" I don’t really have a defined process as such, I tend to read some back story, look at concept art and just go with it. I find that structuring the process removes a lot of the creativity."
thats what im expect from Chris colleagues, but sadly, its infrequent[in game industry].
product submerging/immersion including process of creation itself, so creators[and A/V engineers(which i become too in my TV backgrounds) usually too]can feel something about product, or even Love it 
“incredible feeling of immersion. I still remember the little metal ting as you shot the helmets off.”
looks like psysics details and [combat]animations in Brink lack detalization for such trick/neat detail, but hope SD implement it sometime later.
or at least someone make vehicle dammage sounds mod, for ETQW[so shoting become more ejoyable and realistic. inagine jigging sounds form dammaged tank track or altered main rotor sound of dammaged Anansi, while pilot screaming “mayday” over air(falling down)].
This week we interview Splash Damage’s Supreme Commander of All Things Audio, Chris ‘peaceful warrior’ Sweetman. Chris comes to Splash Damage from Criterion, where he worked on the award-winning Black and Burnout Paradise. He also created the beeps and bops for a myriad of other games and before that worked on several movies, including Goldeneye and Twelve Monkeys. Suffice to say, Chris knows a thing or two about sound and we’re excited to have him here in our tapir pen, if only to have him make the Star Trek door noise whenever somebody enters the office.
