- Special Features
Blogs & Columns
- Fun & Games
From the creators of Warhawk, comes Starhawk, a bold new third person shooter adventure where you can change the battlefield instantly in the heat of combat. Experience intense frenetic combat on foot, in vehicles, or in the air. Discover the new “Build & Battle” system and gain the tactical advantage by calling upon an arsenal of weapons, vehicles, and fortifications, violently delivered from an orbiting drop ship to help turn the tide of battle. The soundtrack features original music by Christopher Lennertz (Mass Effect 3, the film Horrible Bosses).
Christopher Lennertz is an award winning composer for film, television, and video games. He has already scored over 40 feature films, five network television series, and over a dozen video games. Lennertz has achieved high-success in a wide variety of genres from star-studded comedies to family films to action packed adventures. From his 1960s infused score for Think Like A Man to his comedic score for Horrible Bosses, Lennertz’s adeptness for a multitude of genres has put him on the map time and time again.
His knack for comedy is undeniable through films like The Comebacks, The Perfect Holiday, and the cult classic spoofs Vampires Suck and Meet the Spartans. He’s also contributed his unique brand of humor to several hit family films including Alvin and the Chipmunks, Hop, Marmaduke and Cats & Dogs: The Revenge of Kitty Galore. Furthermore, he’s tapped into the indie world, scoring critically acclaimed films like Alfred P. Sloan winner Adam and Tortilla Heaven, which garnered him the very first Film Music award for Best Independent Film Score.
Along with television and film, Christopher Lennertz is celebrated for his video game scores with major sellers like Steven Speilberg’s Medal of Honor, James Bond 007: From Russia with Love, Quantum of Solace, and Gun. Most recently he scored Mass Effect 3 for PlayStation 3; it was the third and final installment in the games’ series.
“From the beginning, I wanted to make sure that no matter how intense the action got,” said Lenertz, “the player would be immersed in the world of Starhawk and really become the character. The melodies had to tell the story, and the sound had to create a sonic universe that was unique and unmistably Starhawk.”