Slitterhead Composer Details His Approach to Its Sound Design [Interview]

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As a seasoned gamer with over two decades of experience under my belt, I can confidently say that I am eagerly anticipating the release of Slitterhead. Having traversed through countless digital realms, both terrifying and mundane, I have a soft spot for games that push boundaries and challenge conventional wisdom. With Keiichiro Toyama at the helm, Slitterhead promises to deliver just that – a unique blend of action, horror, and mystery set in a fictionalized East Asian city infested with the titular creatures.

The release date for Slitterhead is nearly upon us, and this upcoming game promises to take players on an exhilarating, peculiar, and terrifying ride. As the first game from Bokeh Game Studio, led by Keiichiro Toyama – renowned creator of Siren and Silent Hill – Slitterhead will submerge players into a fictionalized East Asian city teeming with the eponymous creatures. Assuming the role of a spectral character, you’ll navigate and combat your way through Kowlong’s neon-soaked and rain-drenched streets, battling against waves of monsters while searching for the cause of their incursion and finding ways to halt its spread.

In the game Slitterhead, while it offers engaging gameplay and mechanics, it delves deeply into darker, more disturbing themes. Notably, sound design and audio elements are essential parts of horror games, and Slitterhead follows suit. Composer and audio director Akira Yamaoka shared his methods for crafting and harmonizing the diverse auditory aspects of Slitterhead in a conversation with Game Rant. He detailed how these sounds contribute to an immersive, chilling, and disquieting experience by enhancing it. Here’s a condensed and clear version of the interview.

Slitterhead’s Composer On Designing a Unique and Natural Soundtrack

Q: Can you talk a little bit about how you approached composing for Slitterhead overall?

Akira Yamaoka expressed that since the game was Keiichiro Toyama’s project and Bokeh Game Studio’s first venture, he approached its production with high spirits. Given the game’s distinctive nature, falling outside typical genres, he felt a strong obligation to craft an exceptional sound design. Being someone who constantly seeks originality in his work, he found this creative process particularly enjoyable.

Q: What does its overall soundtrack try to convey?

Yamaoka:Slitterhead is a distinct action game with horror undertones, designed to captivate players and leave them thinking “What a thrilling action game!” upon completion. The sound design should seamlessly integrate into the game, enhancing the overall experience rather than drawing attention away from other elements like characters, settings, user interface, and more. My goal is to create an environment where players appreciate the crucial role of sound as they become fully engrossed in the game.

Making Slitterhead’s Environmental and Character Soundscapes Distinct

Q: What about the environment? How did you approach sound designs for creating the atmosphere?

Yamaoka emphasizes the difference between “True” and “Experience”. Although technological advancements in hardware have narrowed the gap between visual and auditory simulation and true reality, he argues that this isn’t sufficient on its own. Games are meant for entertainment and they reside within imaginary realms, so it’s crucial to go beyond mere realism, aiming instead to evoke feelings, warmth, and a sense of boundlessness that conveys “Experience”. In the case of ambient and drone sounds for the game ‘Slitterhead’, he chose not to use standard sound assets but instead crafted unique, natural, and diverse sounds to depict its world. He sincerely hopes players will appreciate this audio journey.

A: Could you elaborate on the approach taken for creating the sound designs of different Slitterheads, and provide insights into the development of the Hyoki’s sounds as well? If possible, could you draw comparisons between these sounds within the game?

In my perspective, while observing the world within this game, it seemed that Hyoki and the Slitterheads aren’t entirely antagonistic at their core; I believe the subtle tension between them was crucial. Initially, I shaped the soundscape of the Slitterheads and designed Hyoki by stripping away certain elements. Through repeated playtests, aligning with the game design and progression, I gradually enriched the sonic imagery for both characters.

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In Yamaoka’s design for the soundscape of Slitterhead, it seems set to distinguish itself significantly. The emphasis on crafting distinct yet interconnected auditory personas for the alien protagonist and the chilling antagonists is particularly captivating and intriguing. When coupled with the other elements of Slitterhead, its soundtrack promises to leave a lasting impression as a hauntingly memorable and striking one.

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2024-11-01 19:05