The developers of Saros explained in detail how they created the game's sound. Housemarque retained the Return

The developers of Saros explained in detail how they created the game's sound. Housemarque retained the Returnal approach, but virtually all of the audio systems had to be redesigned due to the transition from Unreal Engine 4 to UE5.

The main goal is to make the sound of the carcass dark, heavy, violent and at the same time mysterious.

During the eclipse, the environment sounds different: animals become more aggressive and frightened, radio interference, reverberation and distortion increase.

For the sounds of the creatures, they used Mongolian throat singing, human screams, a didgeridoo, a violin spout on cardboard, plastic, penpolystyrene, and even a ukulele.

Yellow King's voice is partly made up of recordings of the didgeridoo, and the first mechanical opponent is actually sounded by recycled discs.

The sound of the ocean in one of the biomes was collected from records of marinated and roasted chicken, as well as nuts roaming around a bowl.

For combat, a system of priorities was developed: it determines which enemies the player should hear loudest and which sounds can be silenced.

In particularly chaotic battles, the team decided not to try to completely clean up the sound.

3D Audio helps to identify the direction of threats even outside the screen, and the DualSense vibration was created at the same time as the sound from the very beginning of development. #game