The sound design for the game “Fallout New Vegas” has to use many natural sounds as well as computer made sounds as the game is set in a futuristic setting and requires sounds for weapons and creatures that we don’t have in real life. Andrew Dearing, Justin Bell, Mikey Dowling, and Jonathan Pendergrass all worked on the sounds for the game making it what it is. Obsidian (The company that made the game) went on many trips to perfect the sounds for the game, traveling to deserts and camping so the could collect as much sounds as possible, then going to abandoned buildings for example, they did this to get all the creepy sounds which fit into the game. By doing this it really fits the game and really shows what they’ve done. They used Sound Devices 702 and a Sanken CS5 to make the sounds possible.
The feel of the game really shows in open area from day too night, the transitions between night and day where fluid and seamless to do this they made ambient loops, dusk and dawn without a lot of motion they did this too keep the repetition to a minimum, this kept the sound dynamic and fresh so you could keep playing the game without getting sick of it. Also they added distant screams, breaking glass and muffled explosions to add a sense of danger in which keeps the player on their toes, doing this shows how the sound and music really help the player feel immersed into the game.
As Fallout New Vegas for ambiance For ambience, Obsidian mostly used the existing systems except for one key addition. They added the ability to attach sounds directly to the art objects that the designers would place in the game. For example, when the sound designers added a wood creak sound to the wooden telephone poles in the town of Goodsprings, that sound would automatically propagate to all of the telephone poles in the world. This was a key new feature for the game. After that they added subtle sounds to anything we could from broken down cars to piles of dirt. Every subtle sound they added created a even better ambience so they game would come to life. They created the audio so it wouldn’t interrupt each other and run smoothly. When the player is out in the middle of the desert without a town in sight, the music plays in a matter that is similar to the one shot system described above. Bits of music come and go in small bursts and blend with the sounds of the Wasteland itself. The music also builds upon itself as the player moves towards locations of interest in the Wasteland.
Overall, the combination of setting strong real life sounds, and working the Obsidian team working endless hours of sounds. This project had its difficulties as collecting all the different sounds, but in the end the complete soundscape really worked well with the theme and look of the game. I feel that the sound is excellent and works well with the game.