Nae's GIANTESS SURVIVAL SIMULATOR

Devlog - Sound Design: Making Giantesses Feel MASSIVE (Patreon)

Published:

2026-02-11 18:43:18

Edited:

2026-03-29 20:04:12

Imported:

2026-02

Content

Hey everyone! You all voted for a sound design pass in the priority poll, and I've been working hard on systems that'll make giantesses feel absolutely gigantic even if you close your eyes and just listen. Let me take you through what I've been building.

The Philosophy: Overwhelming Your Senses

The best size content affects all the senses, not just sight. My goal with sound design is simple but ambitious: the audio should work with the visuals to make you feel small. When a giantess moves, you should feel it through the sound. It should be powerful and immersive enough that you could navigate around a giant with your monitor off.

Finding the Right References

I dove deep into content from Scragboy, Heavenly Size, and AZmaybe, plus studied scenes from King Kong and Pacific Rim. I learned there's way more to making something sound massive than just pitch shifting. Especially for voices. You want to avoid that weird slow motion effect but still give the impression of something huge and slightly slowed down. It's a delicate balance.

What I've Done

I've got three key sound systems working:

Footsteps: The foundation of presence

Growth moans: Because growth scenes need that audio punch

Movement wooshes: The most complex and challenging system

The Technical Challenge: Dynamic Scaling

Here's where it gets interesting. In a rendered animation, a sound designer can perfect a sound for one specific scene. But in a game? The same sound needs to work for a 50ft giantess, a giga giantess, and everything in between, and still sound great.

Footsteps are the most straightforward. They have different tiers because the impact sound is fundamentally different at different scales. The main work here is attenuation, making sure players can hear the sound fall off naturally from different distances.

Here's how the footstep system chooses which sound to play based on the giantess' current scale:

The system uses branch conditions to check the scale value and route to the appropriate sound tier. Each tier has its own attenuation settings and volume multiplier to make sure it sounds right for that size range.

Voice System: Adding Depth and Space

The voice system currently powers growth moans but will expand to other vocalizations. It uses:

Unreal submix for reverb

Slight pitch adjustment

Distance attenuation

Dynamic volume scaling

The wet volume controls how much reverb effect is applied, giving that sense of massive space around the giantess. The dry volume stays way down so the original sound doesn't overpower the spatial effect.

Movement Wooshes

Movement wooshes are my pride and joy, and my biggest headache. They use all the same techniques as voices but with added complexity: they're affected by both the giantess' size AND your size as the player.

This system restarts the sound with new attenuation settings whenever the scale changes. It sets the volume to 0 initially so the next tick can smoothly update it from 0, preventing audio pops. The pitch multiplier keeps everything sounding natural at different speeds.

How Scale Affects Sound Distance

One of the trickiest parts was getting the attenuation to feel right.

Notice how scale multiplied by the max range determines how far the sound is heard. A tiny player hears the giantess from much farther away than they would at normal size, which creates this amazing sense of scale difference.

All of these sounds use accurate 3D spatialization, so you can hear a foot fly past you and have a general idea of where it is even with your eyes closed.

Tools & Process

For the actual sound design work, I'm using Audacity. It's free but incredibly powerful for game dev workflows. While fancier tools exist for detailed sound design in fixed media like animations, game audio needs to be handled by the engine in real time for true immersion.

This means my workflow is about defining minimum and maximum values for various effects, then testing countless combinations to make sure sounds work in every situation the game can throw at them.

The real magic happens with Unreal's Metasounds system. I've been learning it from scratch for this project, and the results simply wouldn't be possible without it. It brings a full sound designer suite into the game engine that can adapt in real time based on gameplay variables.

The Funny (and Frustrating) Testing Phase

Testing dynamic sound systems leads to some hilarious situations. You carefully pitch down a growth moan to sound deep and massive, then she moves past you so fast because of her scale that the Doppler effect makes her sound like a chipmunk anyway. Every single one of these physics situations has to be accounted for.

And even with good equipment (I use Sennheiser HD 560 S audiophile headphones), when you listen to the same sound hundreds of times, it all starts to blend together. Multiple times I had to stop, work on something else, then come back with "fresh ears" to properly evaluate what I'd done.