Since working on Lost Planet, I had been expressing myself aurally via exaggerated realism, so I did this in Dragon’s Dogma too. I also wanted to continue introducing acoustic physics into our games, so I injected elements like air absorption relative to distance (basically, I utilized a low pass filter used with respect to distance.) Sound effects were as simple as possible. Where the sounds in Lost Planet were strong, sharp and clear, with Dragon’s Dogma we went with mild sounds that would be pleasing to the ear. This was to make things easier on players, as role playing games tend to be quite long. We also took great care to treat each sound as important, so, for example, sounds like footsteps or cutting into enemies were all recorded outdoors so as to eliminate the reflective, atmospheric noise distinctive of rooms. All of the sound designers on the project shared an understanding that we were making very organic sounds.
You can read the entire interview here. Kishi-san goes into his personal history with sound design, the tools and plug-ins that he uses, and implementing dynamic sound design and creating spaces within the game engine. It gets a little technical, but it's a fascinating read.