![]() ![]() ![]() We’re very excited to share the soundtrack with the world and think backers who nabbed it will be happy with the final product. The music is being re-recorded with live instruments (the demo mainly used solo piano performances and sampled instruments). ![]() We still have a few left to hear and approve, which he’ll be delivering to us between now and May, with a final recording session organised in June.Īs well as new tunes you didn’t hear in the demo, you’ll hear fresh versions of familiar themes in the full game. SoundĬomposer Laurence Chapman has delivered versions of most of the pieces in the game, and we’ve signed off on them ready for recording. Alongside tech and UI work, this feature also requires writer work to populate the features with story possibilities. Storycrafting involves activities like crafting love stories for Pages, generating page-turning plots for Rachel, as well as a few “tails” you might not expect. The biggest gameplay feature still in progress is Storycrafting, the player-driven storytelling mechanic we use in different ways to represent the player character taking “commissioned” work for NPCs and theorising about the murder. Séamus and Toby recently finished work on a nifty “codex” menu that stores all the player’s information, such as relationship events, murder clues, and a conversation log.įorgive the redaction, we'll show you more of this further down the line Tech and GameplayĪll of the major user interfaces are now in the game. This is what Emily and James will focus on finishing in the next few months. The remaining goals are to reach end to end playability and bring all the threads to satisfying conclusions in the Season of Love. Those who enjoyed his work on the Church in Fallen London will appreciate what he’s done with the not-yet-Bishop-of-Southwark! We’ve introduced a second writer to the project, James, to help Emily by writing the plotlines for specific characters. The Season of Love is shorter, but arguably the most important this is when the murder mystery concludes and tender feelings blossom amongst the characters.Ĭurrently, writing has been done up to the end of the Season of Confessions and the end of the Season of Yule, although we’re still weaving some additional characters into the Season of Confessions. This is followed by the Season of Yule, which introduces the murder investigation and is the longest season in the game. In the demo, you experience a (much truncated) version of the Season of Confessions (you’ll have more time to look around and introduce yourself to the cast in the full game). Mask is split into three seasons Confessions, Yule, and Love. This kind of work sounds minor, but it’s the difference between the game looking “just okay” (and a bit flat), or looking polished and inviting. We now have all the backgrounds present in the game, but many still need bringing to life with this final stage adding in animated elements such as fog and swarms of bats, and the character lighting that makes London appropriately atmospheric. Our pipeline for backgrounds uses three steps: render the basic geometry of the scene in 3D add colour and detail with digital painting then light and animate. Our other primary type of art in Mask is location art. ![]()
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