The dozens of sound tracks, visible during the editing process. You hear when Sheriff Ridge leans back in his chair, or when Deputy Bobby Reid turns to the backseat to address Agent Marshall. By using four attached mics to record in a sphere, Baker was able to situate the characters’ conversations in three-dimensional space. That’s due to the work of director Brendan Baker, who recorded the series with ambisonic microphones. “By eliminating vision, we can take advantage of the disorientation.”īut listening to The Long Night feels anything but disorienting-especially if you’re listening in headphones. “There’s suspense and tense atmosphere built into an audio drama, because you’re unable to see all around you,” he says. “He has a tremendous offstage mythology.” Working with a character of few words in a medium with no visuals, he decided to reintroduce Wolverine by keeping him in the shadows. “We wanted to mystify him again,” says Benjamin Percy, a novelist and comics writer who penned the podcast. It's a fitting means of reaffirming the mystique of a character who’s more than a few years in the pop-culture spotlight.
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