Zereth Mortis is the result of great communication and risk-taking between the narrative, quest, encounter, and sound design departments. For the opening questline, we constructed a visual and auditory language that paid off in large scale for the final raid.
WoW boss dialogue telegraphs phases and attacks, but some of the Sepulcher bosses only spoke the musical Zereth Mortis constructed language.
With clear narrative guidance, the sound and encounters teams created a rhythmic, visceral experience for players.
Tazavesh is a Broker city. My narrative design document drew inspiration from Moroccan souks and detailed several Broker families.
Designers pulled inspiration from this document to create immersive characters and encounters. The audio team created ambient sound tech to make Tazavesh feel like a real city. The result is one of WoW’s most thrilling, cohesive, and fun megadungeons.
Neenah’s the only lady Saint in the reboot. She had to kick ass.
Her revenge mission starts with an emotional gut punch and ends with a fun-as-hell slap to the face. In between, I worked with the mission designer to incorporate high-skill driving (and piloting), combat, timed objectives, huge explosions, and even a hilarious sequence using the game’s complex car modification UI to torture info out of an enemy.
In the hierarchy of game narrative conveyance, dialogue comes last. For Kevin’s cutscene, the cinematics team and I used classic horror cinematography rather than words to create tension.
Tyrande’s been through literal hell to save her people, and she never shows weakness. But when her love, Malfurion, must leave her alone to fight once again, she breaks down at last.