Dante's Inferno (2010) utilized the adaptive music system I had designed and coded for The Godfather II.
Though Inferno was developed by a different team at Visceral, I provided ongoing support for the music system, including adding custom new functionality like sophisticated "layer mixing" and seamless pre-scripted sequencing.
This sequences shows the adaptive music system in action.
I also helped support Inferno's cinematics audio pipeline in the final weeks of production. Working with the animation team, the sound designers, dialog editors, and Audio Director, I tracked all the revisions, conformed the ADR, and set up the processing and mix sessions for hand off.
Dead Space 3 (2013) used the final iteration of the adaptive music system I'd created, as after this game Visceral adopted EA's Frostbite engine. I worked on DS3 as a contractor, having left EA after Audio Directing Dead Space 2.
I led the design work and implementation for this sequence.
I provided sound design, implementation, and mixing for the first couple of levels in the game (Isaac's apartment through the "halo" jump after the Eudora, if anyone's keeping track), as well as work on the final boss, some music editing, a large set of Foley editing, and implementation support for some of the other designers in various spots in the game.
These games were interesting and important experiences for me -- stepping out of the Audio Director role and working directly in production and design.
For one thing, they made me dig deep on my own skills and design chops, which is always good practice. But for another, it was a great exercise in empathy. I always try to be a sensitive creative leader, but it had been some time since I'd been the one getting led.
I think I really grew as a leader by being a team member again.