DLC is an aspect of gaming that most gamers have come to expect from high profile releases, and the Call of Duty series is not shy about creating another add-on. Escalation is the latest pack for Black Ops, and comes with a standard issue four multiplayer maps and one new zombie map. Treyarch have taken a new direction with this latest instalment and it may not please everyone.
It’s always exciting for a fan when a new map pack lands, especially if we’re talking about the first map pack for the biggest selling game of 2010. First Strike, like Modern Warfare 2′s iterations, comes with four new maps for multiplayer but with the added bonus of an extra map for the zombies game mode.
As the mainstream interest grows in gaming so does the interest from Hollywood. Don’t panic, it’s not just directors like Uwe Boll desperate to take a rusty hatchet to your favourite memories, sometimes it’s a range of quality actors wanting to lend their talents for large sums of money. Games like Uncharted 2 and Mass Effect proved how much can be gained from quality voice overs and believable characters, although you still need the story and the action to structure them around.
In Black Ops you play as the Sam Worthington voiced Alex Mason, who is being interrogated by robot voiced men in a room filled with monitors and bloody utensils. Mason gets jabbed with some raconteur inducing drugs and as he tells his disjointed story, you play it. It spins and twists through bombastic scenarios from post war Russia, Cuba and the lush Vietnamese jungles. The supporting cast is impressive with Ed Harris, Gary Oldman and eh, Ice Cube, adding their pedigree to the proceedings. Harris in particular is fantastic as Hudson, the bad ass aviator wearing CIA operative; Treyarch’s “Soap” if there ever was one.
The story takes more of a psychological edge with some definite influence from American TV and cinema – I was half expecting Jack “DAMMIT” Bauer to stroll through the game at some points. As the game thundered through its fast paced missions and flashing cut scenes the drama intensified, and so did my interest. The payoff, the twist, was fairly obvious in the end but it was an enjoyable one.
“Sean Murray asked me to sing the role of the German angel for COD5. He was already attached to Call of Duty. The rest is history.” – Jane Runnalls
It’s fair to say that the name may not be one that is linked by gamers to anything that they’ve played within the past few years, but let me assure you that she is a very clear voice in two of the biggest games of recent times. The singing star, who originates from Santa Cruz, California, is the angelic choral voice contained within some of the haunting melodies of the last two Treyarch Call of Duty games, World at War and now Black Ops. VideogameUK got a rare chance to talk to Jane about the project and also found out a little more about her.
When you look at what she has achieved over the past few decades, you can begin to understand why composer Sean Murray collaborates with her on a regular basis. Jane has been involved in everything from honing her skills through work at UCLA (one of the most well known universities in the US) to even becoming a part of a dream opportunity for her, starring in a project from one of the stars of the musical, Julie Andrews. When we asked how it felt to be reunited again for Activision’s newest shooter, Jane was unsurprisingly happy about it:
“I was thrilled. Sean and I have worked on two other games together for Activision and Treyarch. He brought me in for my first game. Reuniting with him and the amazing talent at Activision and Treyarch is so exciting. The excitement never wears off!”
The more you begin to look at the difference in styles of Call of Duty year to year you really begin to see that this change stems to more than just the music, but in a way it is one of those things that helps the interchanging companies involved in the franchise keep their identity, moving from the Modern Warfare mixture of powerful strings and guitar mix to the World at War/Black Ops blend of haunting melodies and the occasional orchestral input.
Putting pieces like this together does take quite a bit of time and planning, as Jane told us:
“Initially, when Sean and I begin a song, it’s with music he’s already written. We’ll listen to it, sans vocals first, and I’ll hear where he’d like to go with it. I’ll study the music and think about it too. When recording time comes, it’s first laid down in a smaller studio. We’ll jump right in, try different things, incorporate new melodic ideas if any, and then keep the best of what we’ve got. Next step is the orchestration, then the orchestra doubles, and finally, the mixing.”
“Everything is developed in stages. I would sing music as it was written for me over the course of the games “filming”. The actual recording process happens rather quickly. I receive the music, talk about it with Sean, learn it, and record. I’ve always been a quick learner and good sight reader, so that has helped me too.”
It isn’t just videogame music that Jane is known for either. When you consider that she has worked with people like Tim Robbins and the Los Angeles Philharmonic Orchestra, you can see just how talented she is, but this talent is not just a gift to the media, it is also put to a more helpful use in terms of the community and charity:
“I sing original music for film, film trailers, and some television. Within those mediums, the types of songs can range anything from ethereal and ambient in nature, to more theatrical and contemporary for a specific theme. I’m a classically trained lyric soprano, so my favourite music to sing is Mozart, Faure, Strauss…anything Rodgers & Hammerstein wrote! I co-founded a project, Songs for Smiles, that brings uplifting musical programs to terminally ill hospice patients throughout Los Angeles county. This is a time when I get to sing all sorts of uplifting music from those genres that people love, and it’s a joy. I love singing for people, whether it’s in a smaller group setting or theatrical venue.”
It’s clear to say that it is a voice in demand. Some people may not think about the audio side of things and be more interested in just getting to the matter of killing whatever is put in front of them by using whatever means necessary, but to the more keen eye (or ear in this case) there is more to a game than just graphics and gameplay. The sound is a very important section, as many iconic tunes will no doubt prove (Sonic, Mario, Pac Man and so on) It is clear that when done right the power of audio can be just as atmosphere inducing as the best camera work or piece of acting in any movie. We asked Jane if she thought that the games industry was as important as the movie and music industry, where we would have, up until a few years ago anyway, only heard such grand music in films and television productions:
“Yes. The power and resonance of these games is extraordinary. They reach millions of people through wide and diverse audiences across the world. Further than movies and music do, in some cases. Particularly with Call of Duty, Activision’s voice continues to be prolific.”
Now, we know that at least one member of the Runnalls family has an involvement in gaming in one way or another, but what about the rest of the family? Did they know a lot about the series?
“Yes and No. A great majority of family on my Mom’s side, including my mom, had never heard of the franchise before I became involved. “Call of…Duty?” they would ask, “what is that exactly?” Much of my Dad’s side, on the other hand, knew more than I did about the games! They were far more elated than me at my being a part of it. They’d been enjoying Call of Duty games for years.”
In a way, I’m a very lucky man, in that I do love both gaming and music and appreciate the fine qualities that both can bring. When you see a great product with these two ingredients blended well you can really begin to appreciate just how much of a fine art the video game has become. Titles like Heavy Rain, Halo, and Mario Galaxy all benefit from a beautiful blend of melodic joy and gameplay induced happiness. The Call of Duty series is no exception, as millions of copies sold will no doubt testify.
We should be thankful of people like Jane and Sean for giving us the cherry to sit on top of an already generous helping of cake. I had one last chance to ask something and it was about what the future holds in the gaming industry beyond voicing the melodies and whether or not there was a chance of her joining the likes of Andy Serkis and other Hollywood stars in the realms of the motion captured world of performance:
“Oh Yes! There was already a bit of that in True Crime: New York City, where I played the Italian opera singer shot down at the Met. Regardless of the format, however, there is always acting required in singing. Whether you’re an actual character, or you’re singing music to highlight the action, you’re always telling a story. There’s always a message. That’s precisely what I love about being a singer.”
To me, if I may be allowed to get a little philosophical with you all, music is a very beautiful thing. The one thing I love more than anything else is that people can take so many different responses and emotions from the same piece of melody intertwined with speech or song and is it that person’s memory to cherish forever. Whether it be a movie soundtrack, an iconic song or, in this case, a stirring musical hook to draw you in to what is beyond the start button. To that I say long may it continue.
If you wish to find out more information on Jane Runnalls you can visit her website, www.janerunnalls.com which also details her Songs for Smiles charity. Many thanks to her and to Tammy Lynn for helping get this interview together.
It seems like only yesterday that I was shelling out for 1200 Microsoft points for the under par Stimulus pack, when all of a sudden the Resurgence map pack is upon me. Is it worth another 1200 points?
