While the responses to
sturmfuhrer's post are for the most part correct,
sturmfuhrer does raise a valid point about environmental sound and Foley in RO. While RO Sound Design is generally competent, the actual Foley and environmental sounds are very sparse, and not always as subtle or immersive as they can be.
The Unreal Editor now allows for very easily and realistically decorating environments with dense, realistic, subtle sound; not just passive environmental emitters for say the burning and popping embers of fire or the sounds of the local fauna and wildlife, but the different interactive sounds literally everything in the world makes if it's touched, steped on, run on, bumped, hit, fallen one, shot, fill in the blank...
Rich and subtle environmental sound not only adds enormously to the depth and immersiveness of a game, it adds a lot of realistic subtle cues to navigation, direction, and situational awareness.
Compelling weapon Foley while it gets enormous scrutiny, is less then a fraction of a percent of the sounds you'd hear in the actual environment, or should hear in its game simile. The number of emitters in a game should exceed the texture volume by a factor of at least 1.5x to offer some of the convincing features good Sound Design can offer, and RO like many games has fallen short in this regard.
Will HOS raise the bar?