#Nidhoggr bleeding edge how to#

We could mix in a way where, if you’re surrounded by enemies, we can leave aside things that are farther away.

Even the ranged characters don’t have a very long range. That gives a bit more space for the enemies, because you need to be more focused on what they’re doing.Īt the same time - the game is focused on melee. The more enemies are around you, the more your allies will go down dynamically. But if he suddenly stops attacking you and Buttercup is attacking you, for example, that will change. If Nidhoggr is attacking you, at that moment he’ll be a bit above the others and you’ll hear him more clearly. If they’re all together, we divide them up based on the threat level and dynamically change the sound mix. GamesBeat: If there are eight players all together, what kind of sound might you hear? Most of the fights are confined to a small place. It’s hard, because as you can see, this is not a shooter. We tried to do everything so that through the sound, you can be aware of any possible danger. That’s not just the case with attacks, but also footsteps and everything else. If it’s behind you, if you’re very fast you should be able to escape it. If you hear that guitar sound, that electricity very clearly, he’s probably coming toward you. If you hear something that’s clearly a bit louder than something else, it means that’s probably a threat to you. GamesBeat: If I hear something like Nidhoggr’s guitar going, that means something bad if I’m not him. You need to feel powerful, so you always need to be the center of everything. And then you yourself are the most important. At the same time, if an ally starts to heal you, they’re more important than an enemy who’s not attacking you. They could still be a potential threat sometime soon. Another enemy, in turn, even if they’re not attacking you, is more important than an ally. As an example, during a fight, if someone is attacking you, they’re clearly more important than someone who isn’t attacking you. We give you the right information you need to play better.

We tried to mix the game dynamically, based on the gameplay. We had to handle all of them and give the right information to each player. In a game like this you have eight points of view, one for each player. In a single-player game you have one point of view. That was one of the challenges in the game, actually. It’s not something completely different, but the mix that we give - it’s different from each perspective. GamesBeat: When I’m, say, Nidhoggr, and the guitar music comes on really loud for me, what are the other players hearing? Are they hearing much of the noise that I’m making? Thanks to that, we could get a more cohesive sound for all of them. It’s not a very clean, modern kind of sci-fi that you can hear now. It’s a bit more gritty, a bit more grunge. We tried to design science fiction, but how they imagined it in the ‘90s. We tried to give a kind of futuristic vibe with a pinch of old school. It’s easy to do a specific sound design for each character, but then you don’t find them cohesive all together. Each one uses augmentation to modify themselves in a completely different way. The hard part was to give those strong personalities to the sound design and make them cohesive in a specific environment. It was easy to find a strong personality for each character. The art is very peculiar, as you can see.

Sound design-wise, that wasn’t a problem. We tried playing a lot of other games and seeing how they were doing what they were doing, trying to pick up the best from each game.

#Nidhoggr bleeding edge how to#

But in the beginning we weren’t sure how to start our approach to the game. It was a challenge for us, a very good challenge, because we had a lot of fun doing it. We both have a background in single-player. For both of us, this was our first experience with a multiplayer game. GamesBeat: What were you trying to achieve here?ĭaniele Galante: The audio team was composed primarily of two people, me and the audio lead.