From a roster that includes Michael Giacchino, Graeme Revell, Joel Goldsmith, Lorne Balfe and Brian Tyler, it’s arguably Sean Murray’s modernistic and refreshing soundtracks for World at War (sadly still unreleased on album) and Black Ops that are the franchise’s shining musical moments. Musically, the Call of Duty series has always been one of constant change, with each composer putting their stamp on the title(s) they were asked to work on – with varying degrees of success. While Black Ops II introduced some new elements like nonlinear gameplay and a storyline that moved back and forth between recent past (1980s) and near future (2025), all in all it was the same Call of Duty experience that millions of gamers had obviously come to love. Apart from this stunning commercial success, yet more familiar sights awaited within the game itself. In the end, Black Ops II‘s sales didn’t set a new record for the franchise, but 22 million sold copies (as of May 2013) aren’t really a reason for publisher Activision to feel sad and rejected either. The franchise’s most recent instalment Call of Duty: Black Ops II became the biggest entertainment launch of all time, raking in $500 million on its first day – a record previously held by Call of Duty: Modern Warfare 3, and before that by Call of Duty: Black Ops and Call of Duty: Modern Warfare 2.
For pretty much any other video game franchise, such huge numbers would be close to unbelievable, but for the Call of Duty series, it almost seemed like business as usual.
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