[{"data":1,"prerenderedAt":363},["ShallowReactive",2],{"$f1ok2vsqdrsmz9":3},{"hero":4,"introduction":8,"chapterI":44,"chapterII":95,"chapterIII":207,"chapterIV":251,"chapterV":354},{"title":5,"subtitle":6,"copy":7},"\u003Cp>\u003Cem>The creatures of\u003C\u002Fem>\u003C\u002Fp>\n\u003Cp>God of War\u003C\u002Fp>\n\u003Cp>Ragnarok\u003C\u002Fp>","Sweet Justice x SONY SANTA MONICA STUDIO","\u003Cp>SWEET JUSTICE confronted our inner \u003Cem>fears\u003C\u002Fem> in close collaboration with Sony's Santa Monica Studio and PlayStation Studios Sound to conjure the most \u003Cem>horrific\u003C\u002Fem>, signature creature sound design we possibly could. Let’s begin.\u003C\u002Fp>",{"copy":9,"mediaItems":10},"\u003Cp>Creature audio is one of the \u003Cem>\u003Cstrong>hardest things to get right in sound design\u003C\u002Fstrong>\u003C\u002Fem>. It's also one of the things studios come to us for most. Before anything ships, a creature needs a \u003Cem>voice that's\u003Cstrong> distinct to the title, true to its lore, and built for gameplay.\u003C\u002Fstrong>\u003C\u002Fem>\u003C\u002Fp>",[11,26,37],{"title":12,"copy":13,"asset":14},"SKETCHING IT OUT","\u003Cp>We start with sonic paintovers, the first step in a process we keep close. Concept art, in sound. We refine them until the design clicks, then build the in-game assets from that foundation. Here's a small selection, from the many we did for God of War Ragnarök.\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":16,"defaultVolume":17,"isEmbed":18,"thumbnail":19},"video_player","https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fint10\u002FCreatureReel.mp4.m3u8",0.5,false,{"data":20,"alt":25},{"src":21,"width":22,"height":23,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fint10\u002Fcreatures_reel_preview.mp4",1280,720,true,"",{"title":27,"copy":28,"asset":29},"Awaking the Voices","\u003Cp>Our approach is to always use sources true to reality: recordings of animals, of props, of things you wouldn't normally expect but that exist in the real world. The processing on these recordings is light. The skill lies in listening: choosing the right sound, understanding how layers interplay to create a voice. Keeping it grounded and believable is the hardest part, and the most important.\u003C\u002Fp>",{"_modelApiKey":30,"data":31,"alt":25},"asset",{"src":32,"fallbackSrc":33,"width":34,"height":35,"isVideo":18,"focalPoint":36},"\u002F189939\u002F1773165094-god-of-war-intro-2.jpg",null,1994,946,{"x":17,"y":17},{"title":38,"copy":39,"asset":40},"Deep Layers","\u003Cp>An example of one of the sessions for a single story cinematic in the game. Where dialogue, music, sound design and foley come together to be mixed. The layers run deep.\u003C\u002Fp>",{"_modelApiKey":30,"data":41,"alt":25},{"src":42,"fallbackSrc":33,"width":34,"height":35,"isVideo":18,"focalPoint":43},"\u002F189939\u002F1773165094-god-of-war-intro-3.jpg",{"x":17,"y":17},{"subtitle":45,"title":46,"copy":47,"copyBot":48,"backgroundAsset":49,"asset":55,"soundItems":61,"soundInsights":84,"quote":93},"Chapter I","\u003Cp>CONJURING \u003Cbr>THE NOKKEN\u003C\u002Fp>","\u003Cp>THE NOKKEN presented a unique opportunity to explore sound as both a mechanic and a \u003Cem>storytelling\u003C\u002Fem> device. As a creature of the forest \u003Cstrong>woven from plant material and magic, she \u003Cem>weaponizes\u003C\u002Fem> her voice\u003C\u002Fstrong>, with each song carrying distinct gameplay consequences.\u003C\u002Fp>\n\u003Cp>From dissonant, \u003Cem>body-rattling\u003C\u002Fem> shrieks that erode sanity, to eerie harmonic murmurs that revive enemies, her vocalizations are fully embodied and \u003Cem>deeply\u003C\u002Fem> unnatural. \u003Cstrong>We leaned into uncomfortable textures;\u003C\u002Fstrong> the creaking of woody limbs, chattering growths, and atonal crescendos to express a being that's part camouflage, part curse.\u003C\u002Fp>","\u003Cp>RATHER than relying on traditional creature tropes, we treated the \u003Cem>Nokken\u003C\u002Fem> as a sonic mirage, an unsettling presence you \u003Cem>feel\u003C\u002Fem> before you see. Her audio design is full-body and trance-like, a performance that echoes through the forest and manipulates the battlefield.\u003C\u002Fp>\n\u003Cp>\u003Cstrong>Each vocalization was built with the idea that it should do \u003Cem>something\u003C\u002Fem> to you, not just be heard \u003C\u002Fstrong>— whether it's grating into your nerves, healing her allies, or slowly pushing you toward \u003Cem>madness\u003C\u002Fem>.\u003C\u002Fp>",{"data":50,"alt":25},{"src":51,"fallbackSrc":33,"width":52,"height":53,"isVideo":18,"focalPoint":54},"\u002F189939\u002F1775249632-god-of-war-nokken.jpg",3224,1860,{"x":17,"y":17},{"data":56,"alt":25},{"src":57,"fallbackSrc":33,"width":58,"height":59,"isVideo":18,"focalPoint":60},"\u002F189939\u002F1773165093-god-of-war-nokken-2.jpg",1134,1424,{"x":17,"y":17},[62,69,74,79],{"title":63,"copy":25,"soundUrl":64,"soundWaves":65},"\u003Cp>\u003Cstrong>EXPLORATION A\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Cp>DAVE FARMER\u003C\u002Fp>","https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fnokkendf.flac",{"src":66,"width":67,"height":68},"https:\u002F\u002Fwww.datocms-assets.com\u002F189939\u002F1775589079-nokken_df-waveform.svg",200,40,{"title":70,"copy":25,"soundUrl":71,"soundWaves":72},"\u003Cp>\u003Cstrong>Exploration B\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Cp>JAY JENNINGS\u003C\u002Fp>","https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fnokkenjj.flac",{"src":73,"width":67,"height":68},"https:\u002F\u002Fwww.datocms-assets.com\u002F189939\u002F1775589090-nokken_jj-waveform.svg",{"title":75,"copy":25,"soundUrl":76,"soundWaves":77},"\u003Cp>\u003Cstrong>Exploration C\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Cp>LUKE HATTON\u003C\u002Fp>","https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fnokkenlh.flac",{"src":78,"width":67,"height":68},"https:\u002F\u002Fwww.datocms-assets.com\u002F189939\u002F1775589090-nokken_lh-waveform.svg",{"title":80,"copy":25,"soundUrl":81,"soundWaves":82},"\u003Cp>\u003Cstrong>Exploration D\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Cp>MICHAEL LEANING\u003C\u002Fp>","https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fnokkenml.flac",{"src":83,"width":67,"height":68},"https:\u002F\u002Fwww.datocms-assets.com\u002F189939\u002F1775589090-nokken_ml-waveform.svg",[85,87,89,91],{"copy":86},"\u003Cp>“I took inspiration from the concept documentation, which described the Nokken as living in nature and made from plant material. That immediately made me think of reeds in woodwind instruments. Rather than use the typical air over the reeds, \u003Cem>I recorded a lot of bowing over a lot of various paper and cardboard pieces\u003C\u002Fem>, using and ultrasonic microphone and very high sample rates. When slowed way down, \u003Cem>the bowing gave both and airy quality as well as vocal chord characteristics\u003C\u002Fem>.\u003C\u002Fp>\n\u003Cp>Another aspect mentioned was it’s “disruptive magical singing”. I remembered some hyena recordings I’d made, which have a haunting musical tonality I thought would be unique and new and match the direction.\u003C\u002Fp>\n\u003Cp>Tying these elements together \u003Cem>penguin and bird trills which brought in really natural beginnings and ends\u003C\u002Fem>, and also helped thin the vocals out to fit in with the frail, woody body.\u003C\u002Fp>\n\u003Cp>Ultimately what we make has to be believable as coming from what we see. \u003Cem>Ideas converge from what we hear in our heads upon seeing the images\u003C\u002Fem>, and also steered by the direction laid out in documentation and reviews.\u003Cspan style=\"background-color: initial; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-ligatures: inherit; font-variant-caps: inherit; font-weight: inherit;\">”\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cp>\u003Cstrong>DAVE FARMER\u003C\u002Fstrong>\u003Cbr>\u003Cem>\u003Cstrong>AUDIO ARTIST\u003C\u002Fstrong>\u003C\u002Fem>\u003C\u002Fp>",{"copy":88},"\u003Cp>“I envisioned the Nokken as a slight \u003Cem>woodland hermit; diminutive, coy, shifty\u003C\u002Fem>. Its body movements were woody and crackly, its utterances were oddly sing-songy and not necessarily pleasant. It was harmless at a distance but, once angered, it quickly grew larger with violent jolts, its voice becoming a maddening shrill that drove the player insane. \u003Cem>My palette relied heavily on an 18th century violin, a homemade daxophone, and vocal textures\u003C\u002Fem>\u003Cspan style=\"background-color: initial; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-ligatures: inherit; font-variant-caps: inherit; font-weight: inherit;\">\u003Cem>.\u003C\u002Fem>”\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cp>\u003Cstrong>JAY JENNINGS\u003C\u002Fstrong>\u003Cbr>\u003Cem>\u003Cstrong>AUDIO ARTIST\u003C\u002Fstrong>\u003C\u002Fem>\u003C\u002Fp>",{"copy":90},"\u003Cp>“To begin I tried to find sounds \u003Cem>that felt small and innocent\u003C\u002Fem>, implying a misleading defencelessness for the Nokken. The purrs and chitters were a blend of monkey and coaching my (at the time) six year old daughter to perform 'tribal' sounding vocals. Any wood creak elements were sampled and repeated in soundminer for finer speed control and for pitch performs.\u003Cbr>\u003Cbr>For the transformation stage; a slack stringed violin and a bass guitar were both scraped using a fingernail, in an attempt to achieve an unusual solid stretching type sound. This was layered with a recording of my daughter screeching mixed with reversed adult female screams - in a heavy delay focused effects chain. \u003Cem>The different elements where pitch adjusted to fit with each other for a vague sense of musicality, avoiding interpretations of \"singing\".\u003C\u002Fem>\u003Cbr>\u003Cbr>A Shepard tone 'wind whistle' element was incorporated to give a subtle 'endlessly rising' feel. This was backup, in case the design called for a long 'attack' phase. I\u003Cem>n my imagination, and after the crescendo scream, the Nokken would settle back to an innocent state, as if nothing had happened\u003C\u002Fem>. Aggressive to innocent sound layers were blended back carefully to make this shift feel believable. This was all in an effort to suit the potentially changeable nature of this creature's design.\u003Cspan style=\"background-color: initial; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-ligatures: inherit; font-variant-caps: inherit; font-weight: inherit;\">”\u003C\u002Fspan>\u003C\u002Fp>\n\u003Cp>\u003Cstrong>LUKE HATTON\u003C\u002Fstrong>\u003Cbr>\u003Cem>\u003Cstrong>AUDIO ARTIST\u003C\u002Fstrong>\u003C\u002Fem>\u003C\u002Fp>",{"copy":92},"\u003Cp>“THE NOKKEN gave me a wonderful opportunity to do some \u003Cem>interesting experiments with my voice and morphing tools\u003C\u002Fem>. My idea was very much based around giving this creature an expressive palette of vocal phrases morphed with magical sounding wooden creaks, clicks and groans. \u003Cem>I wanted to portray a deep intelligence but also a sinister malevolence to this character\u003C\u002Fem>. You can hear that idea in the small laughs between vocal phrases, the more uncomfortable the player felt around this enemy the better.\u003C\u002Fp>\n\u003Cp>As my demo builds up to the big crescendo, the Nokken starts to chant the same phrase over and over, \u003Cem>drawing strength and power from the natural world\u003C\u002Fem> around it, before launching in to a sustained and uncomfortable scream.”\u003C\u002Fp>\n\u003Cp>\u003Cstrong>MIKE LEANING\u003C\u002Fstrong>\u003Cbr>\u003Cem>\u003Cstrong>AUDIO ARTIST\u003C\u002Fstrong>\u003C\u002Fem>\u003C\u002Fp>",{"copy":94,"author":25},"\u003Cp>“We treated the Nokken as a sonic mirage, an unsettling presence you feel before you see”\u003C\u002Fp>",{"subtitle":96,"title":97,"slider":98,"copy":133,"soundItems":134,"soundRunes":161,"sideContent":175,"quote":192,"asset":194,"mobileAsset":200,"assetCopy":206},"Chapter II","\u003Cp>MASTERS OF \u003Cbr>THE AIR\u003C\u002Fp>",[99,109,117,125],{"title":100,"copy":101,"asset":102},"Backed Chattering Part II (Ice)","\u003Cp>The same source, retuned for the Ice Dragon.\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":103,"defaultVolume":17,"isEmbed":18,"thumbnail":104},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fair-dragon-yellow-backed-chattering-lory-example-part-ii.m3u8",{"data":105,"alt":25},{"src":106,"width":107,"height":108,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fair-dragon-yellow-backed-chattering-lory-example-part-ii_preview.mp4",1340,754,{"title":110,"copy":111,"asset":112},"Air Dragon Overview","\u003Cp>Csaba Wagner walks through how we created the core voice for the Dragon\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":113,"defaultVolume":17,"isEmbed":18,"thumbnail":114},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fcw-air-dragon-explanation-alt-b-source.m3u8",{"data":115,"alt":25},{"src":116,"width":107,"height":108,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fcw-air-dragon-explanation-alt-b-source_preview.mp4",{"title":118,"copy":119,"asset":120},"Sony Chattery Source","\u003Cp>Beau Jimenez and Jeremy Rogers' source for the Air Dragon's attack tell: a Chattering Lory, recorded ultrasonically and slowed into a 'metallic bird from Hell.'\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":121,"defaultVolume":17,"isEmbed":18,"thumbnail":122},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fair-dragon-yellow-backed-chattering-lory-og-source.m3u8",{"data":123,"alt":25},{"src":124,"width":107,"height":108,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fair-dragon-yellow-backed-chattering-lory-og-source_preview.mp4",{"title":126,"copy":127,"asset":128},"Backed Chattering Part I (Fire)","\u003Cp>The chatter at work: layered into the Fire Dragon's pre-attack vocals, cutting through the mix so the player knows what's coming.\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":129,"defaultVolume":17,"isEmbed":18,"thumbnail":130},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fair-dragon-yellow-backed-chattering-lory-example-part-i.m3u8",{"data":131,"alt":25},{"src":132,"width":107,"height":108,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fair-dragon-yellow-backed-chattering-lory-example-part-i_preview.mp4","\u003Cp>The Air Dragon is a towering, \u003Cem>intelligent\u003C\u002Fem> force. \u003Cstrong>Regal and terrifying in equal measure\u003C\u002Fstrong>. We pushed for a diverse range of \u003Cem>organic\u003C\u002Fem> vocal textures across each attack type, all grounded in a sense of biological \u003Cem>realism\u003C\u002Fem>. Nothing synthetic. Everything felt.\u003C\u002Fp>",[135,143,149,155],{"title":136,"copy":137,"soundUrl":138,"soundWaves":139},"\u003Cp>GOOSE + WALRUS\u003Cbr>\u003Cstrong>Pain\u003C\u002Fstrong>\u003C\u002Fp>","\u003Cp>Contrast is one of the most powerful tools in creature audio. Here, the high screech of a goose blends with the low growl of a walrus, a characterful pairing that becomes a single voice element.\u003C\u002Fp>","https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fprocessedgooseandwalrus.flac",{"src":140,"width":141,"height":142},"https:\u002F\u002Fwww.datocms-assets.com\u002F189939\u002F1776709048-processedgooseandwalrus-waveform.svg",860,50,{"title":144,"copy":145,"soundUrl":146,"soundWaves":147},"\u003Cp>Cactus + violin bow\u003Cbr>\u003Cstrong>ANGER\u003C\u002Fstrong>\u003C\u002Fp>","\u003Cp>Performing sounds with props and unexpected objects, then processing them lightly, is one of the key ways we create interesting textures. The hard part isn't the processing, it's knowing which objects, in which hands, will make something expressive.\u003C\u002Fp>","https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fprocessedcactusbowedwithviolinbow.flac",{"src":148,"width":141,"height":142},"https:\u002F\u002Fwww.datocms-assets.com\u002F189939\u002F1776709240-processedcactusbowedwithviolinbow-waveform.svg",{"title":150,"copy":151,"soundUrl":152,"soundWaves":153},"\u003Cp>Dolphin\u003Cbr>\u003Cstrong>PRESENCE\u003C\u002Fstrong>\u003C\u002Fp>","\u003Cp>Keeping things organic through processed recordings that have character always provides the best source\u003C\u002Fp>","https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fdolphin.flac",{"src":154,"width":141,"height":142},"https:\u002F\u002Fwww.datocms-assets.com\u002F189939\u002F1790974947-dolphin-waveform.svg",{"title":156,"copy":157,"soundUrl":158,"soundWaves":159},"\u003Cp>Coffee Steamer\u003Cbr>\u003Cstrong>INTENSITY\u003C\u002Fstrong>\u003C\u002Fp>","\u003Cp>A coffee steamer, processed into a horrible gurgle. The right source doesn't have to be exotic, just heard differently.\u003C\u002Fp>","https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fprocessedcoffeestreamer.flac",{"src":160,"width":141,"height":142},"https:\u002F\u002Fwww.datocms-assets.com\u002F189939\u002F1790974963-processedcoffeestreamer-waveform.svg",[162,167,171],{"data":163,"alt":25},{"src":164,"fallbackSrc":33,"width":165,"height":165,"focalPoint":166},"\u002F189939\u002F1776694134-cactus.png",132,{"x":17,"y":17},{"data":168,"alt":25},{"src":169,"fallbackSrc":33,"width":165,"height":165,"focalPoint":170},"\u002F189939\u002F1776694134-pig-growl.png",{"x":17,"y":17},{"data":172,"alt":25},{"src":173,"fallbackSrc":33,"width":165,"height":165,"focalPoint":174},"\u002F189939\u002F1776694134-calf-scream.png",{"x":17,"y":17},[176,185],{"title":177,"copy":178,"asset":179},"SENSE OF SCALE(s)","\u003Cp>We approach creature design like zoologists. Every anatomical detail informs the voice: the size of the mouth, the length of the throat, whether the creature reads as mammal or bird, its scale, its history. Anything that would shape how a real animal vocalises shapes how ours does.\u003C\u002Fp>",{"_modelApiKey":30,"data":180,"alt":25},{"src":181,"fallbackSrc":33,"width":182,"height":183,"isVideo":18,"focalPoint":184},"\u002F189939\u002F1773165093-god-of-war-media-2.jpg",628,412,{"x":17,"y":17},{"title":186,"copy":187,"asset":188},"STILL NOTHING MOVES YOU","\u003Cp>Sometimes a single piece of concept art tells us everything about a creature's personality. When that happens, the voice almost creates itself.\u003C\u002Fp>",{"_modelApiKey":30,"data":189,"alt":25},{"src":190,"fallbackSrc":33,"width":182,"height":183,"isVideo":18,"focalPoint":191},"\u002F189939\u002F1773165094-god-of-war-media-3.jpg",{"x":17,"y":17},{"copy":193,"author":25},"\u003Cp>“Of all the dragons, this one is the most refined, demanding an audio approach that matches its sophistica­­tion and scale.”\u003C\u002Fp>",{"data":195,"alt":25},{"src":196,"fallbackSrc":33,"width":197,"height":198,"isVideo":18,"focalPoint":199},"\u002F189939\u002F1776164977-air-dragon.jpg",3200,1164,{"x":17,"y":17},{"data":201,"alt":25},{"src":202,"fallbackSrc":33,"width":203,"height":204,"isVideo":18,"focalPoint":205},"\u002F189939\u002F1791232106-mobile-air-dragon.jpg",792,1660,{"x":17,"y":17},"\u003Cp>Descriptive words and phrases let us sketch a creature's personality before a single sound is placed. Once the sonic sketch is complete, we break it into assets and hand over to PlayStation Studios Sound, who refine and evolve the sounds as gameplay develops.\u003C\u002Fp>\n\u003Cp>Lead Sound Designer at PlayStation, Beau Jimenez: \u003Cem>\"The Combat team came to us with a specific challenge: the Air Dragon's breath attack needed an incredibly clean and distinct vocal tell so players could immediately recognize when an attack was coming and know when to dodge. The sound needed to cut through an already dense gameplay mix while still feeling organic and terrifying... This became a defining element and ensured the Air Dragon's attacks felt iconic and readable while retaining the organic and terrifying character we wanted from the creature.\"\u003C\u002Fem>\u003C\u002Fp>",{"subtitle":208,"title":209,"copy":210,"copyBot":211,"swordAsset":212,"soundItems":218,"mediaCaption":233,"mediaCaptionBot":239,"quote":249},"Chapter III","\u003Cp>INGRID THE \u003Cbr>SENTIENT \u003Cbr>SWORD\u003C\u002Fp>","\u003Cp>The challenge here was to sell her \u003Cstrong>power and \u003Cem>sharpness\u003C\u002Fem>\u003C\u002Fstrong>, she isn’t a typical sword, she levitates and \u003Cstrong>moves with speed and precision\u003C\u002Fstrong>. It was important to compliment her expressive vocals with combat sounds that were \u003Cem>equally\u003C\u002Fem> expressive.\u003C\u002Fp>","\u003Cp>We partnered closely with lead sound designer Beau Jimenez at PlayStation Studios Sound, who crafted Ingrid's vocalisations, making sure her \u003Cstrong>dangerous yet light-hearted character\u003C\u002Fstrong> came through in every moment she was heard on screen.\u003C\u002Fp>",{"data":213,"alt":25},{"src":214,"fallbackSrc":33,"width":215,"height":216,"isVideo":18,"focalPoint":217},"\u002F189939\u002F1773165093-god-of-war-sword.png",2904,1050,{"x":17,"y":17},[219,227],{"title":220,"copy":221,"soundUrl":222,"soundWaves":223},"\u003Cp>\u003Cstrong>Sound Palette 1\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Cp>Source Content\u003C\u002Fp>","\u003Cp>A selection of source audio (think of it as ingredients) created to build out the sound for Ingrid.\u003C\u002Fp>","https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fingriddesignpalette.flac",{"src":224,"width":225,"height":226},"https:\u002F\u002Fwww.datocms-assets.com\u002F189939\u002F1789734676-ingriddesignpalette-waveform.svg",1300,70,{"title":228,"copy":229,"soundUrl":230,"soundWaves":231},"\u003Cp>\u003Cstrong>Sound Palette II\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Cp>Expressive Vibrations\u003C\u002Fp>","\u003Cp>More source, this time focussing on metallic vibrations that felt like a sword primed and ready.\u003C\u002Fp>","https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fingridmetalshaketoexpressivevibrations.flac",{"src":232,"width":225,"height":226},"https:\u002F\u002Fwww.datocms-assets.com\u002F189939\u002F1776197322-ingridmetalshaketoexpressivevibrations-waveform.svg",{"title":25,"copy":234,"asset":235},"\u003Cp>We had the privilege of \u003Cstrong>designing the combat sounds\u003C\u002Fstrong> for the wonderful \u003Cem>Ingrid\u003C\u002Fem>, the sentient sword in God of War Ragnarok that accompanies \u003Cem>Atreus\u003C\u002Fem> on his journey through the nine realms.\u003C\u002Fp>",{"_modelApiKey":30,"data":236,"alt":25},{"src":237,"width":238,"height":238,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fingrid_square.mp4",100,{"title":240,"copy":241,"asset":242},"GUIDING LIGHT","\u003Cp>The team at Sony were keen for each attack movement to sound unique and provide the player with easily identifiable tells during busy phases of combat. \u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":243,"defaultVolume":17,"isEmbed":18,"thumbnail":244},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fingrid.mp4.m3u8",{"data":245,"alt":25},{"src":246,"width":247,"height":248,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Fgowrag\u002Fingrid.mp4_preview.mp4",1920,1080,{"copy":250,"author":25},"\u003Cp>“The design palette consists of sharp light metal tones, shimmers, buzzes, fast textured whooshes, magical sweeteners and powerful impacts.”\u003C\u002Fp>",{"subtitle":252,"title":253,"copy":254,"slider":255,"sliderTitle":284,"sliderCopy":285,"sideContent":286,"cinematics":301},"Chapter IV","\u003Cp>LINEAR MEDIA\u003C\u002Fp>","\u003Cp>We were entrusted with over \u003Cem>four hours\u003C\u002Fem> of story cinematics for the title. With the game playing out without camera cuts, we worked closely with the PlayStation Studios Sound team to \u003Cstrong>keep the style and storytelling seamless between interactive and cinematic audio\u003C\u002Fstrong>, while still carrying the weight and gravitas these moments demanded.\u003C\u002Fp>",[256,266,275],{"title":257,"copy":258,"asset":259,"thumbnail":264},"Father and Son","\u003Cp>A 40 word or so description of this distinct sound palette, what the thinking was when it was being made, and how it was potentially used in the final game.\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":260,"defaultVolume":17,"isEmbed":18,"thumbnail":261},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_trailers\u002Ffatherson\u002FGOWR_FATHER_SON_CINEMATIC_EN_US_100_YT.m3u8",{"data":262,"alt":25},{"src":263,"width":247,"height":248,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_trailers\u002Ffatherson\u002FGOWR_FATHER_SON_CINEMATIC_EN_US_100_YT_preview.mp4",{"data":265,"alt":25},{"src":263,"width":247,"height":248,"isVideo":24},{"title":267,"copy":258,"asset":268,"thumbnail":273},"Story Trailer",{"_modelApiKey":15,"videoUrl":269,"defaultVolume":17,"isEmbed":18,"thumbnail":270},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_trailers\u002Fstory\u002FGOWR_STORY_EN_US_FULL_4K_2997f_v056_WS.m3u8",{"data":271,"alt":25},{"src":272,"width":247,"height":248,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_trailers\u002Fstory\u002FGOWR_STORY_EN_US_FULL_4K_2997f_v056_WS_preview.mp4",{"data":274,"alt":25},{"src":272,"width":247,"height":248,"isVideo":24},{"title":276,"copy":25,"asset":277,"thumbnail":282},"Reveal",{"_modelApiKey":15,"videoUrl":278,"defaultVolume":17,"isEmbed":18,"thumbnail":279},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_trailers\u002Freveal\u002FGOWR_FIRST_LOOK_EN_US_FULL_4K_2997f_001.m3u8",{"data":280,"alt":25},{"src":281,"width":247,"height":248,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_trailers\u002Freveal\u002FGOWR_FIRST_LOOK_EN_US_FULL_4K_2997f_001_preview.mp4",{"data":283,"alt":25},{"src":281,"width":247,"height":248,"isVideo":24},"The Trailers","\u003Cp>We knew \u003Cem>the sound of the game intimately\u003C\u002Fem>. That closeness, paired with our experience in marketing campaigns, saw PlayStation's marketing team turn to us with sound design and mix across the trailers and marketing beats.\u003C\u002Fp>",[287,294],{"title":288,"copy":289,"asset":290},"At the desk","\u003Cp>One of many (many) late nights on the mix.\u003C\u002Fp>",{"_modelApiKey":30,"data":291,"alt":25},{"src":292,"fallbackSrc":33,"width":182,"height":183,"isVideo":18,"focalPoint":293},"\u002F189939\u002F1773165094-god-of-war-media-7.jpg",{"x":17,"y":17},{"title":295,"copy":296,"asset":297},"Remain in light","\u003Cp>The scene of freeing\u003Cem> \u003C\u002Fem>Týr from captivity was the first scene we worked on for the title, and was a test bed for the audio transitioning between gameplay and cinematic.\u003C\u002Fp>",{"_modelApiKey":30,"data":298,"alt":25},{"src":299,"fallbackSrc":33,"width":182,"height":183,"isVideo":18,"focalPoint":300},"\u002F189939\u002F1773165093-god-of-war-media-8.jpg",{"x":17,"y":17},{"title":302,"items":303},"CINEMATICS",[304,314,322,330,338,346],{"title":305,"copy":306,"asset":307},"WOLF CINEMATIC","\u003Cp>A heartbreaking farewell. The mix stripped back, giving the intimacy of the moment all the space it needs.\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":308,"defaultVolume":17,"isEmbed":18,"thumbnail":309},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Fwolf\u002Fint9_wolf_mux.m3u8",{"data":310,"alt":25},{"src":311,"width":312,"height":313,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Fwolf\u002Fint9_wolf_mux_preview.mp4",702,395,{"title":315,"copy":316,"asset":317},"Table Cinematic","\u003Cp>Gods at the door. The mix leans into every silence and every creak of the room, you should feel the pressure without being in it.\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":318,"defaultVolume":17,"isEmbed":18,"thumbnail":319},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Ftable\u002Fint9_table_mux.m3u8",{"data":320,"alt":25},{"src":321,"width":312,"height":313,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Ftable\u002Fint9_table_mux_preview.mp4",{"title":323,"copy":324,"asset":325},"Moonscene Cinematic","\u003Cp>Day turns to night in a howling symphony. The mix follows the wolves, letting the scale of the moment swallow everything else.\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":326,"defaultVolume":17,"isEmbed":18,"thumbnail":327},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Fmoonscene\u002Fint9_moonscene_mux.m3u8",{"data":328,"alt":25},{"src":329,"width":312,"height":313,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Fmoonscene\u002Fint9_moonscene_mux_preview.mp4",{"title":331,"copy":332,"asset":333},"Mermaid Cinematic","\u003Cp>Fantasy, kept grounded. As the spear takes shape, the mix plays the interior against the underwater.\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":334,"defaultVolume":17,"isEmbed":18,"thumbnail":335},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Fmermaid\u002Fint9_mermaid_mux.m3u8",{"data":336,"alt":25},{"src":337,"width":312,"height":313,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Fmermaid\u002Fint9_mermaid_mux_preview.mp4",{"title":339,"copy":340,"asset":341},"Bar Brawl Cinematic","\u003Cp>A bar brawl in Asgard. The mix leans into the chaos rather than fighting it.\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":342,"defaultVolume":17,"isEmbed":18,"thumbnail":343},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Fbarbrawl\u002Fint9_barbrawl_mux.m3u8",{"data":344,"alt":25},{"src":345,"width":312,"height":313,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Fbarbrawl\u002Fint9_barbrawl_mux_preview.mp4",{"title":347,"copy":348,"asset":349},"Paper Boat Cinematic","\u003Cp>A moment's calm mid-escape, then off a waterfall and into the realm gliders. No rest for the mix either.\u003C\u002Fp>",{"_modelApiKey":15,"videoUrl":350,"defaultVolume":17,"isEmbed":18,"thumbnail":351},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Fpaperboat\u002Fint9_paperboat_mux.m3u8",{"data":352,"alt":25},{"src":353,"width":312,"height":313,"isVideo":24},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fint9_cinematics\u002Fpaperboat\u002Fint9_paperboat_mux_preview.mp4",{"subtitle":355,"title":356,"creditsSj":357,"creditsSony":360},"Chapter V","\u003Cp>The\u003C\u002Fp>\u003Cp>Credits\u003C\u002Fp>",{"subtitle":358,"copy":359},"SWEET JUSTICE TEAM","\u003Cp>\u003Ca href=\"https:\u002F\u002Fgoogle.com\" target=\"_blank\" rel=\"noopener\">Csaba Wagner\u003C\u002Fa> \u003Cem>(supervising sound editor)\u003C\u002Fem>, Samuel Justice \u003Cem>(supervising sound editor)\u003C\u002Fem>, Ben Minto \u003Cem>(senior audio artist)\u003C\u002Fem>, Chris Sweetman \u003Cem>(senior audio artist)\u003C\u002Fem>, Harry Cohen \u003Cem>(audio artist)\u003C\u002Fem>, Luke Hatton \u003Cem>(audio artist)\u003C\u002Fem>, Michael Leaning \u003Cem>(audio artist)\u003C\u002Fem>, Barney Oram \u003Cem>(audio artist)\u003C\u002Fem>, Zachary Quarles \u003Cem>(audio artist)\u003C\u002Fem>, Stefan Rutherford \u003Cem>(audio artist)\u003C\u002Fem>, Paul Stoughton \u003Cem>(audio artist)\u003C\u002Fem>, Joe Thom \u003Cem>(audio artist)\u003C\u002Fem>, Graham Donnelly \u003Cem>(audio artist)\u003C\u002Fem>, David Farmer \u003Cem>(audio artist)\u003C\u002Fem>, Eilam Hoffman \u003Cem>(audio artist)\u003C\u002Fem>, Jason W. Jennings \u003Cem>(audio artist)\u003C\u002Fem>, Bryan Jerden \u003Cem>(audio artist)\u003C\u002Fem>, Fred Pearson \u003Cem>(audio artist)\u003C\u002Fem>, Stephano Sanchinelli \u003Cem>(audio artist)\u003C\u002Fem>, Thomas C. Brewer \u003Cem>(audio artist)\u003C\u002Fem>, Tim Walston \u003Cem>(audio artist)\u003C\u002Fem>\u003C\u002Fp>",{"subtitle":361,"copy":362},"SONY AUDIO TEAM","\u003Cp>Frank R. Favre \u003Cem>(Audio director)\u003C\u002Fem>, Michael Kent \u003Cem>(supervising sound designer)\u003C\u002Fem>, Jeremy Rogers \u003Cem>(supervising sound designer)\u003C\u002Fem>, Alex Previty \u003Cem>(sound design lead)\u003C\u002Fem>, Beau Anthony Jimenez \u003Cem>(sound design lead)\u003C\u002Fem>, Bryan Higa \u003Cem>(sound design lead)\u003C\u002Fem>, Stephen Schappler \u003Cem>(sound design lead)\u003C\u002Fem>, Justin E. Bell \u003Cem>(sound design lead)\u003C\u002Fem>, Nicholas Tomassetti \u003Cem>(senior audio artist)\u003C\u002Fem>, Aaron Sanchez \u003Cem>(senior audio artist)\u003C\u002Fem>, Ash Read \u003Cem>(audio artist)\u003C\u002Fem>, Dennis Bestafka \u003Cem>(senior audio artist)\u003C\u002Fem>, Derrick Espino \u003Cem>(senior audio artist)\u003C\u002Fem>, Jeshua Whitaker \u003Cem>(senior audio artist)\u003C\u002Fem>, Lewis Everest \u003Cem>(senior audio artist)\u003C\u002Fem>, Noburo Masuda \u003Cem>(senior audio artist)\u003C\u002Fem>, Tsubasa Ito \u003Cem>(senior audio artist)\u003C\u002Fem>, Andres Herrera \u003Cem>(audio artist)\u003C\u002Fem>, Chris Kokkinos \u003Cem>(audio artist)\u003C\u002Fem>, Danny Barboza \u003Cem>(audio artist)\u003C\u002Fem>, Danny Hey \u003Cem>(Audio ARTIST)\u003C\u002Fem>, Kei Matsuo \u003Cem>(audio artist)\u003C\u002Fem>, Kouji Niikura \u003Cem>(audio artist)\u003C\u002Fem>, Lewis Barn \u003Cem>(audio artist)\u003C\u002Fem>, Maria j Rascon \u003Cem>(audio artist)\u003C\u002Fem>, Presley Hynes \u003Cem>(audio artist)\u003C\u002Fem>, Prin Keerasuntonpong \u003Cem>(audio artist)\u003C\u002Fem>, Robert Castro \u003Cem>(audio artist)\u003C\u002Fem>, Satsuki Sato \u003Cem>(audio artist)\u003C\u002Fem>, T.J. Schauer \u003Cem>(audio artist)\u003C\u002Fem>, Sean LaValle \u003Cem>(technical sound designer)\u003C\u002Fem>, Cameron Sonju \u003Cem>(technical sound designer)\u003C\u002Fem>, Daniel Ramos \u003Cem>(technical sound designer)\u003C\u002Fem>, Enoch Choi \u003Cem>(technical sound designer)\u003C\u002Fem>, Gavin Booth \u003Cem>(technical sound designer)\u003C\u002Fem>, Roy Lancaster \u003Cem>(technical sound designer)\u003C\u002Fem>, Charles Dworetz \u003Cem>(technical sound designer)\u003C\u002Fem>, Bradley Gurwin \u003Cem>(technical sound designer)\u003C\u002Fem>, Mallorie Lesher \u003Cem>(technical sound designer)\u003C\u002Fem>, Dave St. Jean \u003Cem>(technical sound designer)\u003C\u002Fem>, Klaudia Schaffer \u003Cem>(technical sound designer)\u003C\u002Fem>, Aaron Cendan \u003Cem>(technical sound designer)\u003C\u002Fem>, Ashton Faydenko \u003Cem>(technical sound designer)\u003C\u002Fem>, Jessie Chang \u003Cem>(technical sound designer)\u003C\u002Fem>, Skylar Chen \u003Cem>(audio programmer)\u003C\u002Fem>, Stepan Boev \u003Cem>(technical sound designer)\u003C\u002Fem>, Blake Collins \u003Cem>(foley editor)\u003C\u002Fem>, Joanna Fang \u003Cem>(foley ARTIST)\u003C\u002Fem>,\u003C\u002Fp>",1791377394503]