SP: There is a symbiotic relationship between Modern Warfare and Warzone. In addition to modifying the weapons from Modern Warfare, did you get to create any new weapons for Warzone? We’ve also had to do a lot of mix tweaking to these distant sounds in order to accommodate the pace of gameplay and expanded player count in Warzone. So, at least in terms of asset creation, we’ve been trying to make the latest 3rd-person perspective sounds fit into the larger scope and scale of Warzone while also occasionally updating and refreshing previously made assets. Initially, none of the maps in Modern Warfare let players (or us) get far enough away to precisely know exactly what our most distant perspectives in Warzone were going to need sonically. Having the wide variety of source material on-hand made it possible for us to evolve the assets into what they needed to be to fit into Warzone. Fortunately, we anticipated this scenario and recorded multiple perspectives of distant weapon fire during our shoots. Primarily, there’s greater audible range for the guns than we initially expected. However, during the course of Warzone‘s development it became clear that the distances involved in its much more immense playspace were going to require some changes. Stuart Provine (SP, Principal Sound Designer): The weapons in Warzone come from Modern Warfare. Were the weapons in Warzone pulled from Call of Duty: Modern Warfare only? Were you able to pull the gun assets from that game? What were some challenges in adapting those gun sounds to fit Warzone? That space lets players get scared by the creaky wood roof or the metal pinging that might be someone nearby or just be the wind. We let the game breathe much more in Battle Royale and focus on the subtleties. It’s also used as a useful warning to players that the gas is closing in and you’d better find a safe place to move. We use music sparsely here to build on the tension the players feel in each moment. Matches can get pretty sweaty as the gas approaches and you are down to only a few players left. The approach in Battle Royale is different, it is about cautiously listening for enemies and distant skirmishes while trying to stay alive. So it’s ok to have longer more intense music cues that kick in to drive that rush. The music approach in Plunder is adrenaline focused with the score ramping up as teams frantically collect cash and get closer to the end goal. It also has more vehicles racing around you, with helicopters and jets screaming across the sky regularly. In Plunder it is all about the action with arcade elements provided by big UI slams for all of the missions and mode changes. Audio Director Stephen Miller at Infinity Ward
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