Gryphus
08.10.2005, 14:27
In einem Interview auf Vanguard Spheres hat Todd Masten auf einige Fragen geantwortet. Als Bonus hat der für die Musik verantwortliche ein weiteres Musikstück zum reinhören dem Interview beigelegt.
<ul><table border="0" cellpadding="0" cellspacing="0" width="85%"><tr><td width="100%"><div align="justify" style="font-size: 10px; font-family: ARIAL, VERDANA; color: #4F4F4F;"><b>We`ve heard a bit about various ideas you have for Vanguard`s sound and music. However, in your words how would you describe Vanguard`s approach to `3rd generation` sound?</b>
We’ve taken a strong cinematic approach with the music and audio, with the goal of making the game feel more like an epic movie or adventure. Areas in the game have meaningful music identifiers so you are capable of understanding where you are without the need of any visual aid. You may even be able to identify the origins of old city ruins as being ‘elven’ or ‘dwarven’, as it is likely to contain similar musical elements. There is a great example of this pertaining to the capitol city on one of the major landmasses in conjunction with the area where the ruins of the old city still stand on the far side of the continent. I am hoping things like this can bring a stronger sense of cohesion and immersion to the world.
Another important element of ‘next level’ audio is our integration of the ISACT system into our audio engine. Together with the assistance of Microsoft and Creative Labs we’ve created and integrated a suite of tools that provide unprecedented audio delivery and compression tools. We are able to control every nuance of every sound and adjust the parameters in real time as the game plays. This means that the ambience around you will evolve as you move through the landscape. It also means that every sound in the world is dynamic. When you whack a turtle on the head for example, the engine looks at what weapon is in your hand, the surface you are striking, how hard you are hitting the surface, the reaction of the surface to the impact, then plays a variation of each of the sounds in real time. There are subtle pitch, amplitude, and sample randomizations for every action in the game. What this basically means is you aren’t going to hear the exact same ‘whack’ every time you hit a turtle on the head. The ISACT approach extends into the musical realm as well where music adapts to the situation at hand in each given area.</div></td></tr></table></ul>
Link: <a href="http://www.vanguardspheres.com/forums/showthread.php?t=246" target=_blank>Interview auf Vanguard Spheres</a>
Download: <a href="http://www.vanguardspheres.com/downloads/audio/steppesofthesunset.mp3" target=_blank>Musikstück Steppes of the Sunset</a>
Link: <a href="http://forum.vsoh.info/showthread.php?p=8124#post8124" target=_blank>Kommentare</a>
<ul><table border="0" cellpadding="0" cellspacing="0" width="85%"><tr><td width="100%"><div align="justify" style="font-size: 10px; font-family: ARIAL, VERDANA; color: #4F4F4F;"><b>We`ve heard a bit about various ideas you have for Vanguard`s sound and music. However, in your words how would you describe Vanguard`s approach to `3rd generation` sound?</b>
We’ve taken a strong cinematic approach with the music and audio, with the goal of making the game feel more like an epic movie or adventure. Areas in the game have meaningful music identifiers so you are capable of understanding where you are without the need of any visual aid. You may even be able to identify the origins of old city ruins as being ‘elven’ or ‘dwarven’, as it is likely to contain similar musical elements. There is a great example of this pertaining to the capitol city on one of the major landmasses in conjunction with the area where the ruins of the old city still stand on the far side of the continent. I am hoping things like this can bring a stronger sense of cohesion and immersion to the world.
Another important element of ‘next level’ audio is our integration of the ISACT system into our audio engine. Together with the assistance of Microsoft and Creative Labs we’ve created and integrated a suite of tools that provide unprecedented audio delivery and compression tools. We are able to control every nuance of every sound and adjust the parameters in real time as the game plays. This means that the ambience around you will evolve as you move through the landscape. It also means that every sound in the world is dynamic. When you whack a turtle on the head for example, the engine looks at what weapon is in your hand, the surface you are striking, how hard you are hitting the surface, the reaction of the surface to the impact, then plays a variation of each of the sounds in real time. There are subtle pitch, amplitude, and sample randomizations for every action in the game. What this basically means is you aren’t going to hear the exact same ‘whack’ every time you hit a turtle on the head. The ISACT approach extends into the musical realm as well where music adapts to the situation at hand in each given area.</div></td></tr></table></ul>
Link: <a href="http://www.vanguardspheres.com/forums/showthread.php?t=246" target=_blank>Interview auf Vanguard Spheres</a>
Download: <a href="http://www.vanguardspheres.com/downloads/audio/steppesofthesunset.mp3" target=_blank>Musikstück Steppes of the Sunset</a>
Link: <a href="http://forum.vsoh.info/showthread.php?p=8124#post8124" target=_blank>Kommentare</a>