Joanna Fang, an Emmy award-winning Foley artist, has made significant contributions to the audio world, creating immersive, dynamic soundscapes for blockbuster games like God of War: Ragnarok and Marvel’s Spider-Man 2, as well as critically acclaimed films like Manchester by the Sea and The Invisible Man. Fang, who now co-leads Sony PlayStation’s internal Foley department, stands out not just for her technical expertise but for her innovative and highly performative approach to sound creation. Below, we dive into some of the most unique and fascinating aspects of her process, offering insights into why she has become one of the leading figures in modern Foley.
Blending Music and Foley Performance
Fang’s journey into Foley began with her extensive musical background. Trained as a classical vocalist and musician from a young age, she initially planned to pursue a career in music or cinematography. However, she found Foley as a perfect fusion of the two worlds: the performative art of creating sound effects live to picture, requiring an understanding of timing, rhythm, and the emotional beats of a scene. According to Fang, Foley is not just about replicating sounds; it’s about performing them in a way that fits the narrative flow of a scene.
Her musical training has given her a unique perspective on sound design, treating Foley cues much like musical notes that must be timed precisely with on-screen actions. This approach ensures that the sound does more than just replicate reality—it enhances the emotion and storytelling, blending seamlessly into the film’s overall “score.” For Fang, Foley is both an auditory and emotional experience, designed to make viewers feel the impact of every footstep, every movement, and every sound in a scene.
Creative Use of Unconventional Materials
One of the hallmarks of Fang’s work is her willingness to experiment with materials in unusual ways. While many Foley artists rely on traditional props, Fang is known for her creative use of unconventional items to produce unexpected yet highly effective sounds. A standout example is her use of lump charcoal to replicate the crunch of snow. The discovery was accidental—after using the charcoal to simulate walking on ash, she realized it could also create the perfect sound for footsteps in the snow. This type of experimentation and thinking outside the box is a key part of what sets Fang’s Foley work apart from others.
Fang emphasizes that Foley for games doesn’t have to be scientifically accurate; what matters is how the sound feels and how it interacts with the emotions of the scene. For her, reality is often less exciting than the exaggerated, textural sounds that can be created with unexpected materials. This freedom to explore and experiment leads to richer, more engaging soundscapes that heighten the impact of the story.
Challenges in Video Game Sound Design
Fang’s transition from film to video game Foley brought new challenges, particularly in creating soundscapes for highly interactive, non-linear experiences. Unlike film, where the sound follows a fixed timeline, video games require sounds that can be repeated indefinitely without becoming repetitive or stale. This means that the sound of footsteps, clothing rustles, or environmental effects must be designed to adapt to the player’s movements and actions, which could vary endlessly depending on how they navigate the game world.
For games like Marvel’s Spider-Man 2, Fang and her team had to develop systems that could accommodate a wide range of interactions. They crafted multiple variations of sound effects to prevent the audio from becoming monotonous. For instance, Fang mentions having to create different footstep sounds for seven types of shoes on 22 different surfaces, with multiple variations in walking styles. This intricate layering of sounds required not just technical expertise but creative ingenuity to ensure that every action, from swinging through the city to quiet stealth moments, felt immersive and natural to the player.
Emotion-Driven Foley for Film
While video games require technical precision and adaptability, Fang’s film work highlights her deep understanding of the emotional power of sound. In films like Manchester by the Sea and Promising Young Woman, where sound plays a critical role in building tension and atmosphere, Fang approaches Foley as a form of emotional storytelling. One example she recalls is a particularly charged scene in Manchester by the Sea, where a character reaches for a police officer’s gun in a moment of desperation. Capturing the subtle yet intense sound of the gun being removed from its holster required multiple takes and a deep understanding of the emotional weight behind the action.
In these kinds of moments, Fang treats sound as a narrative device, heightening the audience’s emotional connection to the scene. Foley is not just about making sure a footstep sounds like a footstep—it’s about making sure the audience feels the weight of that step, the tension in the air, or the emotional complexity of the character’s actions. This performative, emotion-driven approach is what makes Fang’s work so compelling in both film and video games.
The Art of Happy Accidents
Fang also highlights the importance of experimentation and “happy accidents” in Foley. Some of her most successful sound effects have come from moments of unplanned discovery. For example, she once stumbled upon the perfect snow-crunch sound while experimenting with different textures on the studio floor. It was a surprising revelation that lump charcoal—often used for simulating ash—could also create a convincing snow sound when paired with other props.
These moments of serendipity are part of what makes Foley such an exciting and unpredictable art form. Fang stresses that Foley artists don’t always need the “perfect” prop to create the right sound—sometimes, it’s the unexpected combinations of materials that yield the best results. This willingness to play and experiment is a crucial part of her process, allowing her to continuously innovate and push the boundaries of sound design.
Adapting to Technological Changes in Foley
As technology continues to evolve, the landscape of sound design is changing rapidly. Fang is mindful of how advancements like AI and machine learning could impact the field of Foley, especially in areas like procedural sound generation for video games. However, she remains optimistic about the future, viewing new technology as a tool to enhance, rather than replace, the artistry of Foley.
Fang believes that while certain routine tasks may become automated, the core of Foley—performative, emotion-driven sound design—will always require a human touch. Foley, at its heart, is about storytelling, and no machine can replicate the nuance and emotional sensitivity that comes from a skilled Foley artist. Fang’s approach blends both the heart and the brain of sound design, balancing creativity with the technical demands of modern media production.
About Joanna Fang:
Joanna Fang is an Emmy and MPSE Golden Reel award-winning Foley artist known for her work in both film and video games. Currently, she co-leads the Foley department at Sony PlayStation Creative Arts Sound Studios, where she continues to push the boundaries of sound design. Fang’s portfolio includes major titles like God of War: Ragnarok and Marvel’s Spider-Man 2, as well as acclaimed films such as Manchester by the Sea and The Invisible Man. You can connect with her on LinkedIn for more insights into her groundbreaking work.