Foley artist Joanna Fang powers up video games with her eclectic arsenal of sound-simulating weapons.
Fang is a senior foley artist at Sony PlayStation. Her job is to put sound to video games. So of course her stash includes a lot of leather jackets, since “in games, everyone wears leather.” But other common video game tropes—assault rifles and the like—aren't close at hand in her San Diego studio. Her work is all about improvisation: Fang trained as a classical musician, and now everything is an instrument.
Shake a hunting knife and a torque wrench together for the sound of a gun being reloaded. Tape wooden sticks to gardening gloves to make a cat's paw. Toilet plungers on concrete are a clopping horse, crushed charcoal becomes crackling snow. To break bones, Fang crushes a pistol holster packed with pasta shells; smashed skulls require hammering melons—for the squish of the goo inside.
Just as droning strings can transform a humdrum street into a threatening alley, Fang uses her sound effects to prime our emotions. “It's like weaponized ASMR,” she says. “We're trying to get the audience to feel something.” But even with such a well-outfitted space—she extols the virtues of her concrete water pit—foley is an art of limitations. Struggling to embody a simple sound effect led her to a personal revelation.
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