and you can choose to do so any time during the mako segments in ME1 where there's Maw's nearby.
and you can choose to do so any time during the mako segments in ME1 where there's Maw's nearby.
I actually found it easier to kill a Thresher Maw out of the Mako in ME1 because you can run around avoiding the spit and kill it easily with the Spectre X weapons, whereas if you're in the Mako, it can burst out from underneath and 1 hit kill you.
I think I want a greater challenge than driving round in some vehicle, or even using powerful weapons. I'm not saying that to sound all "LOL PRO LOOKIT ME!" but rather because I LOVE battles where the odds are stacked against you and your chances of survival aren't high.
Last edited by Mr. Spencer; 12-15-2010 at 03:25 PM.
PROJECT Umbrella - The BIOHAZARD/RESIDENT EVIL Compendium
Just pre-ordered ME2. So hopefully I'll really enjoy it so it gives me more games to play in 2011. As if there already wasn't enough.
Oh my god!
linkClint Mansell, composer of such classic motion picture scores as 'The Fountain' and 'Requiem For a Dream' dropped the news that he is writing the musical score for the last chapter in BioWare's epic Mass Effect trilogy in an interview with The Quietus about his latest film, 'Black Swan'.
The website Badass Digest picked up on the news of Mansell's involvement in Mass Effect 3, which saw the composer asked about whether he does much work for other outlets like computer games. Mansell responded by saying: "I'm doing a video game this year actually. Mass Effect 3".
When describing what it's like to score a video game, Mansell said: "As I was saying about Public Enemy and re-working old hip-hop tunes for Requiem, and kind of re-working old ballet tunes for Black Swan, with something like Mass Effect you're more like a DJ, with all these elements. You've got the holding pattern, then the big explosion where you need the score to kick in. Then you need to take it off on a tangent. You've got all these different elements that change depending on what the player does. You have to figure out an overall symphony, but be able to break it down into component parts. You can bring the pain when required".
This is incredible news as Mansell is regarded by many as one of the most gifted composers working in the film industry today. His music is famous for being as epic as it is haunting. His involvement in Mass Effect 3 gives us good reason to believe we might be in for the most emotionally devastating game in BioWare's space opera franchise yet.
This is going to be the best sound track of the year. For those who've not heard his music then go and look up the fountain and the moon. Such fantastic music. OST purchase day one <3
Last edited by Zombie Fred; 02-10-2011 at 05:47 AM.
Ive listened to Mansell, and this is bad news. Mass Effect had its own distinctive soundtrack which suited it perfectly. Mansell is versatile, but I consider a change in composer the same as a reboot. Look at COD4 and MW2 as an example. Just because Zimmer is fantastic, doesnt mean he can write a score for a game.
And just because Ive listened to Kelly Bailey over a hundred thousand times (no kidding, Media Player stats), doesnt mean I want him to compose for Mass Effect 3.
Something tells me that Mansell's probably not gonna be the only composer you'll see in the credits of Mass Effect 3. Just like the previous two games (which shows in the diversity of some of the tracks). Going by his few line's of chatter on the subject, it's fairly obvious that he's not working alone on the soundtrack - unless he's secretly already a seasoned video game composer/sound engineer with experience in the field of context sensitive tracks and transitions.
Aris has pretty much already linked to what I'd link to point towards in terms of Mansell tracks that shows what the man has already got on his table of bragging rights (in terms of atmosphere, build up and finale). Let's hope that Mass Effect 3 wont be wasting his talent in the same way I feel that Steve Jablonsky's talent's not really being put to much use in Gears of War.
As for the Mass Effect 1-2 soundtracks... to be honest, I find the majority of the tracks to be rather forgettable and to not exactly be something I'd miss if I did a full run with music volume set to OFF - with the exception of maybe the Citadel elevator music and Vigil's theme.
I like to come back to COD4 and MW2, which had HGW and Hanz Zimmer respectively. COD4 soundtrack fit the game perfectly while Zimmer delivered a movie soundtrack to a game which for obvious reasons is a disaster.
And Aris´ tracks are exactly what I dont want to hear in a game.
Last edited by Member_of_STARS; 02-10-2011 at 11:42 AM.
Depends. Really. (Also, Half-Life 1 + expansions and at least the main game of Half-Life 2 has god awful music handling. Mostly just random linear tracks being blasted off from start to end/silence every now and then at the start of various event triggers. Don't remember if Ep1-2 ever did anything about that.)
Anyway, of course background music doesn't have to be the type of thing that can be listened to on its own, but, seriously, the music in Mass Effect really is forgettable and a lot of it really just got on my nerves at times (in a way where I feel it rarely contributed with much more than just ploinking out random synth noises - something that easily can be worked into something slightly more ... interesting).
Personally, I prefer context sensitive music (when done right). But I'm not really happy with how... say... Gears of War and Resident Evil 4-5 handles context sensitive music, but I really like to bring up a couple of recent games as samples of how cinematic music can be done contextually:
Nier and Red Faction: Guerrilla.
Nier is without doubt one of the most amazing soundtracks this gen, but what its amazing soundtrack album doesn't show is that the entire build up in the tunes, pacing and instruments/vocals are all altering with the context of the gameplay. Nier's soundtrack is a piece of art on its own. A cultural treasure, if you want. Red Faction: Guerrilla on the other hand, composed by the one and only Jake Kaufman (aka Virt in the remix community), does not have a proper soundtrack CD with neatly mixed versions of the tunes (and, to be honest, I probably wouldn't listen to any of that stuff on its own anyway, but got plenty of Virt/Kaufman tracks on my playlists). However, like you seem to feel about ME's soundtracks, Guerrilla really wouldn't be the same without it. 'Cause, seriously, the way that game pulls of transitions in the music based on the on-screen stuff is just... mind-blowingly awesome (and the music is just always... "right".)
If they're able to pull off this kind of stuff with Clint Mansell onboard -which I hope is what they're aiming for, going by the comments about player actions- I'm all in.
It's really all a matter of what the sound team in general's capable of, how versatile the composers are and what their source/target material is. (Could of course also take a look at how Dark Void's soundtrack turned out with Bear McCreary on board. Amazing results.) Of course, the Mass Effect team might be taking on more than they can handle (which is where I'll put the blame if this turns out to be a disaster)
Considering the majority of the music I listen to is VGM, I personally found the Mass Effect soundtracks to be interesting. However, the first one seemed to be more memorable to me than the second with only a few tracks standing out and getting caught in my head.
It rarely happens, but I found the music added to the scenes... such as getting through all of the Geth before you found and rescued Liara in the first game. For instance, I enjoy listening to the music and working out what songs - although with a different sound, are variations of some of the more main themes used in the game but still fitting for the scenes.
However, Jack Wall and Sam Sam Hulick have already stated they aren't involved in ME3's soundtrack. I don't know if Richard Jacques, Jimmy Hinson (known as Big Giant Circles or "BGC" in the arrangement/ReMix groups such as OverClocked ReMix) is involved in it, or if Sascha Dikiciyan, Cris Velasco and Christopher Lennertz are tied to it.
From a comment by Jesse James Allen (he was responsible for the "Lower Afterlife" music Lo Fi Epic - The Techno Madness Mix) he might be tied into it as he had a talk with BioWare.
I'm just hoping that the main theme's composition isn't touched and/or we get a new theme because that would thoroughly piss myself and a lot of other people off - I love it, hell I even love the elevator variation of it in the first game.
I don't doubt Clint Mansell's talent, I just hope that he'll try to retain a general feeling that the games have when combined to the composition... for instance, again with the Therum music - but the timing of it was amazing, on each beat the Geth were falling from the Dropship I was being pummeled so I had to put a Barrier up before getting to cover, would have died but Garrus saved my ass by covering me before Tali helped me flank them. Each little bit of those battles went perfectly with the music, to the point that I had to sit down and let the adrenaline pass.
Though, I will admittedly miss the old feeling they tried to hit in the first game sort of based off the cheesy 80s sci-fi music.
Anyway, as I've been typing this up I've been nodding my head along to some of those unreleased tracks from the first game (particularly the Therum ones as I mentioned on the way to find Liara).
I can't wait to see some of the variables in the third game, though I do hope we'll see some more old faces in some friendlier circumstances in it since I was a little disappointed that so few of the old crew would acknowledge each other when you met those that survived.
I wouldnt say HL music handling is bad. One thing which we both apparently appreciate, is a dynamic soundtrack. However, I have to disagree with your general impression that its the way to go for each game. For example, it would have never fit with HL1, where the main idea was isolation and being alone. Music was used to highlight very key elements, like level transitions. It was mostly silence, and thats why it worked. But when the music hit, there was a reason to it. It was very similar with HL2, however the moments were more forgettable.
I dont think a dynamic soundtrack is the ultimate method of using music in a game, it depends on the game and what kind of emotions need to be raised. Dynamic soundtrack has more to do with tention and its builtup, fast or slow. The games which Ive seen it use (MGS3, SWAT4, Splinter Cell Double Agent- my best examples), have pulled it off very well. Others rely on a very specific track to keep that certain emotion throughout both battles and exploration, also successfully.
Even if Mass Effect 3 goes for a dynOS, my doubts are doubled when a film composer writes the tracks.
The issue here is which needs to be highlighted. DynOS aims at making the character central, not the situation/location. Regular BGMs do the opposite. Mass Effect plot, while Shepard-centric, is still much bigger than the character, and the tracks so far have been very good at showing that the character is insiginificant compared to the danger. In SCDA, for example, the DynOS pretty much factualized your role as the predator and everyone else being a small prey. It was all just a matter of time before you got to the last guy and took care of them.
How many layers/phases to they have?Personally, I prefer context sensitive music (when done right). But I'm not really happy with how... say... Gears of War and Resident Evil 4-5 handles context sensitive music, but I really like to bring up a couple of recent games as samples of how cinematic music can be done contextually:
Splinter Cell Double Agent has 3 phases. Background, stress (when youre close to being screwed, close to danger), action.
0:00 is BGM
3:10 is stress, triggered when youre sneaking past an enemy
3:38 is action, when youre discovered
And these three are always seamless
I´ll remember to give you props when it works out well, but Im also going to remind you about this conversation when it turns out less fitting than the first two ME´s.If they're able to pull off this kind of stuff with Clint Mansell onboard -which I hope is what they're aiming for, going by the comments about player actions- I'm all in.
Still happy to hear people praising the music from Splinter Cell (Chaos theory and Double Agent), especially when it comes to manipulating the track during the character's situation in the course of the level. A little side note for this: Michael McCann, the composer behind Double Agent, is the same guy who's composed the score and music for Deux Ex: Human Revolution <3
Clint Mansell has created music for a game before (Loaded on the playstation) so give that as a small piece of evidence on him understanding how music plays and transforms in the video-game space. But given his strong track record in the film industry, I have faith that he'll hit the music bang on with his own touch for Mass Effect 3 to fit the themes and situation for the character in this final chapter for Shepard.
The Nier music is indeed one of the best things about the game but I clearly don't remember much of the music transforming around you and only going in a loop (Scrapjunk, Northern and South fields, etc), but only when the story changes course in the area. The only time when I have heard the music suddenly changing was with the remix soundtracks in the DLC. I'll never be able to get wretched automatons out of my head however
I usually associate cheesy with a fair amount of things from the 80s, only as part of my sense of humor due to my own Father seemingly never leaving the time period as I find it funny despite the factor that a fair amount of music, films and all sorts of other things that I greatly enjoy are from that particular time period. So, I suppose my attempt at some sense of humor has failed YET AGAIN.
However I'm not going to remember to write down absolutely everything as I'm feeling rather exhausted and brain-dead after a long day of work with the flu.
i am SOOOOOO hyped about mass effect 3 its gonna be such a great great game !!!! 1 was perfect 2 was perfect and 3 is gonna be perfect
Last edited by Vector; 02-14-2011 at 12:43 PM.
I hope we get a new trailer soon.. i want new info new screens new videos
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