On the sound side, we can’t anticipate every one of those moves, so it’s often best to just attach it to what you see. not a linear play experience it’s very much based on how you choose to interact with the world. It’s attached to a building or to a zone. JM: In World of Warcraft, the way that we’ve typically put sound into the game is geography based. The trick with ambience is to create a file that doesn't bring attention to the fact that it's looping. How is sound and music triggered in the game? And then we’re looking for the highs and the lows, because that’s a place where sound can really support it. A lot of times, what we’ll do in those meetings is figure out who are the major characters, what the story arc is, and how it connects to other zones. JM: It’s really important that we actually figure out the emotional beats. What do you look for from those sources of inspiration? Glenn Stafford: Also, talking among ourselves, playing through the game, just sitting with the artwork or the concept art, any number of things can inspire the process for me musically. We sit down with the writers, the designers, and they’ll give us a lowdown in terms of what the story’s going to be, where they’re going with the overall game, where they’re taking a zone – whatever the content may be. Jay Maguire: One of the first things we do is sit down with the design team. PCGN: How do you start thinking about the sound and music for an area in-game? Together, they’re able to give us insight into their creative processes, the challenges of working with a 14-year-old game, and the art of storytelling through sound. How does a development team even approach tackling such a huge amount of work? And how does the way we play influence what we hear? Here, we speak with Battle for Azeroth senior producer Jay Maguire and principal composer Glenn Stafford to find out. As a result, Battle for Azeroth has more than ten hours of music, surpassing all of the game’s previous expansions, with a similar effort put into the sound and ambient effects. Each island had to have its own personality so simply duplicating assets would not do.
As the action takes place on two very different islands – Zandalar for the Horde, and Kul Tiras for the Alliance – Blizzard’s team wasn’t able to reuse many of the sounds and audio tracks it created. The requirements of the latest expansion issued a massive challenge to the game’s composers and sound artists. Still, most players seem to agree that the quality of the expansion’s music and sound effects are among the best in the business. This year’s Battle for Azeroth expansion divided World of Warcraft players along the fault lines of its Horde and Alliance factions, but also in discussions about bugs and design decisions.
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