Raven Director David Pellas Goes In-Depth on Call of Duty: Modern Warfare Remastered

Oh, no way, the music is awesome. Our audio director and I were just talking about this before the trip and I said ‘What did we do to the music? I just want to be clear because people are going to ask about it?’ He was like ‘are you kidding me? I wouldn’t touch the f’ing music with a 10 foot pole.’ So I was like ‘Okay, I wanted to be clear.’ So no remixing, it’s possible that we’ve done some cleanup. I know that for the VO we felt that that was very iconic, but for the radio VO it was very hard to hear some of it. So we took out some of the static so it was clearer, but I know that was another area where we were like ‘it’s pretty good. Lets not mess with that.’

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I’ve speculated over the past week whether a remaster of previous Call of Duty titles is necessarily a bad thing. But whether Activision’s late (it has to be said) jumping on the remaster band-wagon should be regarded as universally “lame”, the truth is, I don’t see it as something objectively bad. If anything — and this is coming from someone who’s always open to discussing the many, troublesome issues with Call of Duty as a model, let alone as an iteration-by-iteration video game — I find the idea, notably interesting. For a series that has shifted from World War 2 to modern war and now to future warfare, could this be an early sign of where the series may end up turning in later releases further down the line? Yes you can argue Ghosts tried a return to a contemporary-ish aesthetic to counter the ever-growing futuristic direction Black Ops & Advanced Warfare brought forth.

It was far more complicated than that. So the methods of which MoCap is captured have changed significantly in the last nine years, almost as much as game engines have changed. We are very fortunate at Raven to have a Mocap studio on site as well as facial capture and a lot of other technologies that help us punch this. I won’t say that we weren’t able to use any of the animation data, because i believe that we used a lot of it and then added detail and more natural movement to scenes, but we did a lot of new MoCap. Some scenes we just couldn’t get the data to line up right and the timing felt off, and it wasn’t because we changed the timing it’s because the systems had fundamentally changed and we needed to make sure that that still felt right. So our animation team and our MoCap team have done a ton of work and we’re very proud of that work. So yeah I would say it wasn’t an easy thing to just take it and ‘copy and paste’ it and you’re good. There was definitely a lot of time put into that.

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The difference here is that this won’t be a new entry, but a return to what the series was at that time. As such, it opens up a possibility to not only reintroduce a setting that many could perhaps have forgotten, but also introduce the days without robots and drones and aerial-dominating killstreaks that only embellished the “rich get richer; poor get poorer” mentality entries like Modern Warfare 2 got pressingly wrong. Modern Warfare’s design was a lot simpler. Its 3-5-7 kill-streak system may be deemed minimalistic by recent standards, but back then it didn’t over-complicate or make 90% of player’s strive to simply getting a tactical nuke, so predictable (Harriers, AC130, bo-WEEP bo-WEEP…done!).

So we were very cautious about making significant changes to the core audio files, but unfortunately all of the audio done in the original were single channel wav files. So yeah think of how awesome it sounds. They were freakin’ masters over there to pull that out, but when you play that back today and you’re in a closed soundproof room and you’re listening to it you’re like ‘what the hell is this?’ Because it feels distorted, there’s no depth to it, no personality, no reverb, it lacked a lot. So we wanted to maintain that so we started with what was already there, as the single channel, and we built up from there.

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