God of War: Ragnarok
God of War: Ragnarok
God of War: Ragnarok
Audio Implementation & System Design
Audio Implementation & System Design
Audio Implementation & System Design
Highlights
Hrist & Mist
In this boss fight, the player confronts two valkyries. The design challenge involved making the valkyrie that isn't actively attacking the player seem less significant. To achieve this, we developed a threat system that identifies the non-aggressive valkyrie and automatically lowers both the volume and pitch of all sounds emanating from them.
Hrist & Mist
In this boss fight, the player confronts two valkyries. The design challenge involved making the valkyrie that isn't actively attacking the player seem less significant. To achieve this, we developed a threat system that identifies the non-aggressive valkyrie and automatically lowers both the volume and pitch of all sounds emanating from them.
Hrist & Mist
In this boss fight, the player confronts two valkyries. The design challenge involved making the valkyrie that isn't actively attacking the player seem less significant. To achieve this, we developed a threat system that identifies the non-aggressive valkyrie and automatically lowers both the volume and pitch of all sounds emanating from them.
Frost Phatom
In order to defeat the Frost Phantom, players must destroy all the totems placed around the arena. The technical challenge in designing this fight was determining how to use audio to guide players to the totem closest to them. We devised a system in which the nearest totem emits a distinct sound at specific intervals, while the other totems produce a less intrusive sound in a sequential pattern at a different interval. We called this the "Steve Reich" system.
Frost Phatom
In order to defeat the Frost Phantom, players must destroy all the totems placed around the arena. The technical challenge in designing this fight was determining how to use audio to guide players to the totem closest to them. We devised a system in which the nearest totem emits a distinct sound at specific intervals, while the other totems produce a less intrusive sound in a sequential pattern at a different interval. We called this the "Steve Reich" system.
Frost Phatom
In order to defeat the Frost Phantom, players must destroy all the totems placed around the arena. The technical challenge in designing this fight was determining how to use audio to guide players to the totem closest to them. We devised a system in which the nearest totem emits a distinct sound at specific intervals, while the other totems produce a less intrusive sound in a sequential pattern at a different interval. We called this the "Steve Reich" system.
Freya
One of Freya's primary attacks involves using a bow and arrow. We aimed to make the arrow sound particularly lethal as it passes by the player. To achieve this, we implemented the 'fly-by' system. This system effectively triggers a unique 'whoosh' sound on the arrow when it comes within a certain radius of the player.
Freya
One of Freya's primary attacks involves using a bow and arrow. We aimed to make the arrow sound particularly lethal as it passes by the player. To achieve this, we implemented the 'fly-by' system. This system effectively triggers a unique 'whoosh' sound on the arrow when it comes within a certain radius of the player.
Freya
One of Freya's primary attacks involves using a bow and arrow. We aimed to make the arrow sound particularly lethal as it passes by the player. To achieve this, we implemented the 'fly-by' system. This system effectively triggers a unique 'whoosh' sound on the arrow when it comes within a certain radius of the player.
Ambulance Run
Implementing sound for an interactive QuickTime event presents multiple challenges, including syncing audio with visuals across various branching points and blending in-game and audio stems seamlessly to create a unified, world-immersive experience. To overcome these challenges, we employed techniques such as strategic delays and audio events to precisely stop and start sounds at specific moments in the sequence.
Ambulance Run
Implementing sound for an interactive QuickTime event presents multiple challenges, including syncing audio with visuals across various branching points and blending in-game and audio stems seamlessly to create a unified, world-immersive experience. To overcome these challenges, we employed techniques such as strategic delays and audio events to precisely stop and start sounds at specific moments in the sequence.
Ambulance Run
Implementing sound for an interactive QuickTime event presents multiple challenges, including syncing audio with visuals across various branching points and blending in-game and audio stems seamlessly to create a unified, world-immersive experience. To overcome these challenges, we employed techniques such as strategic delays and audio events to precisely stop and start sounds at specific moments in the sequence.