 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 was released as a free download after Petroglyph 's efforts toward a traditional release were frustrated . 
