The use of sound to communicate difficulty in S.T.A.L.K.E.R.

A world I have been fascinated by since it's violent induction into my mind has been that of the S.T.A.L.K.E.R. franchise by GSC. Based on the book Roadside Picnic by Arkady and Boris Strugatsky, the games are set in a post-apocalyptic Ukraine brought about by a second, (semi) fictional failure of the Chernobyl nuclear power plant which creates a space known as "The Zone".

One thing the games establish early on thematically is the contrast between the Soviet Era weapons and ethos and the Geiger-esque monsters brought about by mutations as a result of radiation exposure. A key component of this contrast is of course, the sound design.

Some necessary context first; many years after the release of the original trilogy, and with no news about whether or not the Ukraine-based developer GSC would be able to make another, modders stepped in and Anomaly was created. This game blended the three cinematic, linear experiences of previous games into an open world game where the storylines meshed together. From this sprouted G.A.M.M.A. ( orGigantic Automated Modular Modpack for Anomaly), a truly MASSIVE modpack for Anomaly, which at the time of wirting, boasts an incredibly impressive 540+ mods. These transform an aging game into a borderline triple-A experience, with improved visuals, reworks of most of the games core systems, and of course a fair amount of sound redesigning. The elements of sound that interest me the most about this experience is how the relationship between the more militant elements of The Zone and its monstrosities have now mixed in this new environment, and how they affect gameplay.

Notable in the original trilogy is the rough, rugged and distinctly non-organic sound of the weapons, in stark contrast with the natural ambience of the Ukrainian landscape and subsequently paired with the distorted noises coming from the now-native monstrosities of the Zone. This effect is amplified emphatically in scripted sequences throughout the game, in which the player traverses through sci-fi laboratories and constructions created by haphazard scientific pursuits to "conquer the natural world". In these spaces, the ambiences are far gritter, reverb-heavy and overall grant a feeling of claustrophobia mixed with the malicious perfume of the unknown. This creates a perfect atmosphere for the most dangerous and horrifying creatures of all, creatures which have all but abandoned more natural, bio-synthetic howls and growls in favor of abrupt screams, yells, and distorted roars.

While these audio choices in the original S.T.A.L.K.E.R. trilogy have aged decently, the preservation of these games leaves much to be desired, and thus some of the trauma brought about by these selections has faded with time. This brings us right back to one of my latest gaming obsessions: S.T.A.L.K.E.R. G.A.M.M.A.

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Double Barrel vs Modern Rifle

One of the clearest examples of this new audio palette is the different scaling for the modernity of weapons present in Gamma. Whereas the previous older games only scale up to some semi-modern, yet still era-accurate rifles, Gamma scales all the way up to ultra modern weapons. Aside from the visual contrast however is the audio difference and how it connects to the A-life system. Stalker's A-life system (which means that essentially the entire world around you is always experiencing some form of ongoing conflict) is inherently tied to the sound components of gameplay. If you're near some bandits, you might hear a few shotguns going off and maybe a small calibre pistol. This indicates to the player a lower difficulty level, encouraging them to consider challenging these opponents for the sake of some easy loot. However in later game areas things ramp up drastically. Whereas you might have heard a shotgun from a few meters away, the crack of a high-calibre sniper rifle is un--ignorable from almost any distance and serves as a clear warning for the danger you are walking into. This also bolsters the terror of the antagonists of the game; hearing the sound of sniper rifle cracks within a few short seconds of unknowingly walking within 100 meters of an enemy squad presents a significant mysterious and powerful threat. The open world of Gamma adds a lot to this, with distant echo of rifles adding to the feeling of size to the world and vulnerability of the player.

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A wild boar.

The mutants of The Zone are where the sound design can really shine regarding gameplay mechanics; the less threatening and sometimes passive animals of The Zone retain a mostly real-world accuracy when it comes to their noises. These serve as good indicators that you're not necessarily in immediate danger, and usually give you time in advance to deal with them should they become threats.

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Player is surprised by a boar.

In the clip above, I am made aware the boars are coming before I even see them, thanks to the sound of hoofbeats (as well as the nearby Stalker shouting in alarm). Regular ammunition is not effective against the thicker skin of animals, so this also would have given me time if needed to swap to a weapon best suited for the task. The same goes for mutant dogs or cats which usually appear in packs. A weapon only capable of firing off a few shots like a shotgun or low-capacity sidearm will prove hazardous as they will still charge you even if you manage to down one or two. However, the sounds of distant barking for the dogs or howling from cats gives you time to equip what you need to take care of the threat.

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Facing off with a Bloodsucker.

The same cannot be said for the more advanced mutants however, like the Bloodsucker pictured above. For these terrifying foes, sound serves a balance mechanic as well as a source of fear. The significantly more alien noise, accompanied by the Lurker's ability to camouflage for a short time add much more terror to an engagement. Most of the advanced mutants in Stalker Gamma fit into the category of "if you can hear it, it's already too late". The mechanic component of the sound is still there however, as the sound it makes while cloaking gives indication as to where the creature actually is and when it is going to charge you to attack.

These are only some of the examples of ways a game can utilise sound as a combat mechanic, informer of the player's environment and communicator of how NPCs are engaging with that environment, all while remaining in line with the world building established by the premise of the game.

The audio implementation of S.T.A.L.K.E.R. G.A.M.M.A. does more than just add to the world building; it is an essential part of the game's core identity. It is a game that manages to turn each and every sound into a distant alarm bell, a wash of dread, and ultimately blood-curdling terror.