“When I really started forming the seed of this idea I knew it was going to be a massive polar shift for the whole franchise to really reimagine everything we can about it while still keeping the guts of God of War,” Barlog said.Ĭhanging up the setting was not the only shake-up Barlog had planned for the fourth installment, however. His return to the franchise (and developers Santa Monica Studio) came in 2013 where he put together a team to work on the next leg in Kratos‘ blood-soaked journey. He moved up to game director for 2007’s sequel, earning a BAFTA for his writing on the project, then served as game director for eight months on the third game before leaving the company. We didn’t know exactly where we were going to go at the time, but we knew we were going to expand it out.”īarlog has been working on God of War since the first game in 2005, on which he was the lead animator. “We had exhausted Greek mythology and kind of started to set up Kratos to be able to connect to more myths. “When I came back to the studio I knew I needed to make a big change to the game,” Barlog explained to Heat Vision during a recent visit to the studio. The new location opens up the narrative to the wide breadth of Norse mythology, something of great interest to game director Cory Barlog. The change of tableau is not simply cosmetic, as the franchise’s Grecian setting was integral to Kratos‘ story and was a fundamental aspect of the plot, characterization and even gameplay of the previous titles. The new game sees the familiar anithero sporting a bushy new beard, an apt look for the series’ new locale in the frigid wilderness of Norseland new weapons now that he’s lost his trademark, chained Blades of Chaos and, most importantly, he has an adolescent son. Now, Santa Monica Studio and Sony are bringing the action gaming icon back to consoles with God of War, set for release in spring 2018.Ī lot has changed for Kratos since he was last seen hacking and slashing his way through the roster of Greek deities. you just want it to sound good."īut it's easy to "play it safe" by just booming those lines in an authoritative fashion, and the duo explained how working out the precise motivation of the characters beyond simply authority made the lines so much better when correctly sourced, explored, and acted.Nearly a decade has passed since gamers concluded the tale of the rage-filled Spartan warrior Kratos in 2010’s God of War 3, in which the son of Zeus finally exacted his vengeance against the spiteful gods of Olympus. Later in the discussion, Cooper gave an example of "jamming" on voiceovers to work out the context of a talk between Kratos and Athena in God Of War II - pointing out that with a game like God Of War, "We expect Gods to have lofty language. Going on, the writer, who has also worked on titles including Midway's Area 51, the upcoming God Of War III is "a very specific three-act experience," adding that the script is probably 120 pages in length.
God of war 3 voice actors series#
This is the first time that a TV show or theater-styled table read (with actors present and rehearsing ensemble ahead of the voice recording) has been done for Sony Santa Monica's series - and is still extremely rare throughout the entire game business. In fact, Krawczyk revealed that for the currently in-production God Of War III, "we're going to do some rehearsals and some table reads," in order to have everyone understand their characters. Often, this just isn't enough to do the lines justice from an acting point of view, with no rehearsal, and "very little information about their characters unless they're very lucky," according to Cooper.Ĭhipping in, game writer Krawczyk, who is currently working on God Of War 3 for PlayStation 3, added: "I write in screenplay format ", suggesting that the Excel/intonation method seems "very limited, and out of context to any relationships." According to her, game voice actors will often get an Excel document with a referenced intonation style ("serious" or "upbeat") and individual lines to say.
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The voice actor, who has previously worked with publishers such as Electronic Arts and Midway, had surveyed her game-related voice actor compatriots on what they were given in terms of material to work with on voice acting. In a talk at the Austin Game Developers Conference on Monday, God Of War 3 writer Marianne Krawczyk and voice actor DB Cooper discussed some notable changes needed to stop terrible game dialog or voice acting that might "haunt game writers for the rest of their lives."Ĭooper explained to the audience, which was divided between audio professionals, writers, and voice actors, that "we want to keep your game off of ," noting that it's the lack of useful direction on the character's intent or in terms of how you want the gamer to feel that can hobble things for everyone.