#ds3 audio

[superchat]

I've seen your kind, time and time again. Every fleeing man must be caught. Every secret must be unearthed. Such is the conceit of the self-proclaimed seeker of truth. But in the end, you lack the stomach. For the agony you'll bring upon yourself…"

[vaeri-art]

Ledo for a server monthly drawing thang~

[natdafat]

So I found the clip of my 3rd ever try at Gundyr. (3rd times the charm). And I would like to bring note to how I almost had the biggest choke of all time here.

[astrxealis]

what if i actually got to. streaming (again?)

[junebugzjuniperr]

the real reason isaac and Ellie broke up between ds2 and ds3 (shitpost lol)

I ACCIDENTALLY DELETED THIS AFTER THE FIRST TIME I POSTED IT💔💔 SO MY BAD

(also cw for jokingly suggestive audio n typical dead space gore at the end in case anyone is iffy abt that😭)

[dragongirltail]

Finally finished elden ring, not the dlc just base game cause I am not about to give the bastards more money for something I dislike, but:

All of what I've held in beliefs from just the playtime I've had accumulated from repeated attempts before is unchanged, and only some small changes to the positive have arisen. It's an okay game. It's a terrible fromsoft game, but if you set this in front of me and told me it was made by ubisoft to cash in on the souls hype I'd believe that instantly.

Copypasted bosses and enemies out the oiseaux, repeating gameplay patterns and loops that make you grind your teeth and truly hurt the strongest things about fromsoft's game design. Can't say I find any of the bosses memorable except maybe elden beast (good theme) and radagon (fun to parry sometimes), but nothing of the experience stayed with me after the fact! The themes aren't memorable, the bosses and enemies become a slurry of rehashes of bloodborne and dark souls 3 animations sped up by 150%, and the power scaling goes so far up that having an attack rating of 1200 at the end of the game is barely passable.

You run around for 2 hours picking up shit to get strong enough to have a decent time with the first few bosses, then spend another hour running around collecting shit to fight a few bosses, then another 2 hours and then you can plow through the rest of the game cause the open world absolutely destroys what made fromsoft games so excellent.

And with elden ring being the most popular game they've made yet it means waves of new players who haven't played any of the other games and have no reference of what a fromsoft game should feel like! Which obviously isn't said to gatekeep this genre, but rather because elden ring is still a good game from the perspective of anyone who hasn't experienced better.

And I wouldn't even be so harsh on this game if it wasn't trying SO HARD to just be dark souls again They ended on DS3 because they said the story was told and wanted to go other places and do other things but then elden ring is just dark souls' world again but slightly different so the teacher doesn't notice. Sekiro isn't for me but I can acknowledge how it still does cool things and make it's own path, I don't own a PS4 so bloodborne has been out of reach but everything it has done to differentiate itself is amazing. Elden ring is just king big sad guy finds a powerful thing then age of prosperity happens then bad thing happens now you are shitty lame guy and must go on a world tour to kill all powerful guys to perpetuate a cycle. Dark souls with a new coat of paint, and this time it's got RR Martin's fingerprints allegedly all over it but I cannot in the slightest tell where the guy did anything, aside maybe more of the weird shit that miyazaki isn't known to be into.

If bethesda released a game that was this much reused assets, animations, audio files, weapons, and gameplay mechanics then there'd be a riot for how they could repackage the same game for 60 bucks again. But fromsoft does it and it's a game of the year and miyazaki does it again and it's so good and if you don't like it you simply don't get it and should get good instead or whatever. There's been so many moments with this accursed game where I went "oh hey this is just the animations from x enemy from ds3 but faster", lothric knights, outrider knights, pontiff knights, sulyvahn's beast, just to name a few.

I've tried so hard to like this game, I've given it so many chances and accrued 47 hours in a game I still don't like. At this point I cannot in good conscience say that I just don't 'get' this game, it's got flaws out front and back and yet nobody seems to see them, I don't get it, I just don't.

If you wanna say something about this feel free to comment or reblog, I'll have a wrassle with you if you do

[kunosoura]

watching an old ds3 video from an elden ring pvptuber I put on now and then and hearing what is clearly the f slur (beeped out) and the gamer word (audio completely muted).. on one hand I get people can change and he doesn't talk like that at all in his videos nowadays but on the other hand 2020 wasn't exactly all that long ago...

[grollow]

6 & 23 for the soulsborne ask!!

hellooo <3

6. Is there a boss you found strangely easy?

The most official answer, I think, is probably Laurence. I one-shot him and then found out later people struggle with him so I was like "Why." I also two-shot Ludwig? I was surprised by how well Bloodtinge builds just annihilate things. In fact, the only DLC boss that really fucked me up was Orphan and I'm not sure that's not because I have a bad reaction to the audio of that fight (I can't do it without shaking and wanting to throw up).

23. What is your favourite fashion souls?

DS1: Lord's Blade set

DS2: Black Witch's Veil / Leydia Black Chest Piece / Black Boots / Black Gloves

DS3: Leonhard's helm with Vilhelm's set

Bloodborne: Yharnam Hunter's Hat / White Church Garb / Djura Pants / Choir Gloves

Elden Bling-Bling: I forgot the name of it but the flower crown, Nomadic Merchant top, I think it's Blaidd's gloves I'm rocking? and the Preceptor Boots.

Bonus shot of the love of my life, Des.

[atplblog]

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[siofra-river]

All my recent good ds3 pvp clips keep getting recorded with fucked up audio it’s making me sad I want to show you all my funnies

[go-go-devil]

I love her! 🤍🔥

Though like with Shiva & his bodyguard I think I really love the potential of her character more than what we actually get in-game, which isn't much unfortunately.

On principle she has (arguably) the bleakest backstory in the game. We only ever meet three firekeepers in DS1, but while Darkmoon Knightess has power + agency in Anor Londo and the Fair Lady has people taking care of her in her ill state, poor Anastacia has neither. If anything her role as a firekeeper seems more like it was given to her as a punishment for some heresy she was accused of committing, since her tongue was cut out and her skirt's description speculates that she was maimed to prevent escape. Really goes to show how Astora certainly isn't as "noble" of a land as one would think from the surface...

Yet despite remaining in that cell, whether you restore her tongue & ability to walk or not, she's still always with us. Firelink's bonfire is attached to her soul, so every time we level up there we do it through her granting us the power to do so, and possibly most of the other bonfires too since so many of the other firekeepers have died off by the time we arrive. Maybe a firekeeper's soul can help keep other nearby ones alight, alibied in a much weaker state than their designated bonfire.

This is something I'm upset that DS2 retconned, and I feel a bit sad that I seem to be alone on this sentiment. The Emerald Herald and the DS3 Firekeeper honestly feel more like they were made to copy the Maiden in Black from DeS than to actually expand on the concept of firekeepers and how bonfires directly connect to the player character. I just find it vastly more interesting for bonfires themselves to contain the essence of their firekeepers, to which you help maintain by granting them souls and humanity.

I also think it was a HUGE mistake on the dev team's part to cut out the audio of her trying to communicate with us without her tongue which still exists and can be listened to btw!

Maybe they took it out because it was too depressing? Not sure if I buy that, since the whole goddamn game is depressing as all hell, so as usual I'll assume they ran out of time to implement it. Just imagine if, after saving Lautrec and bringing him to Firelink, she starts trying to communicate if you select the "Talk" option. That would've been suuuuuuuuch an excellent piece of dark foreshadowing!

Please talk to me about Dark Souls/Demon’s Souls characters I’m having a moment again

[aenreth]

Dialogues: [DS1] [DS2] [DS3] [Bloodborne] [All]

[yharnamopossum]

🌪️🌪️🌪️

[spoilsoflore]

For the Groove of the Game, pt. 2 (Final)

Stories Untold (2017)

Stories Untold, much like the '80s sci-fi/supernatural horror it's influenced by, hides subtle complexities behind novelty. The throwback main theme was frequently praised and compared to TV series Stranger Things (which has similar inspirations), yet it was just the tip of the iceberg. The game features no direct contact with any characters, thus most of the story is told through environmental context and interaction.

Most of the background music consists of low, droning notes, and the majority of audio is idiosyncratic with technology from the time. For “The House Abandon,” this combination emphasizes a domestic, ideally mundane, setting. However, as the story progresses, small shifts in scenery accompanied by audio cues draws players into the game's written narrative and ultimately provoke the question of who the player as the main character is.

SU then expands upon the concept in “Lab Conduct”: The player character is given a name, Mr. Aition, and audio is presented in stereo, multi-directional; so, players become a concrete individual in a defined space. Although the nature of horror and tension changes between these first two chapters, the sound design maintains a theme of small audio details belying larger impacts. For instance, did you notice the shuffling (or is it breathing) toward the end of “House Abandon”? Or the clicking at the end of “Lab Conduct”? As for “Station Process,” the introduction and final dialogue of the female character is painfully distant and chilling. SU's world is crafted of elaborate facades concealing the devastation of innocuous behaviors, and its sound design magnifies the intensity and gravity of these implications.

Observer (2017)

Rutger Hauer might have been chosen for Observer due to his ties to Blade Runner; but, his voice also immediately sets the tone for the game's sound design. His accent, stilted patter, and the occasional quality manipulation create a mechanical undertone. The effect is one of an organic voice still in the process of undergoing a digital transformation, a concept that echoes Observer's grander premise.

In fact, the majority of dialogue in the game is done either through radio or intercom with human interaction primarily limited to dreams. Even a dying victim who Daniel comes upon only speaks via a device akin to an electrolarynx. The exception is the landlord, Janus (voiced by famed Polish actor Arkadiusz Jakubik), who suffers speech disfluencies, likely a product of his own cyborgian transformation and the mental impact of the war that demanded it.

The main soundtrack is cyberpunk oriented; but, a seqeunce with a surprisingly peaceful interlude of classical music appears to be a nod to developer Blooper's previous game, Layers of Fear. The sequence breaks up the persistent parade of disconcerting and unpleasant sounds inhabiting the Stacks. Rather than using discordance, Observer's sound design seems to focus on abject noises with mechanical and organic sounds that hover distressingly at the edge of familiar—an aural cracked door with all its tantalizing and foreboding possibilities.

Dark Souls III (2016)

While the Souls franchise has often been praised for its soundtracks, fan revelations and speculations suggest the music of Dark Souls III to be more instrumental to the game than merely providing ambience. The theory proposes that DSIII's boss battles are essentially choreographed to their respective background tracks. Although the idea has gained traction across the internet, developer FromSoftware has yet to confirm whether this subtle rhythm-action gameplay was intentional. The evidence is tantalizing nonetheless:

Most of the boss soundtracks in DSIII are predominantly 4/4 time, the most common time signature. The time signature is the count of beats into a measure and typically a good indicator of how often downbeats (beats that emphasize the rhythm) fall. Vordt of the Boreal Valley is a good example of 4/4 time.

However, Dark Souls' downbeats are misleading: Many downbeats, including Vordt's, are used for movement and/or wind-up while attacks occur in the remaining counts. So, if a player anticipates an attack on the strongest or most defined beat of a measure and dodges or guards, they're likely to dodge directly into the actual attack or prematurely guard and fail to maintain it through the duration of the attack—aka “get bodied.” While the base formula of attacks avoiding the downbeat is decently reliable across the game, the time signatures change. A number of bosses are in alternate time signatures, and at least one seems to change in the middle of his battle.

The Dancer of the Boreal Valley has been one of the driving forces behind the rhythm-action theory. Furious internet consensus is she breaks all the rules. However, it might be more she breaks the aforementioned ones: Her fight appears to be in 6/8 time (which is different from 3/4—but that has its own place and time), and many of her attacks actually strike on the downbeat. The lack of an easily discernible bass line coupled with the Dancer's echoing steps also serves to disrupt the player's rhythm. These incongruencies can easily throw off an Ashen One conditioned by hours of gameplay. Oddly enough, although the quest narrative might suggest otherwise, the Dancer can be challenged at almost any point in the game after gaining access to the High Wall of Lothric. The early opportunity potentially says a lot about Dark Souls' lore and design. While the Dancer most blatantly breaks the mold, she's not the only boss in 6/8 time; and, the boss purportedly responsible for her title and swords is a phenomenal example of this musical theory overall.

The Abyss Watchers appear in 6/8 time; and, while they're tendency to spawn as a trio might follow gaming's “rule of threes,” it possibly also makes it easier to coordinate attacks to the unique time signature. Others have suggested that the Abyss Watchers move in 4/4 time, which might be true when each Watcher is viewed individually. In fact, each Watcher moving in 4/4 time within a 6/8 measure would likely ensure attacks would persistently overlap, i.e. as long as two Watchers are standing, better watch your back—It's basically the world's deadliest round.

Some have compared DSIII's music-based tactics to a lyrical “call and response,” which nails the coordinated aspect of the boss fights but suggests more mimicking or a predictable response on the player's part. An alternate analogy is that the DSIII bosses are the leaders in couples' dances, which share a few concepts with conventional fight choreography. Pontiff Sulyvahn not only demonstrates this idea well, but he is aesthetically and narratively tied to the Dancer, and it's strongly suspected his music changes time signatures and tempo mid-battle.

Most of the Pontiff's fight is in 4/4 time, but it doesn't start that way. His battle likely begins in 3/4 time—a signature often confused with 6/8. The change occurs when he generates his shadow half, and the tempo increases.

A key point is that the Pontiff has a home stance in which he withdraws his swords toward his body. This lapse of attack is often equated with formal training and appears to be an intentional pause in which the Pontiff is anticipating the player's response. Whether the reply is aggression or evasion, ideally the home stance would prepare him to guard, move in pursuit, or wind up for a strike. Like the leader in a dance, the Pontiff can hope to provoke a specific reaction (ideally aggression—the “run into my fist” tactic); but, it's not guaranteed, and he's forced to accommodate his partner's, the player's, response regardless. Identifying these openings in which the boss is awaiting the player's response as per their choreography is a vital key to Dark Souls strategy.

Rhythm-action elements in action games and RPGs aren't revolutionary, appearing in popular titles such as Super Mario RPG (reprised in Paper Mario) and Bayonetta; thus, its subtle execution in DSIII possibly contributes to its surprisingly accessible gameplay. While this design choice might grant the game wider appeal, it doesn't detract from its difficulty and cultivates another layer of complexity. The correlation of fighting styles to choreography, near-fluid application of choreography to music, and the subtle transition between world-building ambience and rhythm-oriented boss battles places Dark Souls III at a pinnacle of current video game sound design. Now, an important question is: Does this theory apply to other Souls titles as well?

These recent titles clearly demonstrate the importance of sound design in creating immersive games. Do you have a favorite on the list? And, since this just scratches the surface, what other games of the last five years do you feel contribute to the industry's innovation? How does a game's sound design, be it the atmospheric effects or soundtrack, influence how you play or interpret the story? Whether you play on mute to avoid the jump scares or pump the directional audio to track digital denizens, let us know!

[shogunomicon]

Weird irrelevant ventpost that doesn’t matter to anybody coming up but man I want to talk about this.

Hellpoint might be the best game I’ve ever played that’s actually complete ass. And I don’t mean that in the way like how I unironically love Shadow the Hedgehog even though it’s a dumpster fire I mean like it feels like this game was made by two teams where one knew exactly what they were doing and the other didn’t even know what a video game was.

Aesthetically it’s everything I wanted. Biotech body horror Dark Souls set in space with eldritch shit going on. It’s like someone literally looked at my brain and took the blueprints for it right out. The gameplay is fun and fluid, it feels way more like Bloodborne in the best way and honestly I think I like it’s feel more than even DS3 (maybe).

It starts you off with two easy peasy baby tier boss fights and then immediately gives you probably the worst gank boss I’ve seen in a souls-like. I haven’t seen Prod’s video on it but I hear he had a few choice words to say. Their damage is absurd for the point you’re at in the game; most hits stunlock you and chain directly into death if they don’t just kill you outright. One enemy is a ranged guy that just teleports around constantly which wouldn’t be horrible if not for the facts that a) he can obviously oneshot you if he feels like it b) can teleport into impossible locations like inside terrain or inside YOU c) he can just straight up shoot through walls SOMETIMES for SOME REASON and d) sometimes he doesn’t even teleport sometimes he just runs up to you and tries to kick you in the junk and if you’re fighting the melee guy there is NO audio queue for that so he might just slap your shit. The melee guy would be hard enough on his own, too. It seems like it’s completely random how long it takes him to attack again after attacking so sometimes you move in for a counter hit and he just fucks you and also he has a dodge move with i-frames and which is REALLY dumb to give a boss.

The arena you fight in is tremendously bad too. With quote-unquote “GOOD” gank bosses like Orenstein and Smough you’re usually given enough wide space to take a breath, evaluate where you need to be or get some distance between the two foes. This fight takes place in what is essentially a small room with four hallways. Being in the room essentially means you’re going to be gunned down by one of them and being in the hallways essentially means getting kicked in the dick by either of them. Oh and also the geometry is kinda fucky and you are FOR SURE liable to get stuck on a wall in at least a couple attempts and just die with no recourse.

Right after that there is a miniboss that is straight up harder than these two that thankfully is assumingly optional. He’s like the Outrider Knights in DS3 but on amphetamines it’s insane. Probably not too bad but I really didn’t feel like dealing with that after what I went through.

Then I made a jump that I made about a thousand times already but for some reason THIS time I took 8x the fall damage and died instantly, losing all the exp I got from the boss.

Maybe I’ll make a review on it once I beat it. It’s one of those games where I feel like I have a lot to say. The good parts are immensely good and the bad parts suck total ass but honestly where I’m at right now it feels like a net positive that it exists.