Another perspective on storytelling came from game designer Paul Bennun and sound designer and composer Nick Ryan, who collaborated most recently on the intriguing iPhone game, Papa Sangre. They set out to discuss the “special relationship between sound and storytelling”.
Papa Sangre, if you haven’t seen is set in a pitch black underworld and you have to rely on navigating by sound – apparently about one in ten people just can’t get their head around it, but those who love it.
Entering the Palace of Bones from Papa Sangre on Vimeo.
For the technical-minded, Nick’s passion is for binaural recording, creating soundtracks which when listened to in headphones mimic how sound works in the real world (which is different to stereo – see Wikipedia for an explanation).
There were some really interesting discussions during the session, including ideas about creative an “navigational language of sound” for storytelling, which I’d like to hear more about.
One point which really struck me was when Nick reminded us just how hi-tech recorded sound was, how new it was – just a hundred years ago, as he put it, if you heard a sound you could be sure it was something happening nearby. Recorded sound allows us to separate time and location from the listening experience and
Nick also described a project for Macmillan publishers where he created an “audio enhanced” edition of a Ken Follett novel called Fall of Giants, which looks (sounds) really interesting – in the demo you hear sounds of the battlefield as the text is being read – I’d like to try that out.
