This means we as developers usually know what’s going to happen at any time, including the exact timing of a lot of things, so we were definitely able to advantage of this sonically. On the other hand, the rail-shooter design is much more linear. We had to have a far more generalized approach for the original Dead Space game, because the audio had to adapt more to the decisions the player made while traversing through the game. Veca: One of the main differences for audio in the rail-shooter genre is that things are much more deterministic. Tell us about yours and the team’s approach given the change in genre. This time around, it’s an on-rails shooter. It’s been awhile since our original Dead Space interview, and here we are again to talk about a new Dead Space project. ![]() While I’ve played it a few times at various events and conventions, background noise has often interfered with my ability to get fully immersed, and even though there isn’t any new music, per se, I’m looking forward to hearing it in a more static format as opposed to the free-range style that we heard in the original game.Ĭheck out our interview with Dead Space Extraction Audio Director Don Veca after the jump. ![]() Overall, it looks like this game is going to sound amazing. With that, I thought it’d be fun to ask about what they were able to accomplish on the Wii. Last year we had a lengthy and interesting chat with Don Veca, Audio Director for the original Dead Space, which turned up all sorts of information about the proprietary sound system they created for the game and some of the technical details of what Dead Space was capable of. I’m still shocked that Dead Space is coming to the Wii.
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