“The music ✃in Dying Light 2 was very proactive in supporting your e💛mpowerment,” says the game’s composer Olivier Derivière, who returns to the series. “We wanted to let players feel how great they can get if they did amazing moves and accomplishments. The Beast is different: it's about one man and his revenge. The music design for this game is a balance of rage and peace, in a world of horror. So not so much gameplay-ish but more gutsplay-ish.”

Standalone zombie adventure escapes from the ambitio♛us great scope of Dying Light 2 and presents a more intimate experience. It’s𝔍 the story of returning protagonist Kyle Crane, many years after the first game, and he’s not the same.

“Kyle in the first game is ‘this guy’ with some da🌌rk sarcasm that players really enjoyed,” explains Derivière. “In The Beast, he still has some, but kind of buried at first. We want to add more dimensions than just the ‘revengeful guy’ and make him look more humane, with his failures and doubts. He is on the defensive with people, not willing to engage but, without spoiling anything, he will learn how to accept help from others.

“The challenge is to stay true t🅰o the characte🉐r and the fans but also bring them to a new place. A place where despair, violence, survival, and death are everywhere. This time we want to deliver a more brutal and mature game.”

168澳洲幸运5开奖网:In our previous interview, Derivère told me about working with the London Contemporary Orchestra and creating immersive game systems for Dying Light 2. For example, the music was integrated into the parkour system, with an increasing arrangement of instruments sounding as you got to higher buildings and gained more sp🥂eed. However, it seems like the approach to The Beast’s music and sound design couldn’♒t be more different.

168澳洲幸运5开奖网:Turning into a beast is one of the game’s new features: Crane has the ability to gain super strength and resistance, alongside other abilities that aren’t fully revealed y🌞et. When asked if this was going to be supported by the sound design in any specific way, Derivère explained that our protagonist’s “beast🉐 side” is something that exists beyond a simple video game mechanic, and we will experience how that works while following Crane’s journey.

“We want🧔ed to build something visceral, brutal with the music,” says Derivière. “Something that would resonate with your guts. To obtain such results you needed to be minimalistic. No more big orchestras 📖with big synths and digital drums. This time we needed to feel the ‘electricity’, the grittiness of every sound, so we went with simplicity: guitars and drums. And it needs to be loud!”

I had to put Caserotto’s amplifier thr🅠ee💛 rooms away from the recording room because the walls were shaking.

Giani Caserotto is responsible for the heavy guitar sounds you’ll hear while playing, and Olivière is proud of the work they achieved together. He goes deep into the first moments of discovery of how The Beast should sound, and the experimentation that Caserotto brought to the table with his different pedals and expertise. The composer recall🐲s that the initial sessions were so loud that he “had to put Caserotto’s amplifier three rooms away from the recordi꧅ng room because the walls were shaking”.

“We 🅷developed a big variety of sounds but with one other guideline: no notes, just noise,” explains Derivière. “Kyle is angry but focused. He doesn't want to kill anyone but the person who tortured him. There is no space f♉or anything else.”

He goes on to describe Julien Loutelier’s work, who plays the drums that accompany Caserotto’s compositions, and Derivière highlights the “rawness and reality” that they achieved by using live drum recordings instead of digital drums: “It's as if each hit would turn your heꦉart to skip a beat.”

Derivière is well known for the specific in-game sound systems he designs for each game he works on, but also for how he approaches the whole creative process. He ♐always plays the games he’s composing on for several hours — he played Dying Light 2 for “over 2,000 hours” before the game was even out. While he couldn’t give me a playtime estimate yet since The Beast is still in development, he’s happy to say tha♎t nothing has changed with how he works.

This time we want to deliver a mo💦re brutal and mature game.

When asked about this way of working, Derivière explains that the mindset comes from before working on his first game, 2004’s Obscure. He recalls the introduction of the CD with the first PlayStation and hearing the musꦛic from Final Fantasy 7 and Wipeout, but feeling that “some𝄹thing really amazing about game music was lost: the fact that it was happening in real time”.

“Mario on NES was switching music when grabbing a star, or accelerating if we 🦄ran out of time. No more on CD ROM,” Derivière explains. “Music sounded maybe ‘better’ but passive. It's really when Halo came out that we could hear something that would react differently and according to your actions in a big mainstream game. It was such an excitement for me, and of course, the music of Marty [O’Donnnell] was very special. Talk about having hand percussion with ‘monk style’ singing men and strings for a space opera...That's ridiculously original and so fitting!”

Whether Derivière has achieved his ambitious objective with Dying ⛦Light: The Beast or not, it’s too soon to say. We will have to take on the mantle of Kyle Crane🍷 once again and fight through dozens of zombies to find out.