LMU Post 1 - Hammer of Dawn

The 'Hammer of Dawn' is a weapon that stood out from the crowd when developers at Epic Games released 'Gears of War'. Not only was it innovative in visual design, but it came with a brutal sound that became iconic.

Image A

Players of the 'Gears of War' games soon understand that the 'Hammer of Dawn' is an 'Imulsion Powered Laser Designator', which beams down energy from a satellite cannon in high orbit. This short 'fan made' clip includes a fine selection of sounds that the 'Hammer of Dawn' creates.

Video A

Following the release of the first 'Gears of War' game (2006), Alice Liang explained:

“Almost all the sounds in Gears of War are organic and not synthesized. There was a pretty strict “No lasers” policy – one exception being the Hammer of Dawn weapon sound, which contains six layers of synthesized sounds (one of which is the processed sound from the motor of a pencil sharpener)."

Impressively, the creators designed this weapon to have audio feedback actions when the weapon is fired by a player. It has 'confirmation', 'punishment' and 'reward' sounds integrated into the weapon, which all add to the experience of using the 'Hammer of Dawn'. 

Firstly the use of 'confirmation' through sound is heard when the three beeps are completed. It is not the most convincing of sounds but the three beeps enable the gamer to listen out for the sound while their eyes may be searching the screen for enemies.

I find the 'punishment' sound the most interesting, as the gamer does not need a visual aid to understand that the weapon is not being used correctly. When the weapon can not lock onto a target, a sound is created. I think they may have taken inspiration from game show sounds, as it is that 'wrong answer' buzzer that is so often used in conjunction with something being wrong. Not only does it have the characteristic sound of a 'wrong answer' buzzer, but the sound relates to the weapon. For example, a normal gun would include sounds of the gun jamming if the gamer misses a reload, as these relate to the realistic characteristics of the weapon. The 'Hammer of Dawn' on the other hand is an 'alien' weapon, and we accept that it will not posses life like sounds such as the weapon jamming, and a buzzer sound seems to be more appropriate.

(Skip to 1:29 in the video below for an example of the sound)

Video B

Finally the weapons feedback to the player in relation to 'reward'. I see the reward being created by the sound of the blast. Not only does every person in the game here this sound, but the gamer controlling the weapon is now in control! With the blast in full motion, the gamer is able to move the blast to nearly any location on the map and killing multiple enemies in the process. The player controlling the weapon may feel an element of satisfaction now that the weapon is finally unloading hell on the opponents.

Hammer of Dawn

The 'Hammer of Dawn' is a weapon that stood out from the crowd when developers at Epic Games released 'Gears of War'. Not only was it innovative in visual design, but it came with a brutal sound that became terrifying for players on the opposing side.

Image A

Players of the 'Gears of War' games soon learn that the 'Hammer of Dawn' is an 'Imulsion Powered Laser Designator', which beams down energy from a satellite cannon in high orbit. Throughout the trilogy of games comes a variety of changes for this particular weapon, as well as certain sound characteristics remaining the same. This short 'fan made' clip includes a fine selection of sounds that the 'Hammer of Dawn' creates.

Video A

Following the release of the first 'Gears of War' game (2006), Alice Liang explained:

“Almost all the sounds in Gears of War are organic and not synthesized. There was a pretty strict “No lasers” policy – one exception being the Hammer of Dawn weapon sound, which contains six layers of synthesized sounds (one of which is the processed sound from the motor of a pencil sharpener)."

Combining a variety of different sounds is not an uncommon method when attempting to create a sound that is unique. The human brain can find it challenging to pin point what the sound sources are.

The weapon creates a wall of sound when firing, as the gamer hears a catalogue of sounds blended into one. However, when the gamer is aiming and firing at a person or place that the weapon can not reach a characteristic sound is produced. It almost sounds like a wrong answer buzzer from a game show (Skip to 1:29 in the video below for an example of the sound), and this sound becomes a tactical advantage for the person using the weapon. They are able to keep holding or firing the weapon until it locks on to a target.

Video B

The element of surprise could be increased if the 'Hammer of Dawn' created the three beeps as it fires up the beam. This would mean that if an enemy was close to the weapon they would hear the beeps and could react accordingly.

Online gamers subconsciously learn to take cover inside a building when they hear the sound of the 'Hammer of Dawn', which means that they are a target to the player.

Below is a dramatic cut scene from the campaign of 'Gears of War 2' (2008) which shows how the 'Hammer of Dawn' is used to destroy a compound holding a variety of Locust creatures.

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The designers of this scene appear to have adapted a different approach to the sound design of the weapon, when compared to the sound heard during online gameplay.

This might have been to create a more dramatic sound to coincide with the cinematic cut scene. Interestingly, we hear the sound starting as it lights from the satellite in space.

It may be me just being critical, but it was my understanding that there is no oxygen in space and where there is no oxygen.. there is no sound. I understand that it is only a game but I feel if the developers were to consider real life physics, a more realistic scenario might be created. This could have lead to an incredibly powerful sound impact when the footage cut to the blast from ground level. An example of detail when emulating sound in space is in the opening battle scene to Star Trek (2009). A missile penetrates the wall of the ship and a woman's scream is heard, but as she is blown out into space the scream becomes instantly silent, due to the absence of oxygen. Understandably the Star Trek film was released three years after 'Gears of War 2' but I think the scene could have been improved by adopting the understanding that space has no sound.

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To create an even more dramatic 'Hammer of Dawn' scene, a reversed idea of the sound design of the opening battle scene of Star Trek could have been used. For example, if the sound was to be silent in space and then erupt with sound as we cut to the viewing from ground level, it would be both more realistic and sound incredible.

The sound that is actually created for this scene does have interesting characteristics. The sound of the beam hitting the surface is incredible, as it piles together the sound of the earth being blasted and integrates the sounds of characters being ripped apart. It almost sounds like a thunder strike as the satellite emits the beam, which is very effective in suggesting that the weapon is able to conjure up a more vigorous version of a lightning strike.

Image B

After the orbital strike penerates the ground, I noticed a deadly silence as the team and enemy characters lay dead. I feel this does have quite a profound effect on the person playing the game, however other sound alternatives may have been more effective. One of these being sounds of fire embers burning in the rubble, or perhaps the occasional rumble as rocks and buildings collapse in the destruction.

Interestingly, the cut scene clip shows that the destruction is being viewed from a live feed, which leads me to question the sound source (presumably from a aerial device). I am aware that it is not entirely important, however when viewing this scene it was something that puzzled me. I wondered where the gamer was meant to be hearing the sound from... the satellite? Surely if we were intended to hear the sound from up in the sky we would not hear any of the delicate sounds such as buildings collapsing etc.

Image A - http://gearsofwar.wikia.com/wiki/Hammer_of_Dawn
Image B - http://gearsofwar.wikia.com/wiki/Hammer_of_Dawn
Video A - http://www.youtube.com/watch?v=uxF3LPmraU8
Video B - http://www.youtube.com/watch?v=reAlSecU07g
Video C - http://www.youtube.com/watch?v=uxF3LPmraU8
Video D - http://www.youtube.com/watch?v=SRwe7f0vTHE

Incredible insight into the sound design of a cinematic cut scene for 'Star Wars Force Unleashed II'. Behind the scene footage of David Collins showing different versions of the cut scene, each one possessing a different approach to sound. Some focusing on character folly as well as environmental sounds.

David Collins starts to talk about creating unique sounds at 7:01, in which he layered a variety of sounds from sources such as animals. I have started to notice many sound designers using this technique when searching for new sounds, as it gives you this opportunity to make a sound that actually does not exist in real life.

This little gem alone is enough for someone to buy the game and to appreciate the effort and skill involved in creating such a masterpiece.

Composing for Halo 4

Halo 4 promises to be one of the most exciting releases of 2012 as we finally get to play with one of xbox's greatest heros once again... Master Chief. With the story line aiming to piece together the work of 'Bungie', with a new direction into the "Reclaimer Trilogy".

With '343 Industries' taking control of the creation of the game instead of the incredible work made by 'Bungie', gamers are expecting a few shake ups. One of these will be an all new soundtrack through Neil Davidge, who has the ability to fuse together organic sounds such as a classical orchestra with computer generated sounds.

This clip gives an insight into the work of Neil Davidge and his team as they attempt to create groundbreaking sound for the up and coming release of Halo 4. At 2:06 the team involved in the composing start to explain some of the 'extended techniques' they used. For example, we see Neil Davidge using a bow on what looks to be the strings of a piano, as they strive for unique sounds to be integrated into their score.

What really stood out for me in this clip was a comment made from chief executive Darrell Alexander. He explains how there is anticipated excitement through fusing together "classical with the unexpected". I believe this to be a reference to the input of a mixture of digital sounds and the use of 'extended techniques' into the classical score.

It must be said that, a lot of gamers will be taking to their rooms to enjoy what will surely be an incredible story line and multiplayer experience! I myself can not wait for the release of this game and to get my ears on a score that promises to deliver!