Friday, May 27

Tiny Tina’s Wonderlands: The Creative Process of Recording Effects in a Pandemic

During the last year, and those that still remain, many have been published games that have been developed during the pandemic of the coronavirus in part or in its entirety. The I work from home It’s common in many independent studios, but in teams of hundreds of employees organized across disciplines, it was almost unthinkable until recently.

One of those games is Tiny Tina’s Wonderlands, the spin-off from Borderlands that Gearbox and 2K Games will release the March 25th for PC, PS5, PS4, Xbox Series and Xbox One. It is a looter shooter/i> that adopts a setting of medieval fantasyall in one game role directed by Tina Chiquitina, main character of the most praised DLC of Borderlands 2.

The project was a paradigm shift for the studio. Yes, there are weapons, there are loot and there is frenetic combat, but going from a futuristic, decadent and comical setting to a fantastic ambientacin, allotted and equally comical changes many things: art, gameplay, the game structure, and of course the music and sound effects.

To the challenge of change after dedicating himself for more than a decade almost entirely to Borderlands another challenge must be added: the I work from home. For the sound team, who could not count on most of the previously used sound library, the situation allowed them to unleash fun creativity.

Frozen pants and Peta Zetas to create the sounds

When we started, of course, we were doing all of this from home. we did not have access to our recording spaces cliches and all that stuff. So we started recording things around the house,” he tells us. Mark Petty, audio director of Wonderlands, in an interview by Zoom. “For example, when the magician raises a staff and attacks, you see the visual effects of all the things swirling around him. And we composed a lot of that, like the electricity and other things arising”.

“[Lo hicimos con] things like elastic bands, packing tape, and that kind of pops and crackles. One of my sound designers took a high pressure water hose and began to pour water on a wooden fence, on the bushes, etc. We went even further in some of the sounds”, continues the one who has been audio director in the studio since Borderlands 2.

States like freezing? Basically we fold frozen jeans, we use eggshells, we blow up Peta Zetas, and that kind of thing.” The creative admits, “We had to rethink how we were able to create and not have all our props, gear, and all that stuff. But it was very Funny”.

In the conversation we had with Mark Patty and with Matt Cox, creative director of Tiny Tina’s Wonderlands, we also talk about the original sound proposal of the title (which in narrative terms is a game within a game within another game, and that influences the sound), as well as how they have managed to make the gamefeel of swords is perceived as satisfying as with firearms, and many other topics. So stay tuned for Vandal because we will publish those articles in the next few days.



Reference-vandal.elespanol.com

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