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L99: LIMIT BREAKER
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- 16 Apr 2006
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Zusätzlich zu den 2 neuen Bildern gibt es einen neuen Blogeintrag zum Spiel (es werden 2 Fragen von Fans des Spiels beantwortet) 
:
http://blogs.ign.com/silicon-knights/
SILICON KNIGHTS ANSWERS YOUR QUESTIONS
In our March blog, we asked you, the reader, to post your questions regarding Too Human on TooHuman.net. We would then choose the top two questions posed to us each month and answer those questions. Below are Marchs winner questions with our answers:
QUESTION #1:
Ive thoroughly enjoyed your truly inspired and inspiring thoughts on incorporating the language of cinema in Too Human, but one of the things that you havent really touched upon, as far as I know, is the language of, and the evolution of sound and music in cinema, and how this relates to the use of sound and music in games. The use of music in games seems to be stuck in the traditional cinematic mode of underlining the unfolding events and enhancing the emotions that the gameplay and/or story are trying to convey. But in cinema, some directors have experimented with a different strategy where the soundtrack provides a much more individual counterpoint to the cinematography. This approach has in some cases been taken to the point where there is an almost violent tug-o-war between what the cinematography is telling us and what the soundtrack is telling us. P.T. Anderson has been exploring this dynamic to great effect in both Punch Drunk Love and There Will Be Blood, where the soundtrack is actually providing distinctly different narrative and emotional information, thus not enhancing whats already there, but actually telling us something new and changing our understanding and perception of the cinematography. So what I want to ask is:
what is your general approach to the role of music in both Too Human and in the architecture of games as a medium?
Answered by Silicon Knights Director of Audio, Steve Henifin
The medium isnt as important as the content and the mood you are trying to create through music. When creating a soundtrack for a game, I do not set out to make music for a game. Instead I make music that fits the content of the projects overall look and feel. The music has an identity and stands on its own, while still fitting with the visual content. To that point, I dont see writing music for games as any different than writing music for films; you are creating a soundtrack that reinforces the mood of the scene -- whether that is coming off a film reel in a movie theater, or streaming off a gaming console shouldnt matter.
With Too Human, I began by sitting down with the concept art and looking through all of the various environments, characters, and storyboards to get an idea of the art direction. I wanted to create themes that felt like these places in that exact moment in time, so I started by writing music sketches of each environment. As the project developed, battle tracks for combat, boss tracks for boss fights, and ambient tracks for exploration were then created to match the action on screen. All of these tracks would later be used as reference when recording the final tracks during the orchestra sessions.
I also like using minimalism and sound design to give the pacing a chance to breathe, bringing in stronger arrangements where they are needed so that these musical parts have more impact. If everything is constantly playing at the same pace, there is no balance or contrast with the rest of the material.
The music in Too Human , like the gameplay, is non-linear -- each track map is set up so that each area has its own theme for each state of combat. The trick was to break it all apart, play it back as separate pieces, but still have it sound like one piece so as not to break the mood.
So whether it is non-linear music in a game soundtrack, or linear music in film, the idea is to make it all work together to create one solid entertainment experience.
QUESTION # 2:
Silicon Knights has managed to develop an impressive system of skill and item progression for Too Human. We've also heard that players will obtain multiple "Ruiners" over the course of the game and that they will vary depending on a character's alignment. How is this system implemented in Too Human?
Answered by Silicon Knights Director of Game Design, Henry Sterchi
The choice between Human and Cybernetic alignments deeply affects your character and the game play in Too Human. Each alignment has a wide variety of weapons, armor and skill sets that are unique to that alignment. In addition, each alignment offers many different Ruiners to the player. Ruiners not only differ in look, but also differ by how they are acquired, function, and are powered up.
If a player decides to rely on his Human abilities to deal with the machine forces, a new node opens up in their class skill tree. This node opens up new, more powerful Ruiners based on Baldurs combo level when the Ruiner is activated. At higher combo levels, Baldur unleashes a Spirit Character that damages all nearby enemies. Each Combo Level has its own unique damage type as well: Radial, Cone and/or Beam. Spirit Characters change based on the class that you chose, making the Human Ruiners not only different from the Cyber Ruiners but also different from each other. Each point invested in the node also increases the Spirit Characters range of devastation.
If a player decides to use the gifts of ODIN and chooses the Cybernetic path to help him on his quest, the Ruiners that are available to them are infused on the weapons they find throughout the game, giving them a choice between using either their melee or ranged-weapon based Ruiners. Each weapon type has unique Elemental based attacks (Fire, Ice Lightning, Wind, Earth and Meteor). In addition to the damage dealt, the Cyber Ruiners trigger status effects on all affected enemies. Cyber Ruiners also have the option for Radial, Cone or Beam area damage, but each weapon only has one of the three, whereas human can build up to encompass and stack all 3 types. Finding higher-level Weapons not only increases the range of the Cyber Ruiner, but also the damage and type of Ruiner as well.
:http://blogs.ign.com/silicon-knights/
SILICON KNIGHTS ANSWERS YOUR QUESTIONS
In our March blog, we asked you, the reader, to post your questions regarding Too Human on TooHuman.net. We would then choose the top two questions posed to us each month and answer those questions. Below are Marchs winner questions with our answers:
QUESTION #1:
Ive thoroughly enjoyed your truly inspired and inspiring thoughts on incorporating the language of cinema in Too Human, but one of the things that you havent really touched upon, as far as I know, is the language of, and the evolution of sound and music in cinema, and how this relates to the use of sound and music in games. The use of music in games seems to be stuck in the traditional cinematic mode of underlining the unfolding events and enhancing the emotions that the gameplay and/or story are trying to convey. But in cinema, some directors have experimented with a different strategy where the soundtrack provides a much more individual counterpoint to the cinematography. This approach has in some cases been taken to the point where there is an almost violent tug-o-war between what the cinematography is telling us and what the soundtrack is telling us. P.T. Anderson has been exploring this dynamic to great effect in both Punch Drunk Love and There Will Be Blood, where the soundtrack is actually providing distinctly different narrative and emotional information, thus not enhancing whats already there, but actually telling us something new and changing our understanding and perception of the cinematography. So what I want to ask is:
what is your general approach to the role of music in both Too Human and in the architecture of games as a medium?
Answered by Silicon Knights Director of Audio, Steve Henifin
The medium isnt as important as the content and the mood you are trying to create through music. When creating a soundtrack for a game, I do not set out to make music for a game. Instead I make music that fits the content of the projects overall look and feel. The music has an identity and stands on its own, while still fitting with the visual content. To that point, I dont see writing music for games as any different than writing music for films; you are creating a soundtrack that reinforces the mood of the scene -- whether that is coming off a film reel in a movie theater, or streaming off a gaming console shouldnt matter.
With Too Human, I began by sitting down with the concept art and looking through all of the various environments, characters, and storyboards to get an idea of the art direction. I wanted to create themes that felt like these places in that exact moment in time, so I started by writing music sketches of each environment. As the project developed, battle tracks for combat, boss tracks for boss fights, and ambient tracks for exploration were then created to match the action on screen. All of these tracks would later be used as reference when recording the final tracks during the orchestra sessions.
I also like using minimalism and sound design to give the pacing a chance to breathe, bringing in stronger arrangements where they are needed so that these musical parts have more impact. If everything is constantly playing at the same pace, there is no balance or contrast with the rest of the material.
The music in Too Human , like the gameplay, is non-linear -- each track map is set up so that each area has its own theme for each state of combat. The trick was to break it all apart, play it back as separate pieces, but still have it sound like one piece so as not to break the mood.
So whether it is non-linear music in a game soundtrack, or linear music in film, the idea is to make it all work together to create one solid entertainment experience.
QUESTION # 2:
Silicon Knights has managed to develop an impressive system of skill and item progression for Too Human. We've also heard that players will obtain multiple "Ruiners" over the course of the game and that they will vary depending on a character's alignment. How is this system implemented in Too Human?
Answered by Silicon Knights Director of Game Design, Henry Sterchi
The choice between Human and Cybernetic alignments deeply affects your character and the game play in Too Human. Each alignment has a wide variety of weapons, armor and skill sets that are unique to that alignment. In addition, each alignment offers many different Ruiners to the player. Ruiners not only differ in look, but also differ by how they are acquired, function, and are powered up.
If a player decides to rely on his Human abilities to deal with the machine forces, a new node opens up in their class skill tree. This node opens up new, more powerful Ruiners based on Baldurs combo level when the Ruiner is activated. At higher combo levels, Baldur unleashes a Spirit Character that damages all nearby enemies. Each Combo Level has its own unique damage type as well: Radial, Cone and/or Beam. Spirit Characters change based on the class that you chose, making the Human Ruiners not only different from the Cyber Ruiners but also different from each other. Each point invested in the node also increases the Spirit Characters range of devastation.
If a player decides to use the gifts of ODIN and chooses the Cybernetic path to help him on his quest, the Ruiners that are available to them are infused on the weapons they find throughout the game, giving them a choice between using either their melee or ranged-weapon based Ruiners. Each weapon type has unique Elemental based attacks (Fire, Ice Lightning, Wind, Earth and Meteor). In addition to the damage dealt, the Cyber Ruiners trigger status effects on all affected enemies. Cyber Ruiners also have the option for Radial, Cone or Beam area damage, but each weapon only has one of the three, whereas human can build up to encompass and stack all 3 types. Finding higher-level Weapons not only increases the range of the Cyber Ruiner, but also the damage and type of Ruiner as well.
... 
