James Heller seems to have his own interpretation of the song at the very end. ![]() ![]() I used the song Reckoner by Radiohead, which worked just as hauntingly as the original. While the sound to the original trailer is incredibly hard to beat due to Johnny Cash's 'Hurt,' I decided to take my own spin on the live action trailer for one of my favorite games. It will be expected that there will be parts missing and not included to start with, this is due to the nature of these cryptic games (see Fez for an example) and the sheer amount of secrets that lay within the game. The music is mostly Supremacy by Muse I cyber-melted some of it midway through the project.whoops. Hyper Light Drifter: Walkthrough By Nightmare This guide is an 'under construction' guide designed to cover as much as is possible. I really like the idea of recycling sounds to make other unique sounds (i.e: a welding noise) or variation (i.e: gunshots). Almost all of the sounds have been recreated in some way and used later. No need for the 'Press button to do thing' prompts. The letterboxing during parries is very jarring and unnecessary. PLEASE give us an option to disable chromatic aberration and vignette. I focused on melding the scenes from Pacific Rim and the Starcraft II: Wings of Liberty together via means of sound. I very much like the artstyle (I can see you are based Hyper Light Drifter appreciators). This was an earlier project in the school year that I challenged myself at. Like the game, I wanted the music and sounds to be an 8-bit crunch with a modern 16-bit spin. This beautiful game is called Hyper Light Drifter, and I loved the intro cinematic so much I decided to do my own spin on it. You must admit he has a wicked good laugh! The laugh was made by recording my friend using a vocoder. I recorded sand hitting various objects to obtain the crackling noises. This was my interpretation of Blizzards logo. I provide 'lovely' commentary throughout the walkthrough. I used FMOD designer in tandem with Fabric’s timeline component: a multi-track component that allows layering and crossfading a number of sound layers together as well as linking the timeline and volume/pitch curves with game parameters. In the video the listener will hear four separate layers of intensity that are entirely dependent to either the area or the proximity of a large robot. ![]() This Unity based Angry Bots level highlights the adaptive nature of layering music via means of aural intensity. This is my one minute demo reel for linear and interactive media for May 2014.
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