Post Magazine

March 2013

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Medal of Honor: Warfighter's audio team recorded weapons, reverbs and Foley at three different locations. audio big sounds in small packages. by jennifer walden for games Game audio pros create soundtracks that are often more complex than feature films, with big music scores, complex and variable sound design, dialogue with multiple variations, and dozens of cinematics mixed in 5.1 for multiple languages. Then, they cut that all up and fit it into a restricted memory allocation. So, they not only have to think creatively about the sound, they also have to work with programmers to find creative ways of making the sound adhere to size restrictions. From browser games to consoles games, big sound comes in small data packages. GEARS OF WAR: JUDGMENT Gears of War: Judgment, the fourth Gears of War game in the series, is set to release on March 19. Sonically and conceptually, this game stands apart from the previous trilogy. Harder game-play with a darker tone, a more complex storyline that jumps around in time, the addition of many new weapons, and revisiting the sound of the mainstay weapons — like the Locust army Hammerburst assault rifle — have created many interesting challenges for the audio teams involved. Judgment is the first Gears of War game that is a collaboration between Epic Games and People Can Fly (PCF). Ideas for the sound were not in short supply. Mike Larson, audio director at Epic Games (, in Raleigh, NC, has worked on all four Gears Of War titles. He approached the sound for Judgment with open ears. He wanted to experiment with new 34 Post • March 2013 Post0313_034-37-AudioRAV5FINALREAD.indd 34 3/1/13 2:13 PM

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