![]() As with all of our work, we are perpetually trying to iterate on our previous designs and elevate the quality with each generation of experience gained. As it happens, we have just released the first version of a dynamic mixing system, which allows us to improve the way we direct the focus of the mix to what we believe the player will want to (or should) focus on, at any given time. We have many systems like this in place, and with ARENA being a live service, we get to update and expand them regularly. And if the camera moves even further away, all the distant sounds are merged into one big “distant battle ambient sound”, emanating from the direction of the action. All those group sounds are then crossfaded into distant-sounding versions of themselves as the camera moves away from the action. ![]() That way the player perceives the aforementioned chaos and excitement, without the sound actually being chaotic and thus unpredictably messy. Here’s a simple example: individual sword hits and battle screams are supplanted by carefully designed group fighting sounds, once the number of combatants exceeds a certain threshold. To make sure that any possible scenario captures the chaos and excitement of battle, but still maintain a clear and comprehensible sound mix, a wide range of complex systems is required. The player can choose to observe two single soldiers engaged in an epic sword fight, and on a moment’s notice move the camera out to see 10,000 men in battle, with war elephants stomping in the distance, and giant boulders being flung across the map by catapults. ![]() When it comes to Total War games, the sheer complexity of them is probably the biggest challenge for sound. ![]()
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