Resident Evil is a 1996 PlayStation title from the games company Capcom. It was originally developed in Japan under the name Biohazard. The game featured various character modes, in which the storyline differed according to who you played as; I have chosen to look at the timeline of the character Jill.
A video of the section being discussed can be found here: Jill's Story.
Based on the users very first encounter with this game, the standard of the audio looks promising, as the arcade style title menu and menu transition sounds are pleasing. However from the outset of the gameplay, it becomes clear that it may not be able to live up to the expectations it has created.
A number of issues become clear as soon as we first see the characters in the entrance hall. There are no room tones, or any atmospheric sounds applied, which makes the setting seem very unnatural; and combined with the audible reverb used on sounds made by the characters, create odd pauses in the on screen action. It also quickly becomes clear that the voice acting is of a poor standard, to an almost laughable extent. The way things are phrased and the inflections used on certain words just seem unnatural to the context and, in places, to the way anyone would normally speak. Also, in places where the speech is almost acceptable, sounds are triggered late which in turn degrade the character of the vocal:
“But Chris is…” | PAUSE | Gunshot that should have interrupted the speech
It is evident that the footstep sounds are made up of single samples for each flooring variant, which are repeated as the characters move around. In places these are also out of time with the characters viable footsteps.
The first new sound we hear in the dinning room, a ticking clock, also presents areas for criticism. Firstly that the sound is at an equal volume from all of the camera angles, despite the clock having a fixed position (and therefore sound origin point) in the room. Secondly, the pitch of the sound seems a bit high considering the size of the clock that is seen on screen. The standard of dialogue and footsteps continue as the characters explore the room. In this sequence the characters are also attacked for the first time and we hear the first outing of the music that accompanies these ‘danger’ moments. The music itself isn’t bad, if but a little corny, but it’s application is questionable. The music begins suddenly, even before the zombie is seen on screen, and ends even more abruptly mid-phrase. During this attack it is also clear that the same gunshot sample is repeated without being altered, however this is covered slightly by the music. Once the attack is over, the footstep problem then again comes into play, as the two characters sounds overlap causing odd effects.
When the action returns to the entrance hall there is again an obvious absence of any room tones or ambience, but we hear a musical underscore that wasn’t there before. Although successful in creating some form of tension, it becomes clear after a while that it is only a short section of music and is looped, having an obvious repeat point.
As Jill goes off on her own, through a series of different rooms, the pattern of questionable sounds continues. Starting with a distinct cut of the music from the entrance hall and the beginning of a different musical figure, as Jill goes through the first set of doors. At one point two zombie dogs jump through a window and we hear a return of the rather cheesy ‘danger’ music, however this time the music stops when Jill has left the room, even though she has not killed her attackers. Also, these dogs make what must assumed be a growling sound in time with the music, but this sounds more like a Millstone grating than a canine noise. As she continues through the halls there are points where she clearly passes undead characters, but in these instances they make no sound and the ‘danger’ music does not return. Another instance of note is when Jill goes upstairs: the sound and action of going up the stairs is out of sync for the first half of the cinematic, and when we return to a wide camera angle the nature of the footstep seems not to fit with the manner in which Jill is moving. Continually throughout this section of the level we see the use of a repeated single footstep sample for each flooring type within the game. The absence of room tones is also further evident and there seems to be an inconsistency in the use of musical underscore, with some rooms having it and some not. As we emerge onto the upper landing of the entrance hall, we return to it’s original state of having no room tones or music. The characters then converse in the same laughable way.
As Jill goes off again on her own, we begin to hear a more atmospheric soundtrack as a low drone begins and remains until she returns to the entrance hall setting. Although the tension created by this unnerving drone is quickly dissipated when Jill doesn’t come across any danger during this sequence. It is also noticeable that whilst on the balcony, although only for a short time, the atmospheric sounds loop:
However it is definitely the poor vocal and footstep audio that are most obvious in this game, as by nature they run throughout the storyline and are integral to the soundscape the user encounters.
SUGGESTED IMPROVEMENTS
Voice acting
Record more natural sounding acting. Use techniques for radio play and then chop up if necessary.
Footstep randomisation
A number of different left and right foot samples for each flooring. Played back randomly for variance.
Room tones
Add room tones to all areas.
Random atmospheric sounds
Random ambient sounds for each room. Eg. Creaking floors/walls, water dripping.
Give static zombies groans
Even if they are not ‘active’ in terms of user interaction yet, they can still make a sound.
Vary gunshot sample
Have 3 or 4 different gun samples that playback randomly for variance.
Consistent use of underscore and transition through rooms
Either use underscore all the time or at places where zombies are. If two adjacent rooms have different underscore, smother transition.
Make musical cues longer, or more loop-able
For areas with underscore, either make the cue long enough to stretch over the whole action or less noticeable when it loops.
Give the ‘danger music an ending figure to wind down tension
Rather than a sudden stop, the end of the danger music loop transitions into an ending figure to end the cue.
More appropriate use of drones to create tension
Use drones in areas where zombies are, or where danger is approaching. That way as the story progresses, the user will associate the sound with danger and tension can be created more readily.
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