jtr7 on 19/1/2011 at 21:46
There's hardly any of that in-game.
Blue Sky on 22/1/2011 at 14:41
Quote Posted by negativeliberty
No the first two have an (electronic) ambient soundtrack pretty much throughout whereas TDS had lots of annoying metal shouting in your face most of the time (just listen to the TDS intro, ugh that is ugly).
Wha'?! The first two games have the breakbeat stuff in their intros, too!
It's fantastic, actually, it absolutely makes Thief. For me, anyway.
When the intro to TDS was first released as a trailer, it had some non-descript moody orchestral warbling, and it was uncharacteristic and bland.
Then Eric Brosius came back on board and when we next saw the same sequence, he'd done the brilliant Thief-esque breakbeat stuff and suddenly....it's THIEF!
I love it.
jtr7 on 16/3/2011 at 05:13
Shameless bump, since this thread is just old enough to not show up on the index when not logged in, or with default settings.
clearing on 27/4/2011 at 05:25
Aalto University and the Finnish Game Audio Network are organizing a tightly packed one-day Game Audio symposium on Friday May 20th 2011.
Quote:
We are very happy to announce Paul Weir will be presenting at the symposium.
Generative music brings with it tremendous benefits for creating a non-repetitive and reactive soundtrack within games, yet there are very few titles that have incorporated the technology. This talk presents generative music within a theoretical framework and provides evidence of its benefit alongside examples of systems that we’ve helped to develop for games (such as the new Thief title by Eidos Montreal) and within commercial spaces such as airports and banks with our partners at The Sound Agency.
(
https://blogs.aalto.fi/agar)
jtr7 on 27/4/2011 at 10:57
Thanks!
Briareos H on 27/4/2011 at 11:46
@Guvnor_P
Would you share some thoughts about the way sound is used in Portal 2 and how it does relate to what you are building for Thief 4?*
Although I wish it could have been developed further, it was fascinating to see someone try to at least incorporate some elements of generative music in a mainstream title. I am aware that the minimalist nature of sound in Portal 2 helped greatly reduce complexity in the synthesis process (event-triggered, very short electronic loops synched with simple ambient backgrounds). The core concept and framework, however, are there.
Is it reasonable to think that you are aiming for the same kind of behaviour with a main ambient theme for a particular location/level augmented with synchronized, interaction-based loops - equivalent to the thermal beam redirection themes, for example after stealing a particular item, after flipping a switch, after a story reveal, etc. - as well as context-based loops or modifiers - equivalent to the aerial faith plate themes, for example during a chase, while entering through a sewer, etc.?
* For everyone wondering what I'm talking about, reading (
http://www.gdcvault.com/play/1014482/Stealing-Sound-The-Application-of) Paul's approach for Thief 4 and playing Portal 2 are prerequisites.
Koki on 17/5/2011 at 20:05
So the guy who did Portal 2 is doing Thief 4? The dynamic music in Portal 2 was very effective, wonder if he had anything to do with it.
Briareos H on 17/5/2011 at 21:28
No he isn't. But since he is knowledgeable about that extremely specialised domain, I'm guessing Paul Weir knows who's who in the industry, especially the only ones who experiment in the way he has chosen (generative music). I was wondering how close his system for Thief 4 was from Portal's sound operators.
Dussander on 22/5/2011 at 22:44
Same for me, I remember a lot of the ambient music in DWN which was very well done. Such a great game. Shame it doesn't work on Windows 7 for me :(
Quote Posted by nicked
It's been many years since my copy of Discworld Noir ran on my PC, but I remember being very impressed with the music in that game and how it fit perfectly with the locations and story.
Sounds like Thief 4 is in good hands with this clear focus on getting the audio
right from an early point in development.
