Reply With QuoteYeah. Ramin and Kemal did really well under Eric's direction.
Not only that, but notice all the wonderful sound effects that occur during the length of that clip? Um, Eric didnt just do the "music"...I think we can all agree that the bulk of the sfx were more than memorable.
Yeah. Ramin and Kemal did really well under Eric's direction.
Dude, you are not going with the peaceful flow here...
Eric is awesome, Paul is awesome, anything else?
I agree with this completely.Originally Posted by ShadowSneaker
Disagree. I don't think, for example, that Brighter Death Now would fit in as Thief ambient music.
My current favorite dark ambient artist (been listening to him all morning), Kammarheit, is not in the Wikipedia list... he's amazing. I'm planning to use his stuff in my upcoming UNPC mission.
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Comedy pure as he tries to knock that poor female servant out (why'd he do that?)
What was your point again?
Oh yeah. You know what I have a problem with? People like you cherrypicking out my response to this thread when just about 2 dozen people said the same.
Last edited by Lytha; 22nd Jan 2010 at 14:20.
Change is inevitable but I wish developers would honor the fans by staying true to the game design. We are the ones who have played Thief for 10 years and still care about it. You can create great story, and visuals without butchering the series, doesn't calling the game Thief4, hint toward honoring the series? Anyhow, I have hopes but am very skeptical they will ever touch Thief DP or MA.
Where is Quince and Jacow?
Dear Paul,
By your words and presence I can tell you are an honest man, and this encourages me much. Don't be afraid to try new things and expand into new venues, so long as they branch off the old ones. Create from your heart, don't reproduce from your brain
I wish you best of luck and inspiration for this project.
On a side note, I would like to include my personal favorite sound bit of all Thief games, from the T2 level Trail of Blood:
http://www.youtube.com/watch?v=w1LavOlanFg [starts at 1:30]
Alright.
Firstly: While my own grasp of the English language is far from perfect, given that it is my tertiary language, it pains me very much if someone butchers his own native language. Here are some links that might help you:
http://www.wikihow.com/Use-You're-and-Your
http://youre-vs-your.net/
Secondly: I see, you are a kindergarten revolutionist. How cute!
Thirdly: I am trying to wrap my mind around the idea that someone just called me a motherfucker. It's one of those words that somehow apply to one gender, but not to the other, you see.
Good boy. Have a cookie. Now go and bother someone else. *pat pat*
But anyway, back to the topic. The reason for my perhaps overly negative reaction here is that I very recently replayed some Thief OMs and it was most certainly the work that Eric Brosius that made them stand out as much as they did. Lets just say Cradle, Return to the Cathedral, Bonehoard, Cragscleft, Keeper Compound: Caduca's rooms (up to the cutscene, mkay), Trail of Blood... etc.
After I had identified EB as the main reason why I was sitting whimpering in a corner during the Cradle mission, news that he won't be part of this Thief 4 is saddening indeed.
But anyway... Good luck to the new guy; it's a good sign at least that you've the, well, balls to register and to return to this thread for a couple of times.
Good to see you, Lytha.
Hello Daniel.
Good to see you too.
As I was mentioning privately to Yandros while discussing this thread, I think that the technical simplicity of Eric's work is really a testament to his talent. As for our newcomer, all of his own achievements aside (and they are substantial) I hope that Paul appreciates the... nuanced simplicity... that most of us find so moving.
I am glad to see you posting here, Paul. I'm less glad that Thief 4 isn't as far along as I'd like.
I think the mystery and anticipation surrounding this nebulous project might need its own tension track. That could be an open challenge to those here of musical inclination: create a textured soundscape to give auditory illustration to the "Thief Fan in the Thief 4 forum" experience.
Chill out, SS. I don't remember you being this antagonistic when you were here previously, sharing your own excellent music.
Eric's work for the Thief titles was rarely only a simple drone, but when it was, it was effective. As Digi pointed out, knowing when to use simpler music and when not to is part of his talent, and an essential skill for a game audio designer.
I found out the Russians described the current situation very well on darkfate.ru : "Поживем, увидим... вернее послушаем." - one of my favorite Russian phrases.
Which means: "We'll live, we'll see ... more likely we'll listen"
Good to hear this game hasn't been forgotten about. As for the choice of sound designer.... eh.... Alex Brandon and Eric Brosius were both nobodies before they were somebodies.
But unless you haven't noticed, our job here is to bitch and moan about everything, not just things that have already happened.
Actually, it all comes down to intuition, feel, and timing when it comes to ambient program music. This is where this particular talent becomes paramount, as Brosius has brilliantly demonstrated. Textures and movement that evoke emotive responses, both on the conscious and subconscious levels are what is required for a supremely satisfying THIEF experience...one must think of it as a sonic fabric which weaves itself through time on the edge of consciousness.
This is where Paul Weir will ultimately succeed or fail with THIEF...and thus, from one composer to another, I wish for him sublime inspiration as he makes his way into the THIEF universe..may he invoke the wonder, mystery, and magic so that we may all once again cherish our beloved THIEF.
I thought the music in T3 was excellent. If this is continued or, even, improved.. then I can't see a reason why the T4 soundtrack wouldn't rock as much.
Heh. That could be interpreted as saying the other titles' music isn't good enough to mention.
Minus the Cradle and Moira's, what were your favorite soundtracks when you played the first time?
No, not that - I played the T1/T2 original missions a very long time ago, so it might be that I've just forgotten the music. Then again, isn't that already telling you something? From what my re-listening experience on YouTube tells me, I definitely like 'Into the Maw of Chaos', 'Down in the Bonehoard', 'Assasins' and 'Return to the Cathedral' from The Dark Project.. damn, I really should play T1 again! But I don't recall anything specific from T2, in fact - it always seemed to me that the whole 'ambience' in both The Dark Project and The Metal Age comprised of the actual sounds you heard - the haunts, the spiders, the wind chimes which played whenever Garrett was near those crystals (?) etc and of the occasional looping ambience that so wonderfully merged in with all the sound created by the world you were in (AI, water gurgling, wind etc). Deadly Shadows was different in the way that it was more 'looping ambience oriented' in my opinion and all the occasional sounds that in the first two games came from objects/environment you interacted with or were nearby - they seemed to be incorporated into the ambient loop itself.
Now I'm not saying that the way I described is actually how the developers/sound editors did it in the earlier games - it's merely how I recall it. I'm also not saying that either of these approaches (the T1/T2 way and the T3 way) is better than the other. What Eric Brosius did with T3 is just more similar to something I would personally create, if I were given the resources and know-how. I have been quietly trying to take responsibilities of composing soundtracks for FMs (The Hammerite Imperium project, cooperating with various individual FM authors and currently working on The Black Frog campaign with Gaetane) so I pay quite a lot of attention to what I'm hearing in-game.
To answer your question about what I liked in the T3 soundtrack, here are my favourites (aside from, indeed the two pieces of music you already mentioned!):
- Auldale
- The Kurshok Citadel
- The Clocktower
- Pavelock Prison
- South Quarter
Last edited by zil; 24th Jan 2010 at 11:55.
I think the main reason people argue that T1/T2 music/sound is better and so much more recognizable that T3's is that we've all just played the original games so many damn times, it's somewhat permanently ingrained in our heads. Not only just from playing the original games, but from years and years of playing FMs.
By comparison, I've only played through TDS twice - the music could be a masterpiece, but with such limited exposure, it's hard to get too attached to it. This isn't a rip on TDS in any way, I actually like the music quite a bit overall, most notably South Quarter, Old Quarter, and the Keeper Library.
I hope the dream *never* ends...
I love how the name of the thread is displayed as "Thief 4 Audio Director is...followed by the name of the last person who posted. lol
Guess that makes me the audio director until someone else posts.
That's exactly why I said "...what were your favorite soundtracks when you played the first time?"
It may be difficult for a lot of taffers to remember their first impressions for each game, but I want to reduce the the bias that comes from the fact we can download soundtracks and play the music/ambients outside the game, or have played one or more of the games more than the others, etc.
TMA was my first Thief experience, and I remember being struck by the music for the main floor of the Rumford's, the main theme for the outside of Rampone's Dockside Shipping, the alarm theme of Framed, and the music for the pagan village massacre. In TDP, the music in Bafford's as I came through the basement and servants' quarters and into the main halls, the upper floors of Cragscleft, listening to the Horn of Quintus, and the rest I remember are the ambients that aren't music but really gave a strong feel hard to ignore and my not wanting to ignore them. In TDS, the music I remember is Moira's, the first track that stopped me in my tracks and got an eyebrow raise. The rest, to me, seemed and still seems, to much like a movie score that doesn't want to be noticed consciously, and it's only through listening to the soundtrack outside the game that I could really hear Eric's style and connections to the previous titles.
Last edited by jtr7; 24th Jan 2010 at 23:57.
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