![]() Every sound needed to give very clear feedback.ī. Picking them up as a player would naturally, with slow-ish speed and not too quickly.Ī. ![]() Transients had to be soft and subtle, not hard and sharp.ī. ![]() Here are some guidelines we followed for achieving this goal when recording and designing each sound:Ī. We took pictures of each individual item and printed them out to take to the studio for reference, to make sure that what we recorded would match the visual. ![]() We made a test level so that we could test every single unique pickup in the game.Įvery prop we used for each sound had to match the texture and quality of the object. We recorded and designed for 9 parent categories for items, with a total of 48 sub-categories of items. If you pick up a can, we want the player to hear a can. Our overall sound design philosophy for inventory items was to have them represent their respective objects as close as possible. The level of detail we went for allowed the world to come alive even more through the many objects that the player will come across. These are items that become important for the player's journey, and it's important that we made each item sound as unique as they looked. The goal for inventory items was to immerse the player into the Halcyon colony to really feel like they are the unplanned variable, picking up and using all sorts of items in the various worlds that they travel to. What did we consider Inventory in The Outer Worlds? "Inventory items", were game objects that the player could pick up during gameplay, consume, or drag/drop anywhere in/out of the inventory screen. In Part 2, we’re going to look at some other areas: Weapons, Inventory and some of our Scripted Events, so strap in and enjoy! Inventory Design ![]() In Part 1, we covered how we designed Creatures, the Music system, VO, Emitters, Ambience and Spatialization in the game. Welcome back to Part 2 of our deep dive into the Sound of the Outer Worlds! ![]()
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