and Petroglyph named Universe at War: Earth Assault. As of December 2006, he had composed several songs for various factions and enjoyed the "opportunity to create something new again, not based on...existing intellectual property. Klepacki "began by taking into account what songs were identified as fan favorites in...past related work". He was interviewed about the creative process on 27 March 2007 by Kevin Yu, a Petroglyph community manager, and provided a detailed tour of his studio at the company. His office included one of the fastest computers at Petroglyph and a vocal booth where unit responses and other vocalizations were tested and tweaked before voice actors performed finishing work. Klepacki was glad that Universe of War did not demand strict obedience to a particular style. He declared that surprises were in store for Command & Conquer fans waiting for him to return to his "roots" and "adrenaline-pumping soundtrack style", and suggested that they "imagine my mindset...when Command & Conquer first came out, and add about fifteen years experience to that." Klepacki summarized the game's main styles shortly before release: As audio director, Klepacki also created many sound effects for Universe at War. For the alien Hierarchy, he cultivated an "unnatural" aesthetic through an "arsenal of mangled noises". Klepacki used a "combination of heavy cranes recorded with overdriven impacts" to give the faction's walkers a "menacing machinelike breathing sound", and made up his own language to record "various grunts, growls, mannerisms, and strange vocalizations. Since Hierarchy heroes needed to communicate to the player in English, Klepacki engineered dialogue to seem as if the aliens were "telepathically speaking to you, with a back-masking effect on their voices...as if the words are being channeled straight to your brain". The Novus effects were usually phased and involved "mechanical movement, electricity, and metal sounds". He invented yet another language for two characters Viktor and Mirabel, who occasionally speak to one another. Lastly, he drew on weather and other natural sounds for the Masari, describing their ambience as having "more weight, thunder, heavy bass rumblings, vortex gusts..." Klepacki directed the voice-acting to have a "noble and strong" feel without appearing typically medieval or overly dramatic. He ultimately felt he did the work of "three people" with Universe at War, as the game's audio requirements changed constantly, requiring vigilance and programmer support. Divine Intervention was later nominated for a Game Audio Network Guild award, and the soundtrack