God of War III

Mar 1, 2010 12:00 PM, By Blair Jackson

SOUND TITANS CREATE EPIC ADVENTURE SOUNDTRACK

Polls


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The <I>God of War III</i> sound team, from left: sound designer Steve Johnson, sound design manager Phillip Kovats, lead sound designer Paul M. Fox and Gene Semel, senior manager, sound group

The God of War III sound team, from left: sound designer Steve Johnson, sound design manager Phillip Kovats, lead sound designer Paul M. Fox and Gene Semel, senior manager, sound group























Adds sound design manager Phillip Kovats, “What we're trying to achieve with what Steve is talking about is a sort of heightened cinematic adventure experience for the players that they really were not able to access with the older God of War games. With the PS3, we can really hit it hard. And with the advent of other more cinematic games, like Asssassin's Creed 2 and Uncharted 2, the ante keeps going up.”

Some of the sounds in GOW3 were carried over from the previous games, but where possible they've been upgraded to take advantage of the increased sample rate. Mostly, though, the soundtrack was freshly created from a combination of new FX recordings, Foley and sometimes combining those elements with library material and altered in new ways. “One of the things we were able to do with both the quality of sound and the quantity of sound is really detail out Kratos' movement Foley,” Kovats comments. “We did a lot more armor work on him and changed his footseps up and added a lot more chains and other touches. We worked closely with [Foley artist] Gary Hecker at Todd-AO to bring this role alive in a different way, to make it more fun for the player.”

Kovats also notes that David Farmer, who worked on GOW2 and the GOW PSP game (Chains of Olympus) “came back to help sculpt a lot of the new creature sounds for the game, and we even had him go back and revisit some of the ones we had done for PS2; because we had more memory and variety, we could add to this game. He helped us out a lot on the vocals and attacks of these creatures.”

As is usually the case with videogames, the early stages of sound design were done to sketches and crude animations, which necessarily change over time as work on the game progresses. As Steve Johnson explains, “A lot of times it comes down to loading the guns, as I've heard it called. You know a certain creature is going to need to be covered. You know that animations are probably going to change, timings will totally change, so a lot of times it's pulling together these assets into Pro Tools sessions and then sorting through it all when the time comes. You know there are going to be these titans over several areas of the game, and one titan may be made of a certain material than a different one, so you start pulling this all together, and these Pro Tools sessions start getting huge-er and huge-er, and then toward the end of the project, things start getting locked down and then it's all-hands on deck — we've gotta get this done — and hopefully it's all there and ready to go, and you've identified the characteristics of certain areas of the game and of certain characters.”






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