A fair warning: The following video regards
a horror game, and it will feature some jumpscare sounds and overall creepiness. {What I Love!} [sound of phone ringing] Uh, hello? Hello hello? I’m Scruffy, and today we’ll be talking
about Five Nights at Freddy’s, an indie horror game that has shaken up the genre and
become a worldwide phenomenon, starting from a single developer with a small budget. And in light of that developer, Scott Cawthon,
supporting developers of Five Nights at Freddy’s fanga
mes, and also because Halloween is coming
up soon, I’d like to take an analytical look at the ways sound made this game so compelling
and spooky. I’ll only be touching on the first game
for now, and I won’t be addressing the lore of the game much since there are still so
many mysteries about it. Now, it’s been plenty established that Five
Nights At Freddy’s is, or was, frightening, if you haven’t played it before. And small wonder, it capitalizes on a broad
discomfort with animatronics, robots t
hat fall right in the uncanny valley: too humanoid
to be a cartoon, but moving too mechanically to pass for something living. But even more than that, you are trapped in
a single spot, the security office of a pizzeria, while these animatronics not only move where
they aren’t supposed to, while you aren’t looking, but are coming for you specifically. It is a nightmare scenario built off of two
pillars: the absence of information, which prevents planning, and the absence of action,
the inability
to fight or flee. Now if this were actually a nightmare, those
two would perpetuate until we wake up in a cold sweat. But since this is a game, and there is a win
condition, some of these pillars have to be sacrificed to allow the player a chance to
think under pressure and win over their stress. And this is where developers like Scott turn
to visual signals and audial clues to dole out some control. I say “clues” because, while a map of
the pizzeria and camera feeds of the animatronics are clea
rly helpful visuals, it’s more complicated
when it comes to audio. Some audio works to your advantage, giving
you information, and some audio works against you, muddying information, creating unknowns,
and even contributing to the absence of action feeling. Let’s break down each of these, starting
with the advantageous audio. That is, any audio that helps you form a plan
and figure out how to survive. In a scenario with absence of action, you
are desperate for information like this, although at
first, nothing you hear seems advantageous. It all starts out unknown, which is yet more
stressful. It’s only after you spend some time in this
environment and listen for patterns, that you start to pick up where advantages lie. And the sound files of FNaF confirm this line
of thinking: for instance, there are four different sound files for pots, pans, and
oven doors clanging about. [sound of pots and pans clanging] Must be important, especially when you can
hear these sounds even without using
the camera system. Initially this sound is a stressor, but eventually
you can pick up that the sound is louder when you look at the kitchen camera, which only
has an audio feed. And then you pick up that Chica, the chicken
animatronic, is nowhere else to be found. So, all along, this sound was actually trying
to help you understand that Chica is currently in the kitchen, and going forward, you can
determine that without using the camera, saving you some power. Not every advantage in the game has
an audio
clue, but the ones that do are well designed. Another one you’ll hear is Freddy’s voice
whenever he moves to a new room. There are three versions of this sound. [Freddy's voice samples play] Again, this can be heard on camera or off,
so initially it sounds like some otherworldly threat is just laughing at you. But, eventually, with enough camera usage,
you can tie Freddy’s movements to his laughter. In fact, Freddy’s difficult to see on camera,
and you’ve got to conserve power anyway,
so for some players, it could be easier to
count the times Freddy laughs to indicate how close he is to the office. The audio may be unnerving, but since it forms
a pattern in an otherwise unpredictable environment, it’s advantageous. Now, there’s other audio that forms patterns,
but doesn’t give you an advantage. These are just good ol’ sound effects, scored
directly to what happens on screen. There are the sounds of camera feed failing
when an animatronic you’re watching suddenly moves... [sou
nd of camera failing] ...there’s the sound of Foxy running down
the hall to indicate you have a very limited window of time to save yourself... [sound of Foxy running] ...and the sound of him banging on the door.
[four bangs on the door] These sounds are consistent with their actions,
but the player never really picks up help from them. They’re mainly to immerse you more in the
environment. And you’ll notice most of them are diegetic,
that is, most of them are sounds that the in-game world would
be making. There is one sound that doesn’t seem diegetic,
however, and that’s an audio stinger when Chica or Bonnie appear right in your doorway. That sound is not manufactured by a camera
or machinery, and I don’t think it’s meant to come from Bonnie or Chica. It’s more of a classic horror music cue
that makes you jump a little more at something sudden: a stinger. In fact I think it’s extended technique
on a string instrument, slowed down 100%? Here it is sped up: [violin-esque stinger] I’m no
t sure about that, the little sounds
at the very end remind me of handling a violin, but... suffice it to say, it is non-diegetic
music rather than an in-game sound. These sounds don’t help or harm you, they
just make the world more real, direct, and intense. And now, we get to audio that’s special
for a horror game, audio that’s actively trying to scare you, or even working against
the information and actions you have. Let’s unpack the different ways audio can
deter you from beating this nightm
are. First, we have what I’m calling “muddied”
information, audio that isn’t clear or that blocks other audio signals. For instance, the cameras make haphazard static
noises when they experience interference, or when you can hear one panning back and
forth. [sound of camera interference] The little bit of audio coming from camera
feed is also garbled, you know, it’s put through a couple of audio filters to simulate
a poor transmission of sound energy. So all in all you hear very little straight
from the source. Plus, there are other sounds getting in the
way. The loudest distraction by design is the fan
in your office. This remains on for the entire night, buzzing
incessantly. And here, let me clarify something: I mentioned
in a previous video about Animal Crossing: New Horizons that having some nonzero sound
ambience actually makes an environment calmer than one with total silence. However, if that ambience is loud enough that
it’s harder to pick up audio patterns that matter more, it
can become stressful all over
again. The fan does quiet down when you’re focusing
on the camera, but that’s using up power. So there’s definitely an exchange of sacrifices
between you and the game here. The more information you are allowed, the
more power you use up. And the more you conserve your power, the
more information is obfuscated behind filters, distance, and noise. And then here is the truly devious part: Hidden
beneath the noise of that blaring desk fan are not only the sounds that i
mpart information,
but other sounds that don’t, and are either meant to confuse you or just scare you more. Sounds like this strange swirling noise. [menacing drone sound] Doesn’t really signify anything other than…
a creepy atmosphere that can’t be identified. Same with these even subtler noises. [subtler, unsettling room tone] They’re just barely audible under the fan,
but this sound in particular is resonant enough that you can discern it. Your ear just can’t make out any details,
and thus it
’s another potential stressor. This time though, you don’t pick up any
pattern or advantage from it; it’s just sometimes there, conveying some vaguely metallic
sound far in the distance. Other red herrings fit a bit more specifically
in the location of a children’s pizzeria. Sometimes you’ll hear this room recording
of a pipe organ, internally called “circus.” ["circus" plays] A festive little jingle like this feels at
home in a kids’ pizzeria or an arcade, although it’s juxtaposed with the nigh
tmarish scenario. And once again it’s not giving you any real
information, it’s just getting you that much more stressed. Same with the song Foxy will occasionally
sing, internally called “pirate song2.” ["pirate song2" plays] You can hear both of that and "circus" anywhere
in the game, and this one specifically can be traced to Foxy’s stage, but it doesn’t
signal anything about Foxy’s erratic behavior. It’s misleading clues mixed in with the
legitimate ones. One more misleading clue interesting
ly begins
as a legitimate one. At the start of each night, you receive a
previously recorded phone call from another employee, who has been dubbed “Phone Guy.” His call on the first night sets the scene,
tells you how you’re in danger, and what actions you have to keep animatronics at bay. He keeps things vague partly because he doesn’t
know all there is to know about animatronics, and partly because he’s skating around the
suggestion of mortal peril to try and keep you from quitting. But as the
nights progress, you realize that
the animatronics will start moving even while this call goes on, and the call itself gives
you less and less advantageous information after Night 1. Instead Phone Guy sometimes opts to deepen
the lore of the game, and sometimes gives you suggestions that aren’t actually helpful. For example, during Night 3, he advises the
player to sit still and try to play dead once Freddy is outside the office, yet doing so
actually has no effect. These phone calls become ser
ious red herrings. They directly speak distracting information
to you, and the sound of the phone call interrupts other important sounds, like Freddy laughing. What initially seems like your only lifeline
in this scenario has become yet another problem. Now, the last category of detrimental audio
isn’t necessarily messing with your ability to parse other sounds. These are sound effects that make you feel
like you’re dealing with a supernatural threat. I gave the following sound effects a special
category because they’re a lesson in themselves for crafting horror game sounds: the slightest
hint of language in an otherwise corrupted, garbled sound. It’s like there’s information or threats
hidden in a message to you, but not only is the message not in any discernible language,
but it also doesn’t sound like the messenger is human at all. Scott gives the animatronics in all his games
humanoid sound effects, mainly because they’ve been possessed, but also so that the animatronics
can appear
to attempt communicating with you. And it just comes off as alarming, supernatural
wrath. Here’s a sound you’ll hear when Bonnie
or Chica are right at the corner toward your office, staring sidelong at you from the camera,
while their heads twitch. [menacing, vaguely vocal sound] This only happens after Night 3, when you’ve
been with them for a while, so it seems to convey the animatronics’ aggression ramping
up. But why are they making a sound so reminiscent
of backwards human speech? Is there
a message encoded in there? Why does it sound so off? If we players had the time to answer these
questions we ask, we’d figure out that it is a recording of a person reading an excerpt
from “Autobiography of a Yogi,” by Paramhansa Yogananda, with the formant tuned down, speaking
backwards, sped up artificially, with ringshifting applied to electrify the vocals and remove
them further from human vocal cords. Ahem. Similar to animatronics going in the visual
uncanny valley, sounds like these go i
n an audial uncanny valley, where they’re definitely
closer to language than any other sound in this library, but they’re too distorted
for you to recognize who made the words or what they mean. These vaguely vocal sounds are littered throughout
FNaF1, from quick flickering hallucinations, to Night 5’s phone call, which is another
garbled lowered passage from "Autobiography of a Yogi," talking about how “marvelous
mechanisms” will make lives easier in future generations. Freddy’s laughs also cou
nt as vaguely vocal
sounds, they are slowed-down versions of a child laughing. [Freddy's voice plays at the speed it was
recorded, and then slowed down] And, if Bonnie or Chica are already in your
office, but you have the camera up to avoid them, they’ll make their presence known
with these labored breathing noises. [sound of Bonnie exhaling] There are four of these sounds, and unlike
most of the sounds in the game, these are dry and remarkably close-mic sounds, since
doom is right in front of y
ou at that point. And, on that note, let’s talk about more
endgame sounds, beginning with losing the game by letting animatronics get into your
office. Before you hear any right in front of you,
you might first test the light button to find it no longer works. Ordinarily the light gives out a harsh electric
hum when you turn it on, and it flickers: the sound is not consistent. When you first test this light, the sound
and flickering combined immediately demonstrate absence of action. They make y
ou think, “This shoddy little
lightbulb is my last line of defense?” Of course, as it is one of the few actions
you can perform, you immediately miss it and tension spikes up when you suddenly hear this
short, curt sound instead. [sound of light failing] Presuming you can’t hide in the cameras
long enough, you’re about to get the infamous Five Nights at Freddy’s jumpscare, the sound
for which I’ll be playing in 3, 2, 1... [JUMPSCARE SOUND] ...Yeah. It’s pretty well-known at this point that
this
is a cut-off, overdriven sound of a child yelling*, (Editor's note: incorrect, it's a woman's scream from Inseminoid
(1981)) which fits the lore behind the game and, again,
is just vocal enough. If you’re unlucky enough to encounter Golden
Freddy, this sound is slowed down 100%. [Golden Freddy's scream] No natural, comforting sounds to be found
there, but it is a big sudden release of tension. The difference between that and winning the
game is that, in winning the game, you get laudatory sounds
of chimes and children
cheering, which are finally close and resonant sounds free of heavy distortion and garbling. And then, in a twistedly comedic fashion,
those celebratory sounds get truncated by silence as the next night begins. The final endgame condition is using up all
your power, which shuts everything off with this long, descending drone. I’d say there is cold comfort here: it’s
a release of tension from checking cameras and shutting doors constantly, like, there’s
less information to
worry about not having. But there’s also total absence of action:
all you can do is wait for whichever comes first: Freddy’s blood-curdling scream, or
the jubilant chimes of 6 AM. After this first stage of just you and the
drone, we get the second stage, where Freddy shows up at the door and plays his tune: the
refrain of an aria commonly called the Toreador March from the opera Carmen, by Georges Bizet. And played on a music box, once again juxtaposing
the sound of childish play and lullaby wi
th impending supernatural death. The refrain itself is fitting: it describes
the toreador, the bullfighter who dreams both of the bull’s eyes watching them and the
love that awaits them if they succeed. Good metaphor for this moment, only to be
cut off again by the final stage: total silence, total darkness. No more information, no more action, no more— It’s stressful, right? I’m not going to play a jumpscare here,
I’m just showing how a little silence goes a long way. All of these sounds go a l
ong way: they perform
functions beyond just a scary atmosphere. They deal in the information and agency with
which the player controls the game. FNAF1 doesn’t solely rely on sounds to create
its atmosphere or to play with the player. The sounds are rather a supplement to everything
else. The animatronics don’t make any noise on
camera, and they still prove scary enough just to look at, especially when they stare
right back at you. But then the sounds as they approach the office
enhance the exper
ience, supporting the frightening visuals with unsettling and unnatural voices
and noise. It’s not the only way to craft a horror
game soundtrack, but it’s a token of playing to audio’s strengths. And that is how Five Nights at Freddy’s
turns a nightmare into a game. I’d like to thank my friend Wolfgang for
helping me put together this script! And I’d like to thank my supporters on Patreon. If you’d like to vote on the music I arrange,
get behind-the-scenes looks at my productions, and join my D
iscord server, you can become
a patron using the link in the description. I would very much appreciate it. With that, it’s me, Scruffy, and thank you
very much for watching.
Comments
This video's gotten a bit of information wrong. For instance, the animatronic scream in FNAF 1 is not a recording of a child screaming, it's a sound clip of a woman's scream from an 80's sci-fi horror film called Inseminoid (1981). Apologies for that!
Man had every chance to jumpscare us but didnt. Respect
16:40 the fact he didn't play a jumpscare to demonstrate how well the sound design was done in this game is my favourite part of the video
16:07 So theres this theory that I find quite interesting. The theory is that when the pizzeria was open and the power were to go out, Freddy would start playing his song and lighting up his eyes to attempt to calm down distressed children. Since his song seems to be in a music-box-lullaby-style, this would make a lot of sense.
14:23 If Bonnie or Chica get in the office, they'll force the camera down and kill you. If Freddy gets in the office, he will only kill you when the camera is down. So, if you know that Freddy is the one in the office - and it's close to 6 am - you can hide in the camera until the night ends, assuming you have enough power left to do so.
13:24 HONESTLY THE MOST HORRIFYING SOUND EFFECT IN THE GAME. the labored breathing makes you aware that they are not only right in front of you, but also somewhat alive. the breathing sounds so painful and its so scary 10000/10 horror
16:42 a small detail that didn’t get mentioned is that right after you reach that point of total silence and total darkness, you can very faintly hear muffled footsteps in the blackness. This ramps up the stress and anxiety to the top as the player knows what’s coming. They can hear it coming, but have no way of telling when it’s going to happen. The very monsters you’ve been warding off are right there but you are powerless to defend yourself
"I'm not gonna play a jumpscare here" Press X to doubt
This guy and the guy who disassembled the animatronics A.I. are working together to reduce FNAF to tiny bits and pieces and they make it way less terrifying. Thank you.
okay, the swirly sound is actually somewhat advantageous. It's programmed to play every now and then once an animatronic comes too close for comfort. As in, somewhere right outside your office. It gives you the information that you are in immediate danger.
8:41 Circus is extremely stressful to hear when you put it at full volume playing fnaf. The song goes so fast and quick that it feels like a lot is happening even though not much is happening. I get so anxious and I sweat when I hear it while playing on night 5-4/20 mode. I have an anxiety disorder and songs like these at full volume enhance it.
The first time I ever played this game I checked my cameras and immediately got the Golden Freddy jump scare. To this day that little girls laughter remains one of the most unsettling and disconcerting things I've ever heard in a video game, the most being Golden Freddy's scream
16:45 the instant relief i felt hearing his voice is insane and that also shows how unsettling the silence is like i dont particularly love his voice but in this instant i felt so happy to be hearing him and it became soothing and this became the nicest most calming voice i have ever heard --- how just a few seconds of silence can make that impact is so cool to me i love the use of noise in horror its just so interesting:)
i love how everyone in this comment section has trust issues
One of my favourite audio clips from the game is foxy’s “singing” in FNAF 1. That little “dum dum diddley dum dum” is really creepy, and when you first play through you have no idea what it is. It really adds to the game.
Personally, I think the circus song is the scariest part of the fnaf 1. It's incredibly loud and makes you feel like something is coming to get you. It can genuinely make you jump every time it happens
You know Scott loves messing with people when he adds an entire song that indicates nothing yet is fully audible at the random times that it plays.
That ominous droning sound reminds me of some of Minecraft's cave noises.. *Shudders* Those things gave me the creeps when I was a little kid. So much so that I was terrified of going into those caves, so I basically couldn't play Minecraft in its entirety until I got older and braver. Lmao. My personal least favorite (the one I'm most scared by) from all these sounds is definitely the labored breathing. It really hammers home the point of these animatronics being possessed and likely in some form of horrible, unimaginable suffering. 😣
Five Nights at Freddy's might have had janky mechanics at times, and a weird complex story, but god damn the atmosphere and audio made up for it big time
Scott: Hey son, want to play with the pots and pans? Son: Why? Scott: (holding microphone) Reasons...