Mama Robotnik
Member
What the fuck is wrong with the audio design nominations? Zelda, Portal 2 and Dark Souls? Seriously? Not BF3 or Uncharted 3?
Goes to show gaming publications no nothing about audio design since 99% of the time all they talk about is the music and voice acting.
Portal 2's audio design strengths:
-Voice acting, obviously, supported by magnificent dialogue and delivery.
-Use of mechanical sounds to blur the lines between ambient noise and melody
-Reactive sounds depending on specific use of gels, lasers and faith plates (and other mechanics), meticulously using the variations in noise to give you further input as to your speed, height and movement. The increasingly pronounced beat when more lasers hit their target (that you cannot always see) is an absolutely stellar way of giving the player audio input and feeback.
-Incredible atmospheric weight in the middle part of the game strongly supported by superlative environmental noise.
-Use of music to represent different eras of Aperture, with changes in music style indicting an audio-progression through time.
-The music in of itself is very good in general.
-Diversity including slow jazz, operatic, classical and ceremonial.
-A concluding song that continues the narrative of the story in a completely different medium to the rest of the games storytelling.
-The different noises used by the coop robots gives further input as to what your ally is trying to communicate you to do, especially if you cannot see them.
-The use of Glados giving calculated dialogue to each player seperately in an attempt to foster tension is remarkable use of sound.
I guess I know nothing about fucking sound design too, as I'd also say the game has the best, most thoughtful, and most game-enhancing sound design of anything released this year. Oh woe, what idiots and imbeciles me and EDGE are for even considering it!
Rebut me leng jai