The Art of Fear: The Psychology of Sound Design in Horror Games

I’ve been busy working on a sound redesign of a very popular horror game, which got me thinking about the genre in general. In the twisted world of horror games, fear isn’t just visual — it’s auditory. Sound design in horror games is carefully-crafted terror that manipulates players’ emotions, keeping them on the edge of their seats. But what is it about sound that makes it such a potent tool for instilling fear? In this article, I’ll dissect the chilling psychology behind the sounds of horror games.

Emotional Conditioning

Repeated exposure to fear-inducing sounds in horror games leads to emotional conditioning, where players become sensitized to specific auditory cues. For instance, the eerie soundtrack of Silent Hill or the unsettling ambient noises in Amnesia: The Dark Descent become ingrained in players’ minds, triggering feelings of unease and anticipation. Moreover, individual reactions to these sounds can be influenced by cultural backgrounds and personal experiences, amplifying their impact. Sound triggers emotional responses. In horror games, specific sounds become associated with fear and danger. For example, the eerie screech of a violin bow or the sudden blast of dissonant chords can evoke anxiety and anticipation.

Fight-or-Flight Response

The amygdala, the brain’s fear center, responds to auditory stimuli by preparing the body for potential danger. Horror games exploit this physiological response by utilizing sudden, jarring sounds to provoke immediate reactions from players. For example, the growling of a nearby monster in Resident Evil or the creaking floorboards in Outlast trigger the fight-or-flight response, keeping players on high alert.

Uncanny Valley

The Uncanny Valley theory suggests that as something becomes more realistic and lifelike, it can appear off-putting or strange to humans. In the context of sound design, this effect occurs when audio elements approach realism but fall short, creating an eerie sensation. Techniques such as glitchy, distorted voices or footsteps that seem slightly off-kilter create a sense of discomfort and dissonance.

In Lethal Company, for example, the jack-in-the-box monster seems to present no imminent danger, joining the party and casually playing his wind-up song. Eventually, his cranking grinds to a halt, by which point most players have run away. In the distance you can hear the song getting more creepy and distorted, dropping in pitch, accompanied by the most terrifying footsteps I’ve ever heard in a game — because they are simply too fast to be human. They are so frenetic, getting increasingly louder; not only does uncanny valley kick in — this is definitely not a human — but the rate at which speed and volume increase is ultimately menacing. The sound implies it really wants to catch you.

Auditory Illusions

Auditory illusions are commonly employed in horror games to distort players’ perception of the game world. Whispers or footsteps where there are none heighten tension and create a sense of paranoia. By crafting these illusions, sound designers immerse players deeper into the horror experience, blurring the line between reality and nightmare. Crafting sound design illusions for horror games involves manipulating perception and creating eerie auditory experiences. Let’s explore techniques to achieve this:

1. Binaural Audio
   ♥ Binaural audio creates a three-dimensional sound experience that mimics real-life hearing.
   ♥ By recording sounds using specialized microphones placed in a dummy head (similar to human ears), you can position audio cues spatially.
2. Auditory Pareidolia
   ♥Leverage the brain’s tendency to find patterns in random noise. Introduce subtle whispers, distant voices, or barely audible sounds. Players’ minds may interpret these as meaningful messages, even when none exist.
   ♥ The uncertainty adds to the unease and keeps players on edge.
3. Contrast and Dissonance
   ♥ Work with contrasts in sound. For instance:
    Use monotone music before a melodic part to amplify emotion.
    Switch from soothing music to dead silence to create tension.
    Abrupt transitions evoke discomfort and surprise.
4. Temporal Displacement
   ♥ Play with timing. Delay or advance certain sounds slightly.
   ♥ Imagine footsteps that seem to come from behind but are actually ahead. This dissonance confuses players and heightens fear.
5. Subliminal Messages
   ♥ Insert subliminal audio cues. These are sounds played at very low volumes, almost imperceptible consciously.
   ♥ Whispers, distorted voices, or eerie tones can evoke subconscious unease.
6. Pitch and Frequency Manipulation
   ♥ Alter pitch and frequency subtly.
   ♥ High-pitched sounds can induce anxiety, while low frequencies create a sense of foreboding.
   ♥ Experiment with slight shifts to evoke discomfort.
7. Silence as a Tool
   ♥ Silence is powerful. Use it strategically. On this note, I have a ‘reverse’ alarm set. I sleep with a loudish fan, which has an automatic timer to turn off in the morning: it’s far more effective than any real alarm. The silence draws me out of sleep instantly. Try layering in white noise then remove it. The player’s focus will shift!
   ♥ After intense moments, sudden silence can be more unsettling than any sound.
   ♥ The absence of expected noise amplifies fear.

Remember, the art of crafting sound design illusions lies in playing with perception, exploiting the brain’s tendencies, and creating an auditory experience that lingers long after the game is turned off.

In my sound redesign for a popular horror game, I’ve played with temporal displacement and manipulate perceptions, using the ticking of a clock to imply dread as the ghostly presence makes itself known. The tick is ever-present, but then, as fear mounts, I layered my clock tick with the same sample at a different sample rate (sounding lower in pitch) then I spaced out the ticks so time feels like it’s slowed down. This proved very effective and shows how auditory manipulation can really help improve the effectiveness of sound design in horror games.

Sound Masking and Jump Scares

Jump scares, a staple of horror games, rely on the strategic use of sound masking to lull players into a false sense of security before delivering a sudden fright. Silence serves as a precursor to jump scares, heightening anticipation and maximizing their effectiveness. Popular horror games employ this technique to great effect, leaving players gasping for breath and adrenaline coursing through their veins. We can take direction from the horror film genre. Rich Bologna advises:

“For jump scares, one thing that works well is a misdirect. For instance, on my most recent project, there’s a scene where we pulled out all the active background sounds to set it up for a jump scare but then there’s essentially a misdirect — a rock falls from the ceiling. It’s not a particularly loud sound, but it’s something that draws your attention. And then a second later, you get the huge jump scare and it works great because you think something happened but then the real thing happens and you get the scare. You’re playing with anticipation.”

Sound Memory and Anticipation

Recurring sound motifs in horror game soundtracks play a crucial role in building anticipation and signaling impending danger. Iconic themes, like the save room theme in the Resident Evil series, become ingrained in players’ memories, heightening tension with each recurrence. Sound designers harness the power of sound memory to keep players on edge, never knowing what horrors await around the next corner.

Subliminal Messaging

The incorporation of subliminal audio cues in horror games raises ethical questions about their impact on players’ emotional well-being. Whispered voices or barely audible screams create a sense of unease without players’ conscious awareness. Sound designers must balance the desire to elicit fear with the responsibility to ensure a safe and enjoyable gaming experience, navigating the fine line between terror and trauma. In the game Project Zero, a deep dark ambience is heavily used, but occasionally, a room is utterly silent. As the player is so focused by the removal of sound, when sudden whispers happen, it elicits terror.

As a final thought for horror sound design, Bologna also makes a great point:

“Just don’t do what’s expected. It’s really about threading the needle of respecting the genre but also completely throwing out any preordained, expected things you think you should do more for a horror movie[game]. At every turn, you should try and make it your own.”

Sound designer Marshall McGee seconds this in his guide on “How to design sounds for horror games”. Worth a watch if you haven’t seen it already.

In the end, the true power of sound lies not in what we hear, but in how it makes us feel. The psychology behind sound design in horror games is a delicate dance between fear, anticipation, and the subconscious mind. By understanding the power of sound to evoke emotional responses and manipulate perception, sound designers can create immersive experiences that linger long after the game is over.

Ready for a spine-chilling audio experience for your game? Explore how customized, ‘horrific’ sound design and music can transform your game at gameaudio.co.uk. Let’s crank up the fear factor together!