Five years later, it is possible to catch sight of characters from that game at various cosplay conventions in the US, miles away from its Belgian homeland.
Let us not wait any longer; here are the interviews.
チキンリトルゲーム無料ダウンロード a good read!
M: Yes, I've know RPG Maker for a very long time.
I discovered the it in some time around 2001 or 2002, when my best friend back then gave me a CD with the software burned on it as a birthday present - which truly was a great present.
So, I kind of timidly tried to get involved in french-speaking RPG Maker on-line communities, and I ended up joining a message board called Zanarkland which is the heir to the esteemed Black Sword forum, which is several centuries old in Internet yearsbut it did end up dissociating itself from the Making scene so well yeah.
Actually, I've always been "making games" since I started fiddling with RPG Maker, but those who were made before OFF are just lame heroic fantasy stuff with time-travelling dinosaurs.
After that case, I started to knock stuff together, mainly "electronic music" - a term that doesn't mean much today but was synonymous with "synthetic-sounding rhythmic track" back in that time when computers were still coal-powered.
And how did you end up starting a video game project?
Was the context in the Making scene favorable, or did it just spring up out of nowhere?
M: I met ACC a few years before getting started on OFF.
We were https://casino-win-deposit.site/1/1791.html the same ビデオゲームのインタビューの質問 school class and he quickly became my best friend.
We were both video game fans, and I even remember him mentioning that he was developing a game engine as ラスベガスのカジノの美術館 a programmer too.
Then, in 2005 or 2006, I wanted to make a game and started creating OFF without much thinking.
I showed these scraps with stock music from random sources to ACC, and he directly offered me to handle the game's soundtrack and sound design.
I naturally accepted that offer; how could I say "no" to someone both talented and intimidating at the same time?
I was producing electronic music during that period.
Just listen to my Crying Girls compilation: Some of the tracks on there are from that time, and some actually are like ten years old!
We found ourselves in the same studio - more like a building site really - as well and that's when Mortis started working ビデオゲームのインタビューの質問 OFF on his own.
I've indeed produced the game's music, and I also contributed a few other things like the balloon game's code and a bunch of sprites.
He's got a programmer's mind, so he helped me a lot when I came across things that were too complex for me.
He also regularly shared interesting ideas, like cultural references or entire lines of dialogue.
When it comes to its main work, the soundtrack, I just gave him an outline of what kind of atmosphere I wanted; he'd then proceed to make me have a listen to what he produced, and there were very little occasions on which it wasn't perfect from the start.
I always had an up-to-date version of the game around to see what was to be done.
There was no restriction whatsoever, either on quantity or length.
That's why Soft Breeze is SO LONG even though only the ten first seconds are really heard in-game; following that, I focused on way shorter loops.
So, basically: I attempted to make scraps that sounded good, copied them on an USB flash drive and went to Mortis so he could review the result.
I don't think he ever rejected anything; the tracks that didn't make it into the game simply were either forgotten or not even shown to Mortis to begin with.
Did you have precise ideas ビデオゲームのインタビューの質問 what OFF should look like, or did it came bit by bit during development?
M: At the very beginning, I had absolutely no idea of where I was going.
I just wanted to make a game, everything in it without taking assets from somewhere else like it's often done in RPG Maker projects.
So, I went for something simple: Large yellowish cubes, ultra-minimalist aesthetics, black and white characters inspired by my latest scribblings - a cat and a baseball batter.
Then, I quickly got new ideas starting from this rather abstract base and started writing a more thorough scenario, and I got an outline of what OFF would go on to become.
ACC also provided me with various leads pretty early, and we kept on finding new stuff to add up until the very end; but I got the important characters and main concepts pretty quickly.
How did you get to that kind of sounds?
C: I've got a binder for important paperwork, and it's empty!
I'm really not good at sorting things.
I know where things are, and a vague idea of what they're used for.
I think I don't need much more for what I do with them.
I've been asked several times what genre I would put OFF's soundtrack into, and I usually reply "soundtrack".
Most of the tracks are pots-pourris, and were composed independantly of each other.
I'll disgress for a bit - I like disgressing - to also mention a fantastic website called Juneberry78s that features downloadable old pieces of music like Washboard Rhythm Kings' Pepper Steak.
I downloaded a bunch of them and put them of my MP3 player.
Then, one day, at the station, I came across that one track.
And I told to myself it would make a great battle theme!
OFF's Pepper Steak might have been Blind Blake's Hookworm Blues actually.
Are there other video games or films, books, albums, events, etc that have inspired you in the creation of this bizarre universe?
M: There are thousands of ビデオゲームのインタビューの質問 direct references in OFF, it's a real catch-all of eclectic influences.
I've often mentioned them over the Internet, since it's a recuring question.
The most important probably are Silent Hill 2 - a whole part of Zone 3 is a tribute to the series - which I was playing through during OFF's development and killer7 which was my favorite game back then an still ranks pretty high in my all-time favorites toplist today, and also helped me be more comfortable with the idea of making something visually stripped-down and off-beat.
There's still a whole bunch of other influences: In video games, I can mention Final Fantasy VI and the two first episodes of the Metal Gear Solid series; and for the rest I can mention Terry Gilliam's Brazil, Katsuhiro Otomo's Akira, Satoshi Kon's Paranoia Agent, Kazuya Tsurumaki's ビデオゲームのインタビューの質問, Masaaki Yuasa's Mind Game and obviously The Wizard of Oz from which I went as far as to steal the credits song.
That one guy I forgot who once said something like : "What's important is not what you copy, but what you do of it.
I think that's where most of my influences came from.
Then, there also is the base layer, composed of what I'm constantly listening to: Mainly trip-hop Massive Attack, Portishead, DJ Krush, Sneaker Pimps, Halou and rock David Bowie, Radiohead, REM, Bloc Party, Blur -including the great, great 13 as well as bands like Boards of Canada and The Postal Service.
Speaking of the later, there is a huge nod to them in OFF when Pablo meows after his brother - I don't know whether or not the english translators were notified of this.
It could be a whole Zone, or something smaller like a character design or an audio loop.
M: It's a really hard question because I'm generally unsatisfied by a lot of things.
There is that part I do like though before the battle against japhet, when you read his story in the library's book as you ascend to finally meet him as the bird of millenary fire.
It's pretty close to the vision I had in mind before concretizing it, so I probably wouldn't change it if I had to restart the game from scratch.
There's always stuff to change and improve, though; I personnaly think OFF is very clumsy in its realization.
Now that I think of it, Japhet's final design isn't all that great really.
Now that I think of it, the best moment is the silence question インターネット上でトップ10の最も楽しいゲーム All Japhet's death; it's ironic, but the moment the music is the most impacting is when it when it disappears.
If I had to pick one to listen outside of the game, I think Burned Bodies is my favorite.
Mortis, what brought you see more this experiment?
Do you think the potentiel of video games as a medium are under-exploited?
I personally really like shooting virtual things, but I also think I'm too rarely reminded of what these actions implies even though it's not always supposed to be funny.
From this perspective, I'm still completely in love with Metal Gear Solid 2 and Red Dead Redemption because - no spoiler ahead - they reallymanage to play with their own mechanics and to integrate them in their narrative; and to hit the player in the face in the process by forcing him to act against his will or to question his actions.
These themes are of great relevance to me, and they definetely can have a huge impact when they're used that way in video games where the gameplay often relies on "unfriendly" concepts - like source people.
So, uh, yeah, I really like it and wanted that kind of stuff in my game.
When you have a good look at the end product, what do you think of it?
Were you able to achieve what you wanted to do?
And what do you think of this inbternational success you probably didn't expect.
OFF does seem to have completed the guidelines I had imagined for it, and made people reactthe way I wished it did.
Well, I had no idea so many ターミネーターゲームps4 would play it, and didn't even dream about it being translated to other languages.
I do think the game is unpolished though: The first part of the game as a whole click at this page too blurry and pompous, even tiresome in all its aspects; I really am beffudled that people who play the game get through that part without being disheartened.
It probably does get less ビデオゲームのインタビューの質問 once you get to サムスンモバイル用フルーツスライスゲームをダウンロードします。 2, but there's still a wholelot of flaws up until the end.
In the link, I'm relatively satisfied of a few isolated sequences, and absolutely mesmerized by how people seems to like some other I think of poorly with indsight.
Regarding the popularity overseas, I've already stated it numerous times: I just still can't believe it.
I received a Batter plushie from mail the other day and, uh, I almost was knocked over by surprise.
I think Mortis just simply wanted to make a game, without grand plans or great hopes.
Then, the english translation was set in motion.
Starting there, there was a time were Mortis and I would send links to fan reactions to each other over MSN Messenger - most of the time, we just reacted by saying "people are insane".
Well, we still do that kind of thing, just a bit less.
Seriously, we didn't see it coming.
It could be explosions-filled awesome, or sad and depressing.
Du coup, il m'en voulait pas mal - avec raison - et alors qu'on e'tait en coloc, on se parlait plus beaucoup.
J'ai vraiment beaucoup de chance, s'il avait abandonne' le projet, OFF aurait surement e'te' beaucoup moins bien.
Someone uploaded a music comparison of DIE from the first episode of the series and OFF's Endless Hallway: It really made me laugh because the segment of the Zone just before meeting Enoch IS a reference to Silent Hill and it doesn't seem like much people noticed it.
Here's a list: The music as mentioned, the hallways that makes up a "SH" pattern, the doors that are locked in most cases and the fact that it's the only place in the game were battles can be avoided since enemies are visible on the map.
Recently, I even realized that it's also the only Zone where there is a white area before "purification", similar to the "real" and "alternate" zones of Silebnt Hill.
So, I was accused of plagiarism - ok, I スロットマシンの乱数発生器, I'm just being dishonnest - with that Endless Hallway thing, but it seems like nobody heard the https://casino-win-deposit.site/1/657.html from CONSPIRACY still from the first Silent Hill game in Brain Plague - just listen starting at the 40 seconds mark, when the track reverses!
Do you wish to take part in other ones in the future?
Aldo, would you wish to become either proessional game designer or game music producer, respectively?
M: Yeah, I did get involved in various stuff after completing OFF.
I've notably click to see more with ACC to the spectacular Dark Soul.
I've also realized two rushed projects for on-line events: Duplo, a game made in one night only with the help of ACC again as well as eXaHeVa, Bolt, Hyvenos and Sylvanor the sympathetic psychopath who made Ae"demphia ; and then There is A Picture for the Ludum Dare 23, done with ACC alone in one week-end.
These were both very nice experiences each time.
Of course, I'd like to make other games, possibly longer and more thorough, but it takes a lot of time and well - we'll see.
I'm not worried about it, it's bound to happen in the future.
I'm concentrating more on my work as a more info artist, of which I'd like to make living someday.
It's not really much of a sucess for the moment, but we'll jsut see.
THE FUTURE IS FILLED WITH HOPE!
Then, the projects Mortis mentioned.
A breaking revelation to the public: The Queen's "voice" sounds like otherwordly blabbering, but it's actually a young girl saying "va ranger ta chambre" "go and tidy up your room" in reverse.
What are you going to do now that you most well-kept secret has been disclosed?
I didn't know that's what she's saying.
I have totally forgotten anything about that detail.
Sound design was ACC's work, and I do remember that a female roommate back then did the Queen's "voice".
I can't remember if we asked her to spout out gibberish or if it was an actual sentence, since I just knew ACC edited it enough to make it strange beyond recognition.
Since the game's "voices" had to be unintelligible, I reversed it.
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