Like too much real HelbedThe story of Sinwa: Helbed II There is a narrative action game that plays players in a traumatic celtic warrior with psychosis. As a game about learning to see the truth and the sight of Sinwa as the same, Helbed II Provides an experience that uses unique visual and in particular, audio effects that emphasize the mental quality of the main character throughout its journey.
During the 2025 Game Developers Conference, Ninja Theory Principal Sound Designer Daniel Galante made a detailed offer about the sound design Sinwa’s Story: Helbed IIAnd how the innovative use of the original game of the Binner Audio for the sequel was enhanced. In addition to breaking how the actors performed their sessions with Binner Audio Setup, the sound designer explained the challenges and benefits of sharp sound design for sports.
To make a deception sound skip
The developer Ninja Theory has developed a considerable degree to produce the game with a great visual style and impressive sound design. Origin Helbed Not only did the significant definition be made to become a game with a modest budget and scope, but also how developers advanced to produce a surprising game that creates a surprising game with the smart use of wrap audio design and Binner audio-audio design, which regenerates within the 3D space.
For the sinva Saga: Helbed IINinja Theory found maximum resources and a large team that could be followed more advanced, and the sound design was a sector on which the developers wanted to improve. Throughout the game, Sinwa fights the enemies with rival tribes and other disturbing enemies – but its journey is full of visual and audio interpretations, which turns its already serious conditions into a difficult test. Ultimately, she uses her survival skills and impression to center, and by the end of the game, she once again accepts herself and comes to terms of trauma.
According to Galante, it was necessary to continue the use of Binner Audio as it helped players to get a better understanding of how individuals listen to auditory interpretations and drown them in Sinawa’s point of view.
“Many people think that you listen to your head (Sami -deception), but that’s not true.” “In most people’s experiences, they hear the voices around them, as I am talking to you or when we are talking to each other,” Galante said. In the upper part, we can give our actors a very powerful tool, which is the movement of their physical language. They cannot usually use it when they play video games. They have to stand in front of the mic, which is a powerful tool. They have to fill their performance with more emotion, and for that reason, we found that the theater background actors usually work very well with Binner Audio. “
As Galante explained with numerous videos in his presentation, actors are playing Freez (Abbie Greenland and Helen Golden) – The sounds that Sanva hear throughout the game – presented their lines, while during the capture sessions, a Numan was around 100 binnerly dummy head -on -side. The special mic imitates the average sized head and captures sound in the 3D space, but Galanta made a point to say that the effect of binner audio varies for some people, and it emphasized that the best way to experience the game’s sound design is with the headphone.
The story of the sound, but the story is “king”
A note that Galante emphasized was that the audio design of the game was to serve the story. For Helbed IIPrincipal Sound Designer treated the Binner Audio Recording by the actors as it is a sound device. The River, born in post -production of the actors’ sounds and sound designers in post production with Visual Studio Technology (VST), helped the players to keep the players in a state of mental state.
The use of non-verbal sound arrest-is important to create a disturbing noise and other off-pitting sounds that are particularly important in helping to create a disturbing mood, all in the service of Sinawa’s point of view. Actor Edward Spence provided sound lines and non -verbal audio for a continuation, where Sanua travels through a cave full of voices of dead dead.
“Our voice is a very powerful device, and when we design a voice, we should use it more,” he said. “We also record the Nonderial things, so whatever the possible noise you can make with your mouth is there because we want to be experimental and take it to the player’s mind and feel it hurt. Because when we hear a voice that is not considered there, it seems strange to you.”
Photo via Ninja Theory/Microsoft.
Photo via Ninja Theory/Microsoft.
One of the major series of sequel to Ninja Theory was a clash with the oppressor. To present the boss’s war as a continuation, where Sinwa confronted a major source of trauma and abuse in his life, the developers combine the voices of six different voice actors to make the voice of the oppressor. They used 3D audio effects to make the sequence a repressive and every use.
Galante later said that despite the widespread benefits of Binner audio for immersion, it also offers many challenges. In addition to the demand for production, the general audience requires extensive work after production to ensure binner audio tasks in the game. Most importantly, Gilante said that you need to have a clear view of what you want to do at the time of recording, as 3D audio has been kept in stone.
An error of the Ninja Theory Sound Designer was initially revealed to make audio design for the cruel battle, and the reason was that the rest of the team had no special vision to be like a fight. When he reviewed the first actor’s recording after the team, it was a clear theory of how the encounter would play, he felt that it was not suitable for a new concept, and had to jointly adjust the 3D audio, which means that the track is to transmit and change its change and change its change.
Nevertheless, he remarked that Binner Audio has great benefits to drowning players in the game. Nevertheless, since there are not many use in the creative fields, it can be difficult to find a clear vision and roadmap for its use, but he expressed his view that he was able to try and he hopes more developers will try to follow it.
“For now, there are not much documents about binner audio on the creative aspect because it is mostly used for scientific purposes and is often not in the creative field,” Galante said. “So whatever we did, we learned mistakes, and we made mistakes. Because of this, recording the binner audio can be an expensive part of our work. So what I am distributing here is our experience, and what works for us, and do you want to record some binner for your sports.”
