Les développeurs de Lies of P révèlent comment le design sonore améliore les marionnettes, les combats et plus encore - Materiel-Gamer

Les développeurs de Lies of P révèlent comment le design sonore améliore les marionnettes, les combats et plus encore

Lies of P – Article

As a Soulslike action RPG, Neowiz’s upcoming Pinocchio-inspired Lies of P has to meet some high expectations set forth by genre classics, not only in terms of gameplay but also when it comes to delivering the kind of immersive atmosphere and environmental storytelling that defines the genre.

To accomplish this, Lies of P developers at Neowiz labored meticulously on the game’s sound design and music in order to immerse players in its moody 19th-century puppet-infested cityscape.


Of course, sound design in games can also be a critical tool for informing players about gameplay elements, and Lies of P has thoughtfully included impactful and easily identifiable sound effects that provide feedback on just about every game mechanic players need to consider.

Director Jiwon Choi and associate producer H.Sun Choi spoke with Game Rant about the team’s approach to Lies of P’s sound design and music and how these elements relate to the game’s atmosphere and combat. The interview has been edited for brevity and clarity.

Q: How did you approach the musical score of Lies of P?

Jiwon Choi: The direction was to use music and instruments that fit the art style and the world of Lies of P. Neowiz is already servicing the DJMAX RESPECT V (which is a rhythm game), and we thought it would be fun to remake the music of the DJMAX franchise into a Lies of P style. We are very happy with the result.

Q: What instrumentation and general sound felt appropriate for the Belle Epoque era?

H.Sun Choi: Since it was the 19th century, I thought it would be appropriate to have more classical instruments and sounds, but I didn’t strictly adhere to period authenticity or impose too many constraints on the music. I wanted to infuse the music with a sense of beauty and lyricism that complements the game’s atmosphere.

Lies of P

Q: Were the instruments used for sound things that were available during this Era? If so, how much extra challenge did that add? If not, was there any consideration of this?

Jiwon Choi: The Belle Époque was a time when romanticism and feelings of solitude coexisted. I was thinking about instruments that could express that atmosphere well, and the bandoneon was one of them. The tone of the bandoneon was perfect for the mood of Krat – a beautiful, thriving city that quickly fell into decay. Fun fact: I found out that the bandoneon was first made in Germany in 1835, so during the actual Belle Époque era, the bandoneon was probably being played somewhere in Europe. It was not easy to find a musician who plays the bandoneon, but the artist who recorded for the game was very helpful. I am very grateful to the artist who worked with us.

Q: Sound design in combat is vital to telegraph key information to players. How does Lies of P use sound within combat?

Jiwon Choi: The sound design in Lies of P’s combat serves multiple important purposes. It aids in delivering a sense of impact, allowing players to distinguish weapon types, target materials, and attack strengths through distinct audio cues. This auditory feedback helps players make informed decisions during combat engagements. Additionally, sound is employed to establish a strong sense of place within the game world. Each location has its own auditory ambiance, including variations in wind, monster noises, and environmental sounds, contributing to a rich and immersive atmosphere. Even footsteps have been meticulously designed to ensure that field sections remain engaging even without the presence of background music. The intention behind this approach is to create a sonically dense experience that both informs and immerses players throughout their combat encounters.

Q: How did the team decide on sound and audio tied to the various puppetry in Lies of P? Are there any specific connecting threads?

Jiwon Choi: The sound design for puppets was designed to emphasize the absence of human-like emotions or sensations in puppets. For example, puppets in the game will laugh when they are attacked, send their regards, or even say something informative in their dying moments. Players will also encounter various non-monster puppets on their journey. Since the sound design in Lies of P has an integral connection to the backdrop and setting, it might be a good opportunity to compare their sound design to other puppets as well.


Lies of P releases on September 19 for PC, PS4, PS5, Xbox One, and Xbox Series X/S.

MORE: How Lies of P’s Pulse Cell Complements Its Rally Mechanic

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