\u2014a creative but comedic take on alien speech design. While some sounds need to be grounded in reality, others allow for creative and exaggerated approaches.<\/p>\n

        Final Thoughts<\/h3>\n

        David Chan\u2019s lecture provided an insightful look at the complexities of game audio, from crafting subtle background sounds to designing entire worlds through sound alone. His key message was clear: Great game audio should be felt, not noticed.<\/strong><\/p>\n

        When done well, it deepens the player\u2019s immersion, enhances emotions, and makes virtual worlds more believable. Whether creating the ambience of the Old West, the tension of a sci-fi battle, or the chaos of an unseen riot, the principles he shared continue to shape the way game audio is approached today.<\/p>\n","protected":false},"excerpt":{"rendered":"

        Game audio is an invisible art\u2014when done well, players barely notice it. Yet, as David Chan, Audio Director at Hinterland Games, explained in his guest lecture, sound plays a crucial role in shaping the emotional and immersive qualities of a game. Chan shared how sound design can subtly reinforce reality, such as in Red Dead Redemption, where distant gunfire, horses neighing, and ambient chatter establish a convincing Old West atmosphere. He also demonstrated how sound can dramatically alter a scene\u2019s tone\u2014by swapping natural environmental noise with an ominous drone and tense music, he turned a neutral setting into something foreboding. Drawing from his work on Splinter Cell, Star Wars: The Old Republic, and Prey, he revealed the challenges of crafting audio for unseen events, futuristic weaponry, and entirely fictional creatures. From layering footsteps and dialogue to designing the eerie squelch of an organic grenade, every sound must be deliberately constructed to feel natural within a game\u2019s world. His key takeaway? The best game audio is felt, not noticed. When done right, it deepens immersion without distracting the player\u2014a lesson that continues to shape sound design in games today.<\/p>\n","protected":false},"author":433,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","footnotes":""},"categories":[6,12],"tags":[],"class_list":["post-177","post","type-post","status-publish","format-standard","hentry","category-online-guest-lectures","category-video-games"],"yoast_head":"\nDavid Chan on Game Audio: When It Is Done Right, No One Will Notice - Sound Design at Edinburgh Napier University<\/title>\n<meta name=\"description\" content=\"Discover David Chan\u2019s insights into game audio and sound design. 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