To broaden my research beyond interactive media, I explored cinematic sound design through watching Predator: Badlands, focusing specifically on how audio is used to establish tension, pacing, and emotional impact. The film stood out for its restrained and deliberate use of sound, often prioritising environmental audio and silence over continuous musical scoring. This approach creates an atmosphere where the absence of sound becomes just as powerful as its presence, encouraging heightened attention and anticipation.
A key takeaway from Predator: Badlands was how sound frequently communicates a threat before it is visually revealed. Subtle audio cues such as distant movement, ambient noise, and low-frequency sounds are used to imply danger, conditioning the audience to feel unease even when nothing is visible on screen. This reinforced the idea that sound can function as a narrative and emotional guide, shaping perception and tension independently of visual information.
This cinematic approach directly influenced how I conceptualised sound within my own project. In relation to my GDD, Predator: Badlands inspired ideas for reactive, environmental sound design, where audio responds dynamically to player actions and proximity. Rather than using sound purely as background ambience, I aimed to treat it as an active gameplay element that supports stealth and player awareness. For example, moments of intentional silence can heighten vulnerability, while subtle audio feedback can signal risk or safety without breaking immersion.
By studying sound design through film, I was able to apply cross-disciplinary research to my game development process. This helped strengthen the atmospheric goals of my project and reinforced the importance of audio as a tool for immersion, tension, and emotional storytelling. Integrating these cinematic sound principles into the gameplay context further aligned my project’s identity with its core themes of concealment, fear, and anticipation, as outlined in the GDD.
Overall, watching Predator: Badlands expanded my understanding of how sound design can shape tension, emotion, and atmosphere without relying heavily on visual cues. The film’s restrained use of audio, including environmental sound, low-frequency tones, and intentional silence, demonstrated how anticipation and unease can be created through subtlety rather than constant stimulus. This reinforced the idea that sound can function as an active storytelling tool rather than a purely supportive layer.
This research influenced how I approached audio within my own project, as outlined in my GDD. By treating sound as a core design element, I explored ideas around reactive environmental audio and silence as a mechanic to heighten vulnerability and immersion. Applying cinematic sound principles from Predator: Badlands to a game context strengthened the emotional tone of my project and ensured that audio supported the stealth-focused gameplay and overall player experience.
Bibliography:
Wolfgang Petersen (Director) (2024) Predator: Badlands. [Film]. 20th Century Studios.
Collins, K. (2013) Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. Cambridge, MA: MIT Press.
Grimshaw, M. (2011) Game Sound Technology and Player Interaction. Hershey, PA: IGI Global.