Bokeh Game Studio’s forthcoming horror-action titleSlitterheadwill be its official debut game, releasing soon on November 8. Founded and headed by Keiichiro Toyama, the well-known creator and director of the originalSilent Hill, the studio already has something of a reputation to uphold. WithSlitterhead, Bokeh seeks to carve out its own path in the horror space with a number of interesting ideas, ranging from its setup of an invasion of body-horror-inducing parasites to its possession feature.
Alongside an engaging story and gameplay, carefully consideredsound design in horror gamesis also undoubtedly one of the major ingredients for a successfully scary and memorable experience. Game Rant spoke with composer and audio director Akira Yamaoka about his work on creating a soundscape to ensure thatSlitterheaddelivers in the audio space. Yamaoka further detailed how he approached thinking about the best ways to craft a mix of moods and tones that, together, create a perfect blend of organic elements and otherworldly ambiance.
Describing his thoughts on composing forSlitterhead’s atmosphereand his overall auditory vision, Yamaoka discussed his view on differentiating between two specific angles and their subtle but impactful separation:
“I placed great importance on the distinction between “Real” and “Reality.” While advancements in hardware have brought visual and sound representation closer to the “Real,” I believe that alone is not enough. Games are entertainment and exist in fictional worlds, so it’s essential to express not just realism but also evoke emotions, warmth, and a sense of expansiveness that conveys ‘Reality.'”
Yamaoka aimed not to simply replicate reality as accurately as possible, but to imbueSlitterhead’s audio characteristics with a wider range of feelings that, in a sense, recognize and reflect its status as a creative work. By distinguishing the line between the above aspects, but keeping in mind their intersecting nature,Slitterheadseeks to integrate layers of both into its sound design. Through this weaving of “Real” and “Reality,“Slitterheadlooks to present itself as agame that is realistically groundedbut simultaneously incorporates more evocative elements regarding its auditory presentation.
On top of being an action-horror title,Slitterheadtakes inspiration from90s era cyberpunkworks for its setting and characters. Elaborating on the other ways thatSlitterhead’s sound design supports this depiction, Yamaoka highlighted some of the alternate methods he looked to when experimenting with background and ancillary audio aspects:
“In particular, for ambient and drone sounds, I avoided using standard assets and instead created unique, organic, and varied sounds to represent the world of Slitterhead. I truly hope players enjoy that sound experience.”
Standout audio direction will always play a key role in contributing to the heightened sense of tension and immersion crucial in gaming, especially forgames likeSlitterhead. Yamaoka’s meticulous efforts in shapingSlitterhead’s sound direction seem like they will go a long way to complementing its visual and narrative style by conveying a strong sense of place. Through its use of the above techniques,Slitterheadhopes to induce not just the necessary sense of pervading terror in fans, but also a wealth of emotions beyond, and provide a tapestry of sound that is both believable and surreal in its implementation.
