Sonic Design Final Project: GameAudio - Hollow Knight

Sonic Design

Week11 - Week 14

BACHELOR OF COMPUTER SCIENCE (HONOURS)

FENG JIAQI / 0373887

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Final Project: Game Audio

    The objective of this project is to enable students to independently select a segment from teacher-provided indie game video material, design and produce sound effects, and utilize audio effectors for post-processing. Students are required to thoroughly analyze the game's tone, rhythm, and scene logic to ensure seamless integration of sound effects with the game content, demonstrating professional sound design capabilities while mastering the use of audio processing tools.

Reference Research and Conceptualization Ideas

    As a gaming enthusiast, I’m captivated by the sound design of Hollow Knight, where its cartoonish yet dark aesthetic provides a unique foundation for audio creation. After diving deep into the game’s sound design, I’ve begun working on my own project. Firstly, the game’s blend of cartoonish charm and dark undertones demands sound effects that retain a light, whimsical texture while evoking a mysterious and oppressive atmosphere. To achieve this, I believe most sound effects should incorporate reverb to craft the expansive, eerie ambiance of an underground world, such as cave echoes or the low hum of insect swarms, enhancing immersion. Secondly, I plan to focus on dynamic layering in sound design, tailoring effects to match the rhythm of different gameplay scenarios. For tranquil exploration scenes, I’ll use soft ambient sounds (like dripping water or faint wind) with subtle random variations to avoid monotony. In intense combat sequences, I’ll employ sharper, high-impact sound effects (such as metal clashes or the buzz of insect wings), enhanced by compression and distortion effects to amplify tension. Additionally, I aim to implement spatial audio processing, leveraging stereo or 3D audio techniques to allow players to intuitively sense the direction of enemies or environmental sounds, heightening the immersive experience. Finally, drawing inspiration from Hollow Knight’s iconic sound design—such as the nuanced feedback of character footsteps and environmental interactions—I’ll strive to incorporate similar attention to detail in my work, ensuring that the sound effects not only serve the atmosphere but also seamlessly align with the game’s narrative logic and visual style.

Audio Storyboard Design

    As the starting point of the project, I meticulously designed an Audio Storyboard, which comprehensively lists all the resources I need along with the corresponding timeline. To enhance management and ensure clear visualization, I incorporated different colors to distinguish various sound effect elements, making the entire design process well-organized and intuitively accessible.

Sound Recording

    We visited Taylor's recording studio with my teacher to prepare my audio resources, which proved to be incredibly helpful! This trip not only offered valuable hands-on experience but also allowed me to gather high-quality sound materials in a professional setting, perfectly suited to refine my Audio Storyboard.

Recording Room

 

Self-Sampling

Audio Editing and Manipulation

    The processing of the audio files is a key part of the demo. First, I designed a track dedicated to the "Broken" audio, a shattering sound effect triggered during a monster's death, intended to enhance the combat's rhythm and intensify the overall tension.

"Broken" Track Processing

    Next, I designed another track responsible for the "Electric Shock" sound effect, which is produced when electricity flashes in the game, typically with a certain regularity. However, the raw audio contained some harsh high notes, so I applied a forced limiter effect to refine it, improving both the comfort and overall quality of the sound.

"Electric Shock" Track Processing

    The "Hit" track is designed to be slightly more complex, as the game video involves different attack targets that require distinct hitting effects. For instance, when attacking monster units, I incorporated a relatively crisp hit effect— a sound commonly used in cartoon indie games—paired with wind sound effects during the strike to emphasize the attack's power. However, when hitting "rocks" or other hard units, I opted for different hitting sound effects to reflect the impact on solid surfaces, ultimately creating a varied and realistic auditory experience.

    Finally, I utilized dynamic processing effect plugins to enrich the auditory experience, further enhancing the sound's depth and immersive quality.

"Hit" Track Processing

Final Audio

Visual and Audio Compilation

    The Visual and Audio Compilation section employs Adobe Premiere Pro to synthesize the video, seamlessly integrating the visual and audio elements.

Final Submission