古墓丽影1 tomb raider 古墓丽影2 西安匕首 tomb raider The Dagger of Xi'an 古墓丽影3 劳拉的冒险 tomb raider Adventures of Lara Croft 古墓丽影4 最后的启示 tomb raider The Last Revelation 古墓丽影5 历代记 tomb raider Chronicles 古墓丽影6 黑暗天使 tomb raider The Angel of Darkness 古墓丽影7 传奇 tomb raider Legend
Tomb Raider
古墓丽影1

The Dagger of Xi'an
古墓丽影2:西安匕首

Adventures of Lara Croft
古墓丽影3:劳拉的冒险

The Last Revelation
古墓丽影4:最后的启示

Tomb Raider: Chronicles
古墓丽影5:历代记

The Angel of Darkness
古墓丽影6:黑暗天使

Tomb Raider: Legend
古墓丽影7:传奇

古墓丽影 周年纪念 tomb raider Anniversary
古墓丽影8 地下世界 tomb raider Underworld
劳拉与光之守护着 光明守护者 Lara Croft and The Guardian Of Light
古墓丽影9 tomb raider 2013
劳拉与奥西里斯神庙 Lara Croft and the Temple of Osiris
古墓丽影:崛起 Rise of The Tomb Raider
古墓丽影:暗影 Shadow of the Tomb Raider

Tomb Raider: Anniversary
古墓丽影:十周年纪念版

Tomb Raider: Underworld
古墓丽影8:地下世界

LCGOL
劳拉与光之守护者

TOMB RAIDER
古墓丽影9

LCTOO
劳拉与奥西里斯神庙

Rise of The Tomb Raider
古墓丽影10:崛起

Shadow of the Tomb Raider
古墓丽影11:暗影

水晶动力开发日志:《古墓丽影10:崛起》幕后故事

发表时间:2015-10-30  来源:“ZZer”转载  作者:古墓丽影中文站  浏览次数:49637  
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[目录] [Building the Myths of Rise of the Tomb Raider] [Finding Inspiration for Rise of the Tomb Raider] [Research and Reference in Rise of the Tomb Raider] [Building from Life] [Creating Believable Hair and Fur] [Creating Believable Materials] [Creating Believable Skin and Character Material Effects] [Creating Motion and Emotion with Animation] [Bringing Lara to Life with Blendshapes] [Physically Based Rendering and Post Effects] [Building Larger Worlds with More Fidelity] [Snow Tech and Houdini Simulations] [Scoring Dynamic Combat with Procedural Music] [“I Must Not Fear”] [The Bear Chase] [Rise of the Tomb Raider for Stealth Gamers] [Rise of the Tomb Raider for Puzzle Gamers] [The Evolution of Tomb Raider Hubs] [Expedition Modes] [A Little Thing About A Little Thing]

Dev Blog: Scoring Dynamic Combat with Procedural Music
Jack Grillo, Audio Director
Philip Lamperski, Audio Designer

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[Leading into the launch of Rise of the Tomb Raider, we’ll feature a variety of developer blogs that lift the curtain on the creation of Lara’s first great tomb raiding expedition.]

Rise of the Tomb Raider features a new dynamic combat system, allowing the player to experience the combat in many different ways. Creating compelling music for these sequences is always a challenge, and for Rise of the Tomb Raider, we decided to face that challenge in a new and exciting way – by developing a combat music system that utilizes a new middleware licensed by Intelligent Music Systems, LLC.

Even as we wrapped up the development of Tomb Raider (2013), the Crystal Dynamics audio department began to discuss pushing our music implementation techniques to further score the overall gameplay experience. And during the pre-production phases of Rise of the Tomb Raider, it became clear that the complexity of our new combat system would be the perfect playground for this innovation.

The combat experience for Rise of the Tomb Raider is a combination of several dynamic game systems. Enemy AI awareness generally fluctuates between several different behavioral states, which are typically driven by the player’s actions or gameplay style. Additional variation to the experience can be driven by the level layout, narrative progression, or player inventory.

With this in mind, there are limits to how much a single piece of music can score the experience. Linear, looping music becomes repetitive and will not change along with the quickly shifting state of the player (or enemies). Cross-fading music tracks from one of many combat states to another will create dissonant transitions (especially for an orchestra-based score) and will often break existing tempos.

After plenty of research and prototyping we found ourselves pushing for an algorithmic or procedural solution. In the end we landed on using the Dynamic Percussion System middleware (licensed by Intelligent Music Systems, LLC), with a primary focus on procedurally composing and playing back percussion tracks in real time during combat.

The middleware analyzes MIDI and sample data provided by our composer, Bobby Tahouri, in order to procedurally compose new music in real time. The percussion never loops, adapts dynamically to game events, player actions, signals from enemy behavior states, and is different for each play through. Furthermore, since the transitions between musical states are procedurally composed and not the result of crossfading audio files, players hear meaningful changes in several musical aspects during transitions: motives, ornamentation, orchestration, and even tempo! With this new system combined with the power of our combat sequences, we feel we’ve hit a new benchmark in the expressiveness of game music.

Check out the attached video capture of the procedural percussion in action. You will hear the percussion transition quickly according to different game states such as concealment, enemy A.I awareness, take down, weapon raised, etc. You’ll also notice that the percussion never loops and is constantly being generated in real time. Please note that video features percussion only. The full music mix in the game includes additional layers of orchestral instruments that are synchronized with the percussion. We can’t wait for you to play Rise of the Tomb Raider soon to hear it all!

- Jack Grillo and Philip Lamperski

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