God of War Interview – Meet a Formosa Group Sound Design Team (Uncharted 4, Zelda: Breath of a Wild)

God of War is a diversion that needs no introduction. The fourth entrance in a array grown by Sony Santa Monica lifted a bar for story-driven action-adventure games, formulating a diversion that deserves a place among a best titles expelled in a stream console generation.

God of War’s storytelling is severely extended by a game’s sound production, that has been rubbed by Formosa Group, that also worked on other AAA titles like Uncharted 4: A Thief’s End, The Last of Us and The Legend of Zelda: Breath of a Wild. We recently had a possibility to pronounce with Paul Lipson and Erica Mehallo about operative on God of War and more.

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Formosa Group has worked on a sound prolongation of a recently expelled God of War. Specifically, what did your work entail?

(Paul Lipson) – Working with a Santa Monica Studio group on God of War was an comprehensive pleasure and a singular diversion experience, flattering many a sound designer’s dream. We worked with Mike Niederquell, Santa Monica Studios’ Audio Lead, to yield core sound pattern calm and coverage for several pivotal characters and situations in a game. Highlights embody Atreus’s attacks magic, several quadruped sounds and sub-boss sounds, genocide sequences and several other animations. Our Creative Director/Supervising Sound Designer Shannon Potter (Uncharted 4, Last of Us, Fable 3) interfaced with Mike daily and lead a group of designers to furnish some overwhelming results.

Being a story-driven game, God of War compulsory a sound prolongation that would prominence a many critical story segments in a correct way, and we trust this has been remarkably achieved. Did Sony Santa Monica give some pointers or was all left adult to you?

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(PL) – We perceived superb instruction from Mike and we were means to ramp adult fast to section in on a right context and aesthetic. We enjoyed a leisure to examination and try out opposite takes, and Mike focused in and supposing feedback to expostulate a finish formula that eventually shipped. It didn’t take us prolonged to get into a groove, and it was a well-spoken and gratifying production.

One thing that truly stands out in a God of War sound prolongation are a conflict sounds, that conduct to promulgate a impact of Kratos’ attacks, a repairs perceived by both enemies and a categorical impression and so on. How did we proceed this and was there some arrange of influence?

(PL) We have a prolonged story of operative on dynamic, impactful calm for AAA interactive practice – and Shannon and a organisation pulled out all a stops to get sound profiles with both impact and depth. It’s a plea to promulgate vigilant by tough impacts and energetic charge with fabulous creatures for sure. We focused heavily on heading into actions to emanate expected tension, and resolved with large hits and tailing sounds to give a gratifying payoff. We worked on lots of genocide sequences for monsters, so we positively deliberate all of Kratos’ competence as he ripped baddies to shreds!

Formosa Group also worked on other intense, story-driven games like Uncharted 4: A Thief’s End, The Last of Us. How’s it been operative with Naughty Dog?

(PL) Naughty Dog is a illusory partner and we’ve been operative consistently with them for a final 6 years or so – from hours of tradition sound pattern and foley for cinematics to thousands of lines of discourse and opening constraint audio support. Naughty Dog has positively set a state of a art for sound, and we keep improving a workflows together each year.

(Erica Mehallo): When operative with Naughty Dog we can always design an extraordinary turn of creation and a on-going proceed to technology. Naughty Dog’s ingenuity, total with a adaptability, has yielded an intensely fit dialog process, starting during a recording phase, stability post-recording organization, and powering by into a editorial routine – all though skipping a beat! This fine-tuned tube has consistently constructed award-winning formula and given gamers an immersive dialog experience!

Formosa Group worked on The Legend of Zelda: Breath of a Wild discourse production, too. How did a game’s singular take change discourse production?

(EM) –Exploring a formidable and abounding science of Zelda while during a same time holding partial in formulating new characters and storylines was an implausible experience. This also meant a vigour was on to move these characters a voice for a initial time. In a box of BOTW, a dialog is peculiarity over apportion with special courtesy being given to accurately when and where a discourse is placed within a diversion to grasp a top turn of storytelling. This was truly an extraordinary event to work on a diversion so consistently desired by lifelong fans, though also innovative adequate to hint an seductiveness from a new era of gamers.

Lastly, was there anything during Formosa Group we wanted to do in any of a video games your worked on though couldn’t due to any reason?

(PL) We have been advantageous to work on all from incomparable AAA blockbusters to slicing corner Indie passion projects and a charge is to pull a boundary of what platforms can do and what fans expect. Just when we consider we’ve strike a wall, we come adult with something cold and find a resources to do it. From recording large conflict tanks and crazy weapons like flamethrowers and anti-aircraft guns to capturing a dexterity of a 100-piece band during an chosen recording theatre here in LA, we positively pull a peculiarity bar. So distant so good!

Thank we for your time!

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