David Mervik
speaker
115 appearances
1 recordings
1 series
first heard Apr 2025
last heard Apr 2025
David Mervik’s voice in public audio — every appearance, attributed to the second.
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Appearances
Um, it just felt like the way to go with, we thought of it very much in terms of movies, like watching horror movies together, particularly at the cinema, but kind of cathartic experience when scare comes and everyone, first of all, they jump in and you hear the laughter and, when everyone's just trying to calm down and get their ego back in check, you know, all that stuff.
And that felt a nice balance because we knew we weren't going to be, we were going to be losing a lot of the whimsy from the past, but we still like that balance. And I think this kind of addressed that balance then, where it was, you were sharing the horror, you were sharing this experience a bit more.
So it informed the story about being scared together and going through something together as a group of friends. But then also in terms of the players' experience as well, being scared together and how do those two jive. It's a different feeling, isn't it, when you're players playing together as these characters who are obviously having a worse time.
But all of it just felt really interesting to us. In terms of the camera though, that was the final piece of the puzzle for, for presenting this in the way that we were. Right.
No, we, we talked about that very, very early on and we kicked it to death very early on as well. We like, I think we maybe even did a test. We tried it and it was just sort of like, oh no, that's not the point. We're not going through this together anymore. Even though it presented more opportunities probably for fun gameplay, you know, I'll go this way and you go that way.
The minute you split apart, it's not the same experience anymore. So we felt like we needed to nail that camera. And so we had someone do a test for this shared directed camera, which would
you know, it could pull out when we needed to, pull in when we needed it to, it could go wherever we wanted it to, to serve the scene that we were creating while always keeping the players on screen at all times. And when we got that test back, we were like, we've got it, that's it now, that's the game. And so that was like a real, real pivotal moment.
The gameplay itself, you know, you've got to be really careful in terms of like, co-op gameplay when you're creating horror. It's not because we played in the early days. We, we, it takes two came out, you know, and we all played that, you know, with big fans of Joseph Farris stuff in Sweden.
And then it was great, but it was also, it would have been almost the antithesis of what we're doing because, um, that so much fun doesn't belong in this kind of... Exactly.
So it becomes about just going through this together. There are obviously things that you have to do to progress forwards, co-op stuff. But it's not this kind of novelty, you know, I've got a bow, you've got an arrow. I've got this, you've got that. Because again, it becomes very gamey. And I love those kind of games. But for this, it was more about like, right, we're in a boat. I'll steer it.
You look at what's coming, you know, look out for the danger with the lights. It's kind of more about that kind of cooperating to just stay alive, really. So that was kind of where we focused in on.
Yeah, I mean, audio always has to trail. It puts a lot of pressure on them. I mean, we don't get nothing. Because there's some stuff that you know, like how footsteps are going to sound and your effort sounds are going to sound and all that sort of stuff. So you get the basics, like, oh, when the door opens, it's going to sound like this. So you get a feeling for where you are.
But because we change so much and tweak that experience... Even if they do something late on, which they always have to, the thing has to exist first, and then they do sound design on it and compose music for it. They will do that, but it's...
It's probably an insufferable part of a composer and a sound designer's job where you're like, hey, we made these changes, by the way, because the game wasn't playing well enough or people weren't scared enough. Here you go. So now you've got to change everything. And I laugh about it. I don't take it that lightly, but it is like that.
And from my point of view as well, you look at what you've got and you're like, but this can be better.
and we have to be that way until they drag it out the door so you know yeah Tobias is right audio does trail by necessity not completely you know if there's something that you have to prove and it's very much wound up with audio then you would probably just get something tempish to get it in to get that feeling but the actual final audio pass the whole thing has to exist first you know and
It's painful, but we have to make this the best it can be before it gets taken off us and given to you.
Twin Peaks Fire Walk with me. Oh, okay. Yeah. All right. Interesting. Nothing leaves me more shaken. I mean, it's probably another five I could list, but that one, 100%, so good.
I did, yeah. But the thing I liked most about that was the soundtrack. I had high hopes for that film, and it just didn't do it for me enough. Oh, my. Wow. I'm surprised to hear that. I'm with you on that one, Murph.
Midsommar. You guys are breaking my heart right now. The opening 20 minutes of Midsommar was fantastic. Oh, yes. All right.
Showing 81–100 of 115 · page 5 of 6
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