Resident Evil: Part 3: Scoring Suspense

Note the Fear

Game Dev - Part III: Dissonance (Audio in Resident Evil) - As I sit here and begin writing about sound design (music, sound fx) and how it functions in Resident Evil it’s not lost on me that I am next to an open window. Outside I can hear the wind blowing through the trees, a distant lawnmower, a single bark of a dog, and a faint voice. As one of our five senses, sound is evocative. It not only serves to let us know what’s happening now, but it also alerts us when we’ve heard something before. I doubt many people think much about audio design, or design in general. It’s not that I believe there’s a lack of interest, but more that when people are watching linear media (movies, shows), playing games, or even listening to songs themselves, it’s more about the whole rather than the parts. Of course, you can hear a song and think about a unique time signature (Pyramid Song), the harmonization of vocals (Ebony and Ivory), or depth of rapid fire lyrics (Rigamortus), but that doesn’t mean you hear all the layers within each. Much of our lives are a distinction between what is familiar and what is not. The audio of Resident Evil depends on this

We’ll break this down into sections covering music, ambient, weapons/menus, enemies, and VO (voice over)

Let’s start with the music. Now I’m not going to go through every song in REs 30 year history because that would be ludicrous. I will, however, pull out some songs and some key themes they present 

When you enter the 1st floor of the mansion in RE1 (original 1996), after the cutscene, you get this. It’s orchestral in nature, starting with what sounds like a single cello, playing on the low strings and in a minor key. It’s only 3 notes (G flat, G, E flat), but what makes it interesting is it sits on the G for an extended time. That is a note that wants to resolve 

The cello is then joined by additional strings covering more notes in the scale. There’s a reverb effect which makes the strings sound like they are echoing in a big room. That makes the feeling empty and more isolating. So you have this minor key, a drawn out note that needs resolution, and reverb. The whole thing is played in an A-minor scale which creates a feeling of tension 

If we listen to the main lobby music of the police station in Resident Evil 2 (original 1998) we notice that same reverb. It matches the space as the lobby is cavernous and extends upward in a cathedral-like fashion (it was apparently a museum before being a police station… cause why not). In listening to it again to write this I noticed something new. It actually shares some of the notes of RE1 as described above, though at a higher octave. The main note that is held is the G-flat, with the chimes mirroring that into the discordant G. A C-flat is held in the background while the chimes move up and down the scale. So this is an E-flat minor scale

Most Resident Evil games also have safe rooms. With the constant tension created from limited ammo, bullet sponge enemies, and a general sense of dread, they are a place you can go for a moments repreve. The music here is also notable. It’s both soothing while also making players feel that things aren’t quite right. This is a genius move. Since we’ve already determined RE games are about creating tension and fear, having a place that let’s the tension subside for a moment is necessary. However, it doesn’t let you get too comfortable. This is a C-minor scale. Again, a minor scale creates a sense of dreamlike tension. The haunting notes that are held over the piano keep things from getting too comfortable (Note: RE2 safe rooms** also uses a C-minor keeping those same dreamlike tension)

Now I’m not a music theorist and this involved me getting a guitar out and figuring out the notes and then looking up the scales. What it does exceptionally well is set the mood for parts of the game. It guides players in how they experience areas. You can count on loud chords where every note of the scale is played for things like monster encounters. Again, raising the stakes to the moment. The music makes you feel

Ambient noises in RE are extremely important. Players need to use more than their eyes to predict what is coming. This is as true in life as it is in games. Here they create atmosphere. In RE9 the world is populated with the creaks and sounds of a building settling, as my mom used to say. Those normally benign sounds become disconcerting in a game that feeds tension. You wonder what they might portend on the outside chance it’s something

In RE1 the grandfather clock rhythmically ticks in the dining room cutting through the silence. This serves a double duty as the ticking of the clock in an otherwise silent room is uncomfortable. It also indicates the player should pay attention to the clock, which is a puzzle they need to solve at some point

There is a whole portion of the original series of games, RE1, 2, 3, Code Veronica, which masked area loading through the slow, dramatic opening of doors. This was done through a pre-rendered animation where only the door was on the screen. Different doors made different sounds, but what was assured was they all created suspense. When the nob turns the sound effect sits against a silent backdrop making it all the more impactful. It’s a sound which amplifies the, “what’s on the other side of this door”?! feeling adding texture to the world

Then there is something that didn’t reveal it’s true nature to me until I lived in Japan. You might be wondering why, but if you’ve been to Tokyo or the area around it, then you will hear this. It’s the sound of crows cawing. It’s so prevalent in that area of Japan that I’ve never thought to inquire if there are other birds (there are). The crows in RE1 can be heard before they are seen. Again, an indication that you need to listen to the surroundings (this will bleed into enemies in a moment)

Weapons are mostly standard sounding but it’s worth calling out one in particular. That would be the chainsaw. It’s such an unnerving sound in a horror game as it takes little imagination to think what happens if you make contact with it. It RE4 when you hear that engine idle or rev, you know what’s coming. The sound raises the stakes before you’ve even seen the thing wielding it

As for the menus, there’s a metallic ring to selecting items. Something that feels cold and distant, which compliments the music

There are lots of enemies in the RE series so we’re only going to focus on a few, i.e. the zombies and a couple others. With the claustrophobic level design (to be discussed in the future), along with a tight FoV (field of view), moving slowly and listening is important. You can often hear a zombie long before you see it. In the original games, you could hear squishy sounds from down hallways or around blind corners. You may also hear moaning as they stand, waiting for you. This worked well when the game used all fixed cameras, but it also works well in the modern era. In RE9, for example, you can hear the zombies spouting their OCD thoughts while they aren’t engaged

The sounds of Lisa Trevor in the RE1: Remake are scary. You are introduced to her through chains dragging down a locked passage at the beginning of the game. The sound of chains clanking combined with her moans builds dread in players before she’s ever actually encountered. When you finally do encounter her, she is an unkillable enemy you must run from

Sound also works in reverse. In RE2, 3, 5,** and 9 there is an enemy called the licker. This enemy is blind and if you move quietly enough, you can walk right past them. That creates real pressure in those situations as they are dangerous and getting attacked by one can kill you quickly

Lisa Trevor and lickers are mirrored in RE9 through The Girl. She is blind like the lickers and more deadly. Her chains clank as she walks down hallways listening for Grace

Finally…

“Oh good. We’ve reached the end!”

Yes. Now as I was saying. Finally, there is the dialogue. It’s one of the best and worst things about the games. The original games are filled with campy lines that might get cut from even the B-est of B movies. There are also self referential gems, like “master of unlocking” which was clumsily delivered in RE1. It was, however, repeated or referenced multiple times through RE once the dev team realized they had stumbled onto a camp goldmine. Starting in 2010, Capcom finally acknowledged it with an achievement in RE5 DLC. It’s then followed in RE0 HD, 2, 3, 4, 7, Revelations 2, etc

By the time the games get to RE7-9 the dialogue is well written and performed. Lines are more believable or intentionally campy (i.e. Leon one-liners)

The nonsense is a break. While most of the sound design and music does some heavy lifting to make things scary, the delivery of the dialogue from heroes and villains can act as a counterweight. A brief nod to the nonsense of zombies

 The sound design of Resident Evil is meant to be evocative. It’s discordant with that discord meant to cause alarm, unease, and panic. As game developers and even as players, it’s important to not only hear something but also to ask “why was that thing put there?” We often accept emotions without digging a little deeper. The sound design and music of RE makes us feel exactly as they want us to feel when we play. If you don’t believe me try playing with the Benny Hill theme