Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- bloodborne [2023/06/08 16:12] – mgamma2
+++ bloodborne [2023/06/09 11:20] (aktuell) – mgamma2
@@ Zeile 64: / Zeile 64: @@
 === Ingame Inventory ===
-| Menu Open | {{ :menu_open.wav }} |
+| Selection Menu Open | {{ :menu_open.wav }} |
-| Menubar Open | {{ :menu_close.wav }} |
+| Menu Open | {{ :menu_close.wav }} |
 | Menu Close | {{ :menubar_open.wav }} |
@@ Zeile 77: / Zeile 77: @@
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 As with any good game, the soundscape of Bloodborne is flexible to the environment the player is in. In the main city of Yharnham, one can hear church bells and crackling torches, befitting the religious fervor of its inhabitants. In the wintery area of Cainhurst, special attention was paid to the soft drizzle of snowflakes, and footsteps sound muted and crunchy against the soft snow. Inside buildings, attentive listeners will often perceive a quiet yet ominous drone reverberating from the huge stone walls.
-| New Location | {{ :BB_new_location_sound.mp3 }} |
 {{youtube>tMAgdUNUCo8?medium}}
+{{youtube>U3Lg1aRjhH0?medium}}
+\\
 **3.2.2 Non-Diegetic**
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@@ Zeile 100: / Zeile 100: @@
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 This is where the Hunter truly shines. Equipped with one of a wide range of trick weapons, a pistol for parrying, resources for combatting both health loss and status effects, and throwable items like pebbles or molotov cocktails, the player can hope for at least somewhat of a fair chance against the onslaught. As previously mentioned, damaging an enemy sounds and feels appropriately heavy and visceral, rotten flesh giving way to cold, rough metal. The pistol and the throwable items support this gritty sound aesthetic in their own ways. A slight contrast is presented by the sound effects for healing, as well as collecting blood echoes from slain enemies. These seem much more light and ethereal, hollow whistles that sound like they were reversed. This could be attributed to the mystical nature of blood in this game.
+<WRAP group>
+<WRAP half column>
+=== Trick Weapon Transformation ===
+{{youtube>rhOT_TnxrTw?medium}}
+</WRAP>
+<WRAP half column>
+=== Other Combat Related Sound Effects ===
 | Parry and Visceral | {{ :BB_parry_and_visceral.mp3 }} |
 | Player Death | {{ :BB_death.mp3 }} |
 | Blood Echoes Suck | {{ :BB_blood_echoes_suck.mp3 }} |
+</WRAP>
+</WRAP>
 ====3.4 NPC and Enemy sound====
@@ Zeile 109: / Zeile 129: @@
 Many of the non-hostile NPCs are most aptly characterised not through their looks, but their voiceovers, their dialogue. The game has a habit of hiding them behind doors, chuckling at or lamenting the player for their inability to find shelter from the terrors of the Hunt, much unlike them.
 For the enemies, environment sound relates mostly to the noises that reveal their presence before they come into view, a common tactic in horror games. This includes footsteps, shrieking, and in the case of the Bound Widows, pained weeping. The interesting aspect here is once again the storytelling perspective. The Bound Widows may be enemies in the situation the Hunter finds themselves in, but they are ultimately victims, loudly lamenting their fate before they notice the Hunter as yet another potential threat.
+\\
+{{youtube>msaaW9FjWMo?medium}}
 \\
 **3.4.2 Combat**
@@ Zeile 116: / Zeile 138: @@
 | Carrion Crow | {{ :crow-death-sfx.mp3 }} |
+====3.5 Soundtrack ====
+{{youtube>4uKdU19drsw?medium}}
+{{youtube>94n3p5ziADs?medium}}
 \\
 ----
@@ Zeile 121: / Zeile 146: @@
 ==== 4. Comparsion: Bloodborne and Pineview Drive ====
-=== 4.1 General Comparsion ===
+Both Bloodborne and Pineview Drive are horror games that successfully communicate a sense of hopelessness in the face of adversity. While Bloodborne might enable the player to take up arms and fight, they are gradually made aware that they’re trapped in a vicious cycle of violence. In Pineview Drive, no combat mechanic exists in the first place. The absence of combat intensifies the feeling of vulnerability and helplessness, as players must navigate a haunted house with no means of direct confrontation. Both games also walk the thin line between reality and imagination, and this is especially visible in the sound aesthetic that plays a crucial role in conveying this disorienting experience. In the case of the second game, it also functions as a primary game mechanic. Specific sounds act as cues for the player to investigate potential sources, but doing so results in a loss of sanity points. Player must discern between real and imagined sounds, resisting the urge to investigate certain sources to maintain their sanity.
-=== 4.2 ===
-=== 4.3 ===
+Concerning sound aesthetics, both exhibit the ominous worn-down creaking sounds common to horror games, but Pineview Drive’s sound effects seem much more grounded, realistic, less stylized overall. This makes sense concerning the games’ narratives, while they are both about the supernatural, Bloodborne is set in a dark gothic fantasy with tons of fictional worldbuilding, while Pineview Drive is mostly set in the real world, plus ghosts. As such both soundscapes serve their intended purpose.