Hazelight Games explain the sound design for It Takes Two | Genelec One on OneĬan you talk about your audio pipeline for It Takes Two? Were you using an object-based audio approach for creating and mixing the game’s sound? The result is very much the fruit of a tight collaboration between the creative designers and the technical designers within our team, and that level of collaboration remained a recurring theme during the entire production of It Takes Two, not only in regards to split-screen audio, but also to all aspects of the soundscape. We didn’t quite find any other split-screen game that was achieving the standards we were aiming for (that we could take inspiration from), so we quickly realized we would have to follow our own intuitions about how it should sound, and how we would deliver the best possible audio experience. Our goal was always to bring the soundscape of this game to the same level as a Pixar movie.
We set our standards and quality bar very high from the start none of us wanted to compromise on the sound quality ‘just because of the split-screen’ situation. I personally love all the Pixar movies such as Toy Storyand Wall-E and I wanted our game to sound as good, playful and immersive as those movies’ sound mixes make you feel, but with a little bit more grounded, dirty flavor.Īnne-Sophie Mongeau (ASM): The split-screen definitely brought its set of challenges, and we knew from the start that we’d have to be smart about both the sound design and how we’d spatialize and mix sounds so that everything would remain not only clear and audible, but also immersive and cool. We got our hands dirty pulling cables through the roof and assembling our internal mo-cap studio with all the audio equipment that was needed.īut aside from that, Anne-Sophie and I had gotten a pitch of the game before we started and, speaking for us both, we saw that It Takes Two was going to be a sound designer’s dream project. We had a lot of handy work that had to be done before we could start with the game production. Luckily, I found extremely talented and awesome people! I had to build the team from only myself and Gustaf to what we are today. For me as lead sound designer, the preparation was a lot about finding the team who could make this game possible. Philip Eriksson (PE): To be honest, we pretty much hit the ground running with this game.
It Takes Two is a split-screen co-op game, so fun! Before you started creating sound for It Takes Two, what were some things you needed to work out concept-wise on how audio would play in this game? Here, Philip Eriksson (lead sound designer), Anne-Sophie Mongeau (senior sound designer) and Gustaf Grefberg (composer/sound designer) at Hazelight Studios in Stockholm, Sweden, and composer Kristofer Eng (CEO/Co-founder at Elias Software) talk about designing, scoring, and mixing for this colorful, split-screen, larger-than-life world.Įriksson and Mongeau share specific details on their Darth Vadar-esk vocal processing for the Vacuum Cleaner boss, vocal performances for the Toy Crusher, recording custom sounds (like the wasp wings recording session), and playing with the character POV through sound.Įng and Grefberg discuss their multi-style approach, making each level sound unique, creating the big music for boss fights and varied cues for puzzle levels, and writing the moving end cue (which features Eng’s wife Sania Radjabi vocal performance!). They must work together to find a way to navigate obstacles in their shrunken state, survive encounters with ordinary household objects gone crazy, and ultimately break the spell that binds them in doll form. After breaking the ‘divorce’ news to their daughter Rose, May and Cody become magically trapped inside the child’s hand-made dolls. The game focuses on May and Cody, who haven’t been the most cooperative married couple lately. Many thumbs make light work of Hazelight Studios co-op only game It Takes Two.
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