WEBVTT Kind: captions Language: en 00:00:00.390 --> 00:00:04.799 A fair warning: The following video regards a horror game, and it will feature some jumpscare 00:00:04.799 --> 00:00:07.451 sounds and overall creepiness. 00:00:07.451 --> 00:00:11.222 {What I Love!} 00:00:11.222 --> 00:00:13.643 [sound of phone ringing] 00:00:13.643 --> 00:00:14.643 Uh, hello? 00:00:14.643 --> 00:00:16.109 Hello hello? 00:00:16.109 --> 00:00:20.688 I’m Scruffy, and today we’ll be talking about Five Nights at Freddy’s, an indie 00:00:20.688 --> 00:00:24.689 horror game that has shaken up the genre and become a worldwide phenomenon, starting from 00:00:24.689 --> 00:00:26.669 a single developer with a small budget. 00:00:26.669 --> 00:00:31.380 And in light of that developer, Scott Cawthon, supporting developers of Five Nights at Freddy’s 00:00:31.380 --> 00:00:35.719 fangames, and also because Halloween is coming up soon, I’d like to take an analytical 00:00:35.719 --> 00:00:39.980 look at the ways sound made this game so compelling and spooky. 00:00:39.980 --> 00:00:44.320 I’ll only be touching on the first game for now, and I won’t be addressing the lore 00:00:44.320 --> 00:00:47.329 of the game much since there are still so many mysteries about it. 00:00:47.329 --> 00:00:53.129 Now, it’s been plenty established that Five Nights At Freddy’s is, or was, frightening, 00:00:53.129 --> 00:00:54.880 if you haven’t played it before. 00:00:54.880 --> 00:00:59.480 And small wonder, it capitalizes on a broad discomfort with animatronics, robots that 00:00:59.480 --> 00:01:04.640 fall right in the uncanny valley: too humanoid to be a cartoon, but moving too mechanically 00:01:04.640 --> 00:01:06.700 to pass for something living. 00:01:06.700 --> 00:01:12.640 But even more than that, you are trapped in a single spot, the security office of a pizzeria, 00:01:12.640 --> 00:01:16.490 while these animatronics not only move where they aren’t supposed to, while you aren’t 00:01:16.490 --> 00:01:19.500 looking, but are coming for you specifically. 00:01:19.500 --> 00:01:25.801 It is a nightmare scenario built off of two pillars: the absence of information, which 00:01:25.801 --> 00:01:30.990 prevents planning, and the absence of action, the inability to fight or flee. 00:01:30.990 --> 00:01:35.369 Now if this were actually a nightmare, those two would perpetuate until we wake up in a 00:01:35.369 --> 00:01:36.630 cold sweat. 00:01:36.630 --> 00:01:40.899 But since this is a game, and there is a win condition, some of these pillars have to be 00:01:40.899 --> 00:01:46.060 sacrificed to allow the player a chance to think under pressure and win over their stress. 00:01:46.060 --> 00:01:50.640 And this is where developers like Scott turn to visual signals and audial clues to dole 00:01:50.640 --> 00:01:52.085 out some control. 00:01:52.085 --> 00:01:56.240 I say “clues” because, while a map of the pizzeria and camera feeds of the animatronics 00:01:56.240 --> 00:02:01.170 are clearly helpful visuals, it’s more complicated when it comes to audio. 00:02:01.170 --> 00:02:06.049 Some audio works to your advantage, giving you information, and some audio works against 00:02:06.049 --> 00:02:10.759 you, muddying information, creating unknowns, and even contributing to the absence of action 00:02:10.759 --> 00:02:11.759 feeling. 00:02:11.759 --> 00:02:15.070 Let’s break down each of these, starting with the advantageous audio. 00:02:15.070 --> 00:02:19.870 That is, any audio that helps you form a plan and figure out how to survive. 00:02:19.870 --> 00:02:24.590 In a scenario with absence of action, you are desperate for information like this, although 00:02:24.590 --> 00:02:27.709 at first, nothing you hear seems advantageous. 00:02:27.709 --> 00:02:30.660 It all starts out unknown, which is yet more stressful. 00:02:30.660 --> 00:02:34.730 It’s only after you spend some time in this environment and listen for patterns, that 00:02:34.730 --> 00:02:37.129 you start to pick up where advantages lie. 00:02:37.129 --> 00:02:41.630 And the sound files of FNaF confirm this line of thinking: for instance, there are four 00:02:41.630 --> 00:02:45.810 different sound files for pots, pans, and oven doors clanging about. 00:02:45.810 --> 00:02:50.300 [sound of pots and pans clanging] 00:02:50.300 --> 00:02:54.208 Must be important, especially when you can hear these sounds even without using the camera 00:02:54.208 --> 00:02:55.182 system. 00:02:55.182 --> 00:02:59.549 Initially this sound is a stressor, but eventually you can pick up that the sound is louder when 00:02:59.549 --> 00:03:03.220 you look at the kitchen camera, which only has an audio feed. 00:03:03.220 --> 00:03:07.470 And then you pick up that Chica, the chicken animatronic, is nowhere else to be found. 00:03:07.470 --> 00:03:12.209 So, all along, this sound was actually trying to help you understand that Chica is currently 00:03:12.209 --> 00:03:16.410 in the kitchen, and going forward, you can determine that without using the camera, saving 00:03:16.410 --> 00:03:17.830 you some power. 00:03:17.830 --> 00:03:23.340 Not every advantage in the game has an audio clue, but the ones that do are well designed. 00:03:23.340 --> 00:03:26.939 Another one you’ll hear is Freddy’s voice whenever he moves to a new room. 00:03:26.939 --> 00:03:28.413 There are three versions of this sound. 00:03:28.413 --> 00:03:43.041 [Freddy's voice samples play] 00:03:43.041 --> 00:03:48.040 Again, this can be heard on camera or off, so initially it sounds like some otherworldly 00:03:48.040 --> 00:03:49.930 threat is just laughing at you. 00:03:49.930 --> 00:03:54.599 But, eventually, with enough camera usage, you can tie Freddy’s movements to his laughter. 00:03:54.599 --> 00:03:59.250 In fact, Freddy’s difficult to see on camera, and you’ve got to conserve power anyway, 00:03:59.250 --> 00:04:03.170 so for some players, it could be easier to count the times Freddy laughs to indicate 00:04:03.170 --> 00:04:05.150 how close he is to the office. 00:04:05.150 --> 00:04:10.239 The audio may be unnerving, but since it forms a pattern in an otherwise unpredictable environment, 00:04:10.239 --> 00:04:12.265 it’s advantageous. 00:04:12.265 --> 00:04:16.910 Now, there’s other audio that forms patterns, but doesn’t give you an advantage. 00:04:16.910 --> 00:04:21.260 These are just good ol’ sound effects, scored directly to what happens on screen. 00:04:21.260 --> 00:04:24.660 There are the sounds of camera feed failing when an animatronic you’re watching suddenly 00:04:24.660 --> 00:04:25.660 moves... 00:04:25.660 --> 00:04:28.410 [sound of camera failing] 00:04:28.410 --> 00:04:32.410 ...there’s the sound of Foxy running down the hall to indicate you have a very limited 00:04:32.410 --> 00:04:33.840 window of time to save yourself... 00:04:33.840 --> 00:04:35.980 [sound of Foxy running] 00:04:35.980 --> 00:04:40.760 ...and the sound of him banging on the door. [four bangs on the door] 00:04:40.760 --> 00:04:44.440 These sounds are consistent with their actions, but the player never really picks up help 00:04:44.440 --> 00:04:45.440 from them. 00:04:45.440 --> 00:04:48.080 They’re mainly to immerse you more in the environment. 00:04:48.080 --> 00:04:51.890 And you’ll notice most of them are diegetic, that is, most of them are sounds that the 00:04:51.890 --> 00:04:54.290 in-game world would be making. 00:04:54.290 --> 00:04:58.860 There is one sound that doesn’t seem diegetic, however, and that’s an audio stinger when 00:04:58.860 --> 00:05:04.470 Chica or Bonnie appear right in your doorway. 00:05:04.470 --> 00:05:08.720 That sound is not manufactured by a camera or machinery, and I don’t think it’s meant 00:05:08.720 --> 00:05:10.730 to come from Bonnie or Chica. 00:05:10.730 --> 00:05:15.436 It’s more of a classic horror music cue that makes you jump a little more at something 00:05:15.436 --> 00:05:17.497 sudden: a stinger. 00:05:17.497 --> 00:05:22.950 In fact I think it’s extended technique on a string instrument, slowed down 100%? 00:05:22.950 --> 00:05:23.992 Here it is sped up: 00:05:23.992 --> 00:05:25.790 [violin-esque stinger] 00:05:25.790 --> 00:05:30.884 I’m not sure about that, the little sounds at the very end remind me of handling a violin, 00:05:30.884 --> 00:05:37.220 but... suffice it to say, it is non-diegetic music rather than an in-game sound. 00:05:37.220 --> 00:05:43.819 These sounds don’t help or harm you, they just make the world more real, direct, and intense. 00:05:43.819 --> 00:05:48.500 And now, we get to audio that’s special for a horror game, audio that’s actively 00:05:48.500 --> 00:05:53.060 trying to scare you, or even working against the information and actions you have. 00:05:53.060 --> 00:05:57.270 Let’s unpack the different ways audio can deter you from beating this nightmare. 00:05:57.270 --> 00:06:02.300 First, we have what I’m calling “muddied” information, audio that isn’t clear or that 00:06:02.300 --> 00:06:04.460 blocks other audio signals. 00:06:04.460 --> 00:06:09.380 For instance, the cameras make haphazard static noises when they experience interference, 00:06:09.380 --> 00:06:12.020 or when you can hear one panning back and forth. 00:06:12.020 --> 00:06:15.160 [sound of camera interference] 00:06:15.160 --> 00:06:19.160 The little bit of audio coming from camera feed is also garbled, you know, it’s put 00:06:19.160 --> 00:06:23.630 through a couple of audio filters to simulate a poor transmission of sound energy. 00:06:23.630 --> 00:06:27.190 So all in all you hear very little straight from the source. 00:06:27.190 --> 00:06:30.030 Plus, there are other sounds getting in the way. 00:06:30.030 --> 00:06:34.370 The loudest distraction by design is the fan in your office. 00:06:34.370 --> 00:06:38.870 This remains on for the entire night, buzzing incessantly. 00:06:38.870 --> 00:06:44.030 And here, let me clarify something: I mentioned in a previous video about Animal Crossing: 00:06:44.030 --> 00:06:49.550 New Horizons that having some nonzero sound ambience actually makes an environment calmer 00:06:49.550 --> 00:06:51.690 than one with total silence. 00:06:51.690 --> 00:06:56.340 However, if that ambience is loud enough that it’s harder to pick up audio patterns that 00:06:56.340 --> 00:07:00.160 matter more, it can become stressful all over again. 00:07:00.160 --> 00:07:05.880 The fan does quiet down when you’re focusing on the camera, but that’s using up power. 00:07:05.880 --> 00:07:10.060 So there’s definitely an exchange of sacrifices between you and the game here. 00:07:10.060 --> 00:07:13.660 The more information you are allowed, the more power you use up. 00:07:13.660 --> 00:07:18.280 And the more you conserve your power, the more information is obfuscated behind filters, 00:07:18.280 --> 00:07:20.520 distance, and noise. 00:07:20.520 --> 00:07:25.860 And then here is the truly devious part: Hidden beneath the noise of that blaring desk fan 00:07:25.860 --> 00:07:31.240 are not only the sounds that impart information, but other sounds that don’t, and are either 00:07:31.240 --> 00:07:34.620 meant to confuse you or just scare you more. 00:07:34.620 --> 00:07:38.054 Sounds like this strange swirling noise. 00:07:38.054 --> 00:07:46.780 [menacing drone sound] 00:07:46.780 --> 00:07:54.380 Doesn’t really signify anything other than… a creepy atmosphere that can’t be identified. 00:07:54.380 --> 00:07:56.904 Same with these even subtler noises. 00:07:56.904 --> 00:08:11.281 [subtler, unsettling room tone] 00:08:11.281 --> 00:08:16.810 They’re just barely audible under the fan, but this sound in particular is resonant enough 00:08:16.810 --> 00:08:18.610 that you can discern it. 00:08:18.610 --> 00:08:23.120 Your ear just can’t make out any details, and thus it’s another potential stressor. 00:08:23.120 --> 00:08:27.340 This time though, you don’t pick up any pattern or advantage from it; it’s just 00:08:27.340 --> 00:08:32.500 sometimes there, conveying some vaguely metallic sound far in the distance. 00:08:32.500 --> 00:08:37.154 Other red herrings fit a bit more specifically in the location of a children’s pizzeria. 00:08:37.154 --> 00:08:41.023 Sometimes you’ll hear this room recording of a pipe organ, internally called “circus.” 00:08:41.023 --> 00:09:01.178 ["circus" plays] 00:09:01.178 --> 00:09:06.160 A festive little jingle like this feels at home in a kids’ pizzeria or an arcade, although 00:09:06.160 --> 00:09:09.190 it’s juxtaposed with the nightmarish scenario. 00:09:09.190 --> 00:09:12.670 And once again it’s not giving you any real information, it’s just getting you that 00:09:12.670 --> 00:09:14.310 much more stressed. 00:09:14.310 --> 00:09:18.519 Same with the song Foxy will occasionally sing, internally called “pirate song2.” 00:09:18.519 --> 00:09:27.070 ["pirate song2" plays] 00:09:27.070 --> 00:09:31.530 You can hear both of that and "circus" anywhere in the game, and this one specifically can 00:09:31.530 --> 00:09:36.720 be traced to Foxy’s stage, but it doesn’t signal anything about Foxy’s erratic behavior. 00:09:36.720 --> 00:09:40.240 It’s misleading clues mixed in with the legitimate ones. 00:09:40.240 --> 00:09:43.960 One more misleading clue interestingly begins as a legitimate one. 00:09:43.960 --> 00:09:48.010 At the start of each night, you receive a previously recorded phone call from another 00:09:48.010 --> 00:09:52.063 employee, who has been dubbed “Phone Guy.” 00:09:52.063 --> 00:09:55.947 His call on the first night sets the scene, tells you how you’re in danger, and what 00:09:55.947 --> 00:09:58.801 actions you have to keep animatronics at bay. 00:09:58.801 --> 00:10:03.299 He keeps things vague partly because he doesn’t know all there is to know about animatronics, 00:10:03.299 --> 00:10:07.184 and partly because he’s skating around the suggestion of mortal peril to try and keep 00:10:07.184 --> 00:10:08.509 you from quitting. 00:10:08.509 --> 00:10:12.876 But as the nights progress, you realize that the animatronics will start moving even while 00:10:12.876 --> 00:10:17.524 this call goes on, and the call itself gives you less and less advantageous information 00:10:17.524 --> 00:10:18.808 after Night 1. 00:10:18.808 --> 00:10:22.694 Instead Phone Guy sometimes opts to deepen the lore of the game, and sometimes gives 00:10:22.694 --> 00:10:25.190 you suggestions that aren’t actually helpful. 00:10:25.190 --> 00:10:30.250 For example, during Night 3, he advises the player to sit still and try to play dead once 00:10:30.250 --> 00:10:34.607 Freddy is outside the office, yet doing so actually has no effect. 00:10:34.607 --> 00:10:37.554 These phone calls become serious red herrings. 00:10:37.554 --> 00:10:42.000 They directly speak distracting information to you, and the sound of the phone call interrupts 00:10:42.000 --> 00:10:44.766 other important sounds, like Freddy laughing. 00:10:44.766 --> 00:10:50.950 What initially seems like your only lifeline in this scenario has become yet another problem. 00:10:50.950 --> 00:10:55.380 Now, the last category of detrimental audio isn’t necessarily messing with your ability 00:10:55.380 --> 00:10:57.380 to parse other sounds. 00:10:57.380 --> 00:11:01.630 These are sound effects that make you feel like you’re dealing with a supernatural threat. 00:11:01.630 --> 00:11:04.970 I gave the following sound effects a special category because they’re a lesson in themselves 00:11:04.970 --> 00:11:11.430 for crafting horror game sounds: the slightest hint of language in an otherwise corrupted, 00:11:11.430 --> 00:11:12.760 garbled sound. 00:11:12.760 --> 00:11:17.720 It’s like there’s information or threats hidden in a message to you, but not only is 00:11:17.720 --> 00:11:21.930 the message not in any discernible language, but it also doesn’t sound like the messenger 00:11:21.930 --> 00:11:23.940 is human at all. 00:11:23.940 --> 00:11:28.350 Scott gives the animatronics in all his games humanoid sound effects, mainly because they’ve 00:11:28.350 --> 00:11:33.970 been possessed, but also so that the animatronics can appear to attempt communicating with you. 00:11:33.970 --> 00:11:37.250 And it just comes off as alarming, supernatural wrath. 00:11:37.250 --> 00:11:41.060 Here’s a sound you’ll hear when Bonnie or Chica are right at the corner toward your 00:11:41.060 --> 00:11:44.855 office, staring sidelong at you from the camera, while their heads twitch. 00:11:44.855 --> 00:11:54.960 [menacing, vaguely vocal sound] 00:11:54.960 --> 00:11:59.210 This only happens after Night 3, when you’ve been with them for a while, so it seems to 00:11:59.210 --> 00:12:02.220 convey the animatronics’ aggression ramping up. 00:12:02.220 --> 00:12:06.070 But why are they making a sound so reminiscent of backwards human speech? 00:12:06.070 --> 00:12:07.980 Is there a message encoded in there? 00:12:07.980 --> 00:12:09.790 Why does it sound so off? 00:12:09.790 --> 00:12:14.520 If we players had the time to answer these questions we ask, we’d figure out that it 00:12:14.520 --> 00:12:19.890 is a recording of a person reading an excerpt from “Autobiography of a Yogi,” by Paramhansa 00:12:19.890 --> 00:12:25.905 Yogananda, with the formant tuned down, speaking backwards, sped up artificially, with ringshifting 00:12:25.905 --> 00:12:31.456 applied to electrify the vocals and remove them further from human vocal cords. 00:12:31.456 --> 00:12:32.456 Ahem. 00:12:32.456 --> 00:12:37.050 Similar to animatronics going in the visual uncanny valley, sounds like these go in an 00:12:37.050 --> 00:12:41.380 audial uncanny valley, where they’re definitely closer to language than any other sound in 00:12:41.380 --> 00:12:45.190 this library, but they’re too distorted for you to recognize who made the words or 00:12:45.190 --> 00:12:46.590 what they mean. 00:12:46.590 --> 00:12:52.640 These vaguely vocal sounds are littered throughout FNaF1, from quick flickering hallucinations, 00:12:52.640 --> 00:12:57.330 to Night 5’s phone call, which is another garbled lowered passage from "Autobiography 00:12:57.330 --> 00:13:02.210 of a Yogi," talking about how “marvelous mechanisms” will make lives easier in future 00:13:02.210 --> 00:13:03.210 generations. 00:13:03.210 --> 00:13:07.710 Freddy’s laughs also count as vaguely vocal sounds, they are slowed-down versions of a 00:13:07.710 --> 00:13:09.220 child laughing. 00:13:09.220 --> 00:13:16.885 [Freddy's voice plays at the speed it was recorded, and then slowed down] 00:13:16.885 --> 00:13:22.110 And, if Bonnie or Chica are already in your office, but you have the camera up to avoid 00:13:22.110 --> 00:13:27.120 them, they’ll make their presence known with these labored breathing noises. 00:13:27.120 --> 00:13:30.370 [sound of Bonnie exhaling] 00:13:30.370 --> 00:13:34.110 There are four of these sounds, and unlike most of the sounds in the game, these are 00:13:34.110 --> 00:13:39.890 dry and remarkably close-mic sounds, since doom is right in front of you at that point. 00:13:39.890 --> 00:13:44.770 And, on that note, let’s talk about more endgame sounds, beginning with losing the 00:13:44.770 --> 00:13:47.980 game by letting animatronics get into your office. 00:13:47.980 --> 00:13:52.170 Before you hear any right in front of you, you might first test the light button to find 00:13:52.170 --> 00:13:53.940 it no longer works. 00:13:53.940 --> 00:13:59.470 Ordinarily the light gives out a harsh electric hum when you turn it on, and it flickers: 00:13:59.470 --> 00:14:01.860 the sound is not consistent. 00:14:01.860 --> 00:14:05.970 When you first test this light, the sound and flickering combined immediately demonstrate 00:14:05.970 --> 00:14:07.550 absence of action. 00:14:07.550 --> 00:14:12.589 They make you think, “This shoddy little lightbulb is my last line of defense?” 00:14:12.589 --> 00:14:17.730 Of course, as it is one of the few actions you can perform, you immediately miss it and 00:14:17.730 --> 00:14:21.903 tension spikes up when you suddenly hear this short, curt sound instead. 00:14:21.903 --> 00:14:22.990 [sound of light failing] 00:14:22.990 --> 00:14:26.740 Presuming you can’t hide in the cameras long enough, you’re about to get the infamous 00:14:26.740 --> 00:14:34.401 Five Nights at Freddy’s jumpscare, the sound for which I’ll be playing in 3, 2, 1... 00:14:34.401 --> 00:14:39.999 [JUMPSCARE SOUND] 00:14:39.999 --> 00:14:41.143 ...Yeah. 00:14:41.143 --> 00:14:45.649 It’s pretty well-known at this point that this is a cut-off, overdriven sound of a child 00:14:45.649 --> 00:14:46.280 yelling*, 00:14:46.280 --> 00:14:51.420 (Editor's note: incorrect, it's a woman's scream from Inseminoid (1981)) 00:14:51.420 --> 00:14:56.180 which fits the lore behind the game and, again, is just vocal enough. 00:14:56.180 --> 00:15:01.190 If you’re unlucky enough to encounter Golden Freddy, this sound is slowed down 100%. 00:15:01.190 --> 00:15:04.416 [Golden Freddy's scream] 00:15:04.416 --> 00:15:10.600 No natural, comforting sounds to be found there, but it is a big sudden release of tension. 00:15:10.600 --> 00:15:14.190 The difference between that and winning the game is that, in winning the game, you get 00:15:14.190 --> 00:15:19.550 laudatory sounds of chimes and children cheering, which are finally close and resonant 00:15:19.550 --> 00:15:22.612 sounds free of heavy distortion and garbling. 00:15:22.612 --> 00:15:26.750 And then, in a twistedly comedic fashion, those celebratory sounds get truncated by 00:15:26.750 --> 00:15:29.870 silence as the next night begins. 00:15:29.870 --> 00:15:36.120 The final endgame condition is using up all your power, which shuts everything off with 00:15:36.120 --> 00:15:38.070 this long, descending drone. 00:15:38.070 --> 00:15:42.750 I’d say there is cold comfort here: it’s a release of tension from checking cameras 00:15:42.750 --> 00:15:48.880 and shutting doors constantly, like, there’s less information to worry about not having. 00:15:48.880 --> 00:15:54.980 But there’s also total absence of action: all you can do is wait for whichever comes 00:15:54.980 --> 00:16:00.910 first: Freddy’s blood-curdling scream, or the jubilant chimes of 6 AM. 00:16:00.910 --> 00:16:05.240 After this first stage of just you and the drone, we get the second stage, where Freddy 00:16:05.240 --> 00:16:10.930 shows up at the door and plays his tune: the refrain of an aria commonly called the Toreador 00:16:10.930 --> 00:16:14.420 March from the opera Carmen, by Georges Bizet. 00:16:14.420 --> 00:16:19.649 And played on a music box, once again juxtaposing the sound of childish play and lullaby with 00:16:19.649 --> 00:16:22.030 impending supernatural death. 00:16:22.030 --> 00:16:27.230 The refrain itself is fitting: it describes the toreador, the bullfighter who dreams both 00:16:27.230 --> 00:16:31.830 of the bull’s eyes watching them and the love that awaits them if they succeed. 00:16:31.830 --> 00:16:37.240 Good metaphor for this moment, only to be cut off again by the final stage: total silence, 00:16:37.240 --> 00:16:38.339 total darkness. 00:16:38.339 --> 00:16:41.388 No more information, no more action, 00:16:41.388 --> 00:16:41.888 no more— 00:16:47.177 --> 00:16:49.302 It’s stressful, right? 00:16:49.302 --> 00:16:53.020 I’m not going to play a jumpscare here, I’m just showing how a little silence goes 00:16:53.020 --> 00:16:54.100 a long way. 00:16:54.100 --> 00:16:58.920 All of these sounds go a long way: they perform functions beyond just a scary atmosphere. 00:16:58.920 --> 00:17:03.140 They deal in the information and agency with which the player controls the game. 00:17:03.140 --> 00:17:08.550 FNAF1 doesn’t solely rely on sounds to create its atmosphere or to play with the player. 00:17:08.550 --> 00:17:11.030 The sounds are rather a supplement to everything else. 00:17:11.030 --> 00:17:15.130 The animatronics don’t make any noise on camera, and they still prove scary enough 00:17:15.130 --> 00:17:19.100 just to look at, especially when they stare right back at you. 00:17:19.100 --> 00:17:23.800 But then the sounds as they approach the office enhance the experience, supporting the frightening 00:17:23.800 --> 00:17:27.459 visuals with unsettling and unnatural voices and noise. 00:17:27.459 --> 00:17:32.240 It’s not the only way to craft a horror game soundtrack, but it’s a token of playing 00:17:32.240 --> 00:17:34.260 to audio’s strengths. 00:17:34.260 --> 00:17:38.770 And that is how Five Nights at Freddy’s turns a nightmare into a game. 00:17:38.770 --> 00:17:43.000 I’d like to thank my friend Wolfgang for helping me put together this script! 00:17:43.000 --> 00:17:45.040 And I’d like to thank my supporters on Patreon. 00:17:45.040 --> 00:17:49.900 If you’d like to vote on the music I arrange, get behind-the-scenes looks at my productions, 00:17:49.900 --> 00:17:54.430 and join my Discord server, you can become a patron using the link in the description. 00:17:54.430 --> 00:17:56.887 I would very much appreciate it. 00:17:56.887 --> 00:18:00.770 With that, it’s me, Scruffy, and thank you very much for watching.