Scoring The Apocalypse

Film soundtracks are amazing things. One of the things I like to do when I’m thinking about the musical choices a film makes is to swap out a piece of music from a completely different movie — or even some of my own music — over a key scene, just to see how it changes the feel of the moment.

I love the idea that a piece of music can support, enhance, skew or even subvert the emotions on display.

I believe game scores can do the same thing. With games, though, you have the additional challenge of the player being able to do anything at any time, particularly in an open-world game like Class3. To support the emotional tone of the game while taking into account the constant variability of gameplay, I’ve chosen to work with the overarching themes and tones in Class3 as a palette for our music.

You will be able to work with others to stake your claim in a new society, one where your family is created by bonds of trust instead of a common bloodline.

What are the themes that will comprise the cornerstones of the musical palette in Class3? First and foremost: survival. Your friends and loved ones have been mauled, murdered, and reanimated. You’re constantly searching for water, food, medicine, and a safe place to sleep. Sorrow, danger, despair, and fear wait around every turn. The world is broken.

Secondly, of course, it’s about zombies. The wretched, rotting, soulless creatures that haunt your every step. Always on the hunt and never tiring, they constantly seek your flesh. When the zombies are closing in, the music isn’t about a world robbed of it’s humanity, it’s about the immediate danger of an approaching horde.

Finally, the music needs to support the theme of rebuilding our world. You will be able to work with others to stake your claim in a new society, one where your family is created by bonds of trust instead of a common bloodline.

Musically, it’s a genre defined by the sum of parts. Our Faded Americana style takes cues from Country, Western, Rock, Folk, and even Blues music, but it lives somewhere in between those genres without belonging to any of them.

Those are the thematic pillars of Class3; but we still need a framework to deliver the score. That framework is defined by two elements: The first is a style we call Faded Americana, defined by our art director Doug Williams to describe the setting and visuals of the Class3 world. Musically, it’s a genre defined by the sum of parts. Our Faded Americana style takes cues from Country, Western, Rock, Folk, and even Blues music, but it lives somewhere in between those genres without belonging to any of them.

Along with those elements come suggestions of instrumentation: rondo, slide, resonator, and acoustic guitars; dulcimers, fiddles, and percussion of all types from a traditional drum set to ‘musique concrete’. Inspiration comes from popular artists like Johnny Cash, Tom Waits, and The Black Angels as well as composers like Carter Burwell, Gustavo Santaolalla, and Dave Porter. Each of these artists have already tread the ground of Faded Americana, and it’s my hope to deliver a similar emotional intensity to compliment the art and feel of Class3.

The second major element to our score comes from the darker side of film. The pulsating drones of John Carpenter, the haunting discomfort of Jerry Goldsmith, and the textural tones of Vangelis all play a role in creating the sense of unease and intensity that plagues you and drives you through Class3. Together these two styles will constantly interweave to bring you a soundtrack rife with fear and despair, but also a sense of hope, exploration, and the potential to rebuild a world on the brink of destruction.

That’s where Jesper Kyd comes in. For years, I’ve admired his ability to create scores that are emotional, dense, and driving while still keeping a sense of sparse openness that’s crucial in supporting a reality where society has collapsed. With his proven ability to understand the complexity and diversity of game design, I believe Jesper will help us present a singular and unique experience for our apocalypse. I’m thrilled to work with him and ecstatic to have him as a key contributor to Class3.

-Kevin

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I Kyd You Not

Last month in our Q&A Ragdolls, Land Mines, and Tentacles, we promised to reveal the composer for Class3.

Today we’re excited to announce we’ve signed BAFTA award-winning composer Jesper Kyd to the project. Jesper is perhaps best known for scoring the Hitman and Assassin’s Creed series, both of which earned him numerous industry awards. Now Jesper’s capturing the Faded Americana style of Class3 in a dark cinematic score mixing live acoustic performances.

Undead Labs Audio Director Kevin Patzelt has been working closely with Jesper over the past few months. Kevin shares his thoughts on the musical goals for Class3, and why Jesper is the ideal composer for the project, in the article Scoring the Apocalypse.

Welcome to our world, Jesper!

Jeff

Comments (11)
02.10.12
News Speak 292

Ragdolls, Land Mines, and Tentacles, or Just Another Day at the Lab

In January we posted a spy-cam video of the Lab that included some footage of the in-development version of Class3. You responded with a massive amount of comments and questions, so today we’re going to tackle some of them in a new Q&A.

Read on for fresh new details about Class3!


Question from ‘Sorryaboutmyverbaldiarreah’: Will there be load screens when entering different regions (ex: a house) and will we be able to enter all buildings?

Class3 is a true open-world game, so conveying a sense of freedom and the joy of exploration is a core pillar of the game. We don’t want you debating whether the load time is a price worth paying for entering a building, so we’ve invested in the technology to allow the world to be seamless with no loading screens.

Whether all buildings could be entered was a significant debate early in the project. It takes a substantial amount of time to model the interiors of every building, of course, but more importantly, we don’t want to create a game that forces you to enter hundreds of mostly empty buildings to find the cool stuff. Ultimately we were able to solve both of these issues, so yes, you will be able to enter every building in the game, unless there is some visible reason why you shouldn’t be able to (e.g. it is collapsed, or burned out).


‘Seth, building a base’ queues us up to talk about something fun: I like how it looks except the zombies are a little too fast and that one fat-guy zombie broke right through the barricades which kind of disappointed me because I was hoping to camp out in a building for a couple of days, but then I thought, ”Maybe his construction skill is too low, or maybe he didn’t have very good supplies to build a barricade strong enough”.

The snippet of siege play you saw in the spy-cam video showed a dilapidated farmhouse under a massive, sustained siege from multiple hordes, including a particularly large zombie who was quite effective at smashing down the barricades. In general, barricades will last longer than you’d assume from the footage. While barricades are at best a temporary measure, they can be an effective means of slowing down a horde attack if you inadvertently give away your presence.


Listen, download, and enjoy!

A comment from the mysterious ‘M.’ states: Lots of cool things in the “Spy Cam” footage. The music theme was also really good… ominous, while not being overwhelming.

That music is a piece composed for the game by our audio director Kevin Patzelt. You can check out more of Kevin’s music on his band’s Facebook page.

We’ve received a ton of comments about the music, so as a special treat for our fans we’ve decided to release the track you heard playing in the video footage. Listen, download, and enjoy!

Kevin does great work, but he can’t personally do it all, so we recently selected the composer for Class3. We’ll be announcing who it is in the next few weeks, and I’m pretty sure you’re going to be excited when we do. No joke.


‘qwerty’ asks: Is Class3 still going to be split screen? I’m just wondering because most open-world-like games I know of don’t support it.

Unfortunately, we won’t be able to include split-screen play in Class3. CryENGINE 3 does not natively support split-screen, and we’re already pushing the engine to its limits to create the open, seamless world of Class3. Rewriting major components of the engine to support split-screen would be a massive undertaking and cause substantial delay to the release of the game.


‘Pepe’ states: By the way, Zed Team, I would love to see some great (and freaking hard) achievements for this game. Like blowing up 50 zedheads with a grenade, or make 5 headshots with a single sniper rifle bullet…

Those are great ideas, Pepe. I’d also love to see achievements like launching a zombie over 30 yards by hitting it with a vehicle, or tossing it over 30 feet in the air with a land mine, or using a chain of land mines to blow up a zombie, or, killing X zombies with an exploding vehicle.

Just, you know, for example. ;)


‘Joseph’ expresses his wishes: Hopefully there will be some sort of climbing in this, like jumping over gates, jumping to grab a ledge so on and so forth.

Climbing, jumping, grabbing, throwing, hanging, ducking, diving, and peeking — these are the sorts of things that make the world feel like a real place, rather than a stage set. This kind of organic interaction with the world has been one of our highest priorities from the start of development, and I can absolutely confirm that that you can do all these things.


‘Josh’ asks if we know what he means: This is just a hope, but I really hope cars are not totally disposable at every turn. Making it a real decision to leave the compound with a truck, for practical purposes of bring back larger pieces of salvage, or choosing to go on foot, for fear of losing your only vehicle. You know what I mean?

Vehicles are precious assets in Class3. Not only can they get you to remote areas quickly for rescue missions or resource runs, they also afford substantial protection as you drive through zed-infested areas. On the other hand, if you trash your truck, you’re not guaranteed to find a serviceable replacement around the next corner. In fact, you might be in real trouble; stranded out in the middle of nowhere, or in the midst of the town’s heavily infested industrial district, short on supplies and nowhere near a safe house.

Class3 tracks and remembers all the vehicles in the game, including where they are, who currently ‘owns’ them, and their damage state. If you destroy a vehicle—accidentally, by crashing it or trying to plow through one too many hordes, or intentionally, by making good use of its explosive potential—it will stay destroyed. If you park it out in the boonies somewhere, it’ll stay there. If you “borrow” it from another survivor group without permission, they probably won’t be too happy with you.

If you’re careless, you may eventually find yourself without a ride. However, sometimes you’ll discover new vehicles in places you’ve already explored, perhaps abandoned by other survivors who have now moved on. We want cars to be precious and meaningful, but we also won’t make your life a permanent hell if you have a little fun.


‘jakeawesome’ asks: Just out of curiosity, what physics engine are you using for the game, everything just looks so fluid, is it Euphoria?

We are using CryENGINE 3 for Class3. The physics you see in the spy-cam footage are driven by the in-engine physics package. One of the big benefits to using CryENGINE is that the physics implementation is tightly coupled to the engine and associated tools, which allows us to integrate physics-based interactions directly into the core game mechanics.


Rest assured, Class3 is, and always has been, an open-world zombie apocalypse simulation.

‘regie jonosan’ laments: I’ve been following this game for aaaages, seems like the designers are straying from the original premise of an open world rpg zombie apocalypse ‘simulation’ into more of a normal game…

One of the reasons developers are hesitant to release early peeks at raw gameplay is because it’s impossible to convey the breadth of the play mechanics in small snippets. While our spy-cam footage showed some of our core combat and world-interaction mechanics, it did not show some of the more unique elements of Class3 like base building, survivor-community management, manning watch towers, interacting with other survivor communities, researching new technologies, vehicle mechanics, or complex zombie infestation and horde behaviors. Rest assured, Class3 is, and always has been, an open-world zombie apocalypse simulation.


‘ManicDxM’ asks: Will people be like ragdolls if they are hit or fall off a building? That would be cool if they are.

People will ragdoll, yes. And more importantly, so will zombies. We’re making good use of ragdoll physics to let you use your environment as a weapon. Glass windows, trash dumpsters, picket fences, the hood of your trusty pickup—all surfaces with great possibilities for taking out zeds with efficiency and panache.


You could say that the entire game is a perma-death, see-how-long-you-can-live-for experience, but on a large scale.

‘Griff’ asks the Big One: This is a zombie survival game at its core, so is there going to be some sort of perma-death, see-how-long-you-can-live-for survival mode? I just think an “ending” to this game isn’t required, but I know you guys want an epic story.

I’m handing this one over to our creative director James Phinney…

[JP] You could say that the entire game is a perma-death, see-how-long-you-can-live-for experience, but on a large scale. It includes not just the quick, pulse-pounding drama of extended sieges, but also the intense, life-or-death struggle to carve out and defend small pockets of safety in a world overrun by the undead. Will there be throwaway, repeatable survival modes? No. There are other games that do that quite well, and other games that do the zombie-corridor-shooter thing well. I love those kinds of games too, but we’re creating a simulated world.


‘Hartman’ expresses concern about fat zombies: I know obesity is becoming a common sight but those big zombies were a tad too big. it reminds me of Left 4 Dead and any other zombie game I can think of to be honest. Every time I see them its like why did they even put them into the game?

For anyone worried about the imminent arrival of Tentacle Zombie™ and Winged Zombie™: don’t be. This is a game about surviving the zombie apocalypse; not a horror game about mutants or demons or fungus creatures. Our goal is to ensure that Class3 zombies retain their humanity, because that’s a big part of what makes the genre powerful. They are us.

That said, we also want to inject some strategic variability into the game. Some zombies are faster, some slower, some stronger, some louder, some have keener senses, and the like. We will exaggerate the range of human variability (because, hey, that’s part of what makes games fun), but Class3 zeds will always be recognizably human. So sorry, no Tornado Spawning Zombies this time around.


‘Spencer’ wants to kick back with a cool beverage and have some fun with the apocalypse: Remember in Dawn of The Dead when there was a great horde outside the mall? and when the guy with the sniper rifle was holed up on the roof of his shop and taking headshots at zombies? I hope we get to do that.

Oh hell yes.

Here’s our art director Doug modeling the shirt he happened to be wearing today. If you recognize that, you’ll understand our intentions here.


Everyone asks: When the hell does the apocalypse begin?

We’re getting there, folks. We’ll tell you as soon as we can. I can tell you that we’re right on schedule, and that you’ll be learning much (much) more about Class3 this spring.

Stay tuned, fellow survivors!

Comments (292)
01.12.12
News Speak 6

An Interview with Jason Stokes of FUTUREPOLY

Interested in a career as a game-industry artist? Nobody knows the ropes better than Jason Stokes and his colleagues at digital-art training studio FUTUREPOLY.

Jason also heads up FUTUREPOLY Studios, a high-caliber game art production studio that we teamed up with last October to produce art for Class3.

Jason was recently interviewed by Bonnie Boglioli-Randall for Animation Career Review, so make sure to check out his thoughts on how to land a sweet job as a game artist.

Jeff

Comments (6)

Go Ahead… Kick My Ass

Happy 2012, fellow survivors!

After a well-earned break for the holidays, Team Zed is back in the Lab and pounding away at the code, art, sound, and design for ‘Class3′.

To celebrate the new year—and, okay, because we haven’t updated you in a few weeks—I took some “spy cam” footage in the Lab today with my trusty iPhone. We’re not quite ready to post official trailers at this point, but I snuck up on Foge as he was testing out some ambush functionality on the Lab TV, so you might catch a glimpse of some early-alpha Class3 gameplay goodness.

Or maybe more than a glimpse…

As we jump into the new year we also bid farewell to Emily, who took point on our website and kept in touch with our community and fansites such as MMOZed.com. Emily is off to new adventures, and we wish her well. Don’t worry—we’ll be keeping you up-to-date on our progress here on the Undead Labs website, and we’ll also be announcing plans for a more robust community site soon.

We had a tremendously productive year in 2011, and we’re anticipating an even better 2012. I’m happy to say that Class3 is on schedule and looking great. We’re excited to show it to you and the rest of the world officially—assuming I don’t get my ass kicked for leaking unofficial gameplay footage…

Jeff

Update: It looks like our comment system is biffed. We’re working on it. For now you can leave comments for the dev team on the Lab Facebook page.

Update 2: Comments fixed. Thanks Liz!

Comments (184)

Capping Off The Week

This week, Phinney, Reid, Kevin, and Scott (who you’ll get to meet soon) piled into a car and took a trip to Vancouver, Canada. Their destination? Animatrik, a company that specializes in motion capture animation. If you’ve ever seen behind the scenes footage of people running around in tights with little reflective balls all over them, that’s mocap, and it’s been used in movies for years. As it’s evolved over the past fifteen or so years, though, it’s also become an important tool for game developers.

To give you guys some insight into what motion capture is, how it works, and how it’s going to apply to Class3, I sat down with Reid to learn more about what our recent session was like. Read on to see what he had to say!

What is mocap and how is it different than traditional animation?

Motion capture records the movements of a live actor onto a set of controls called a rig. The rig controls the movement of the character model. You know those tight suits the actors wear, covered with a series of markers? The markers are what actually gets recorded and through a lot of crazy math, gets translated on to the rig.

Mocap is a great way to get realistic motion in a short amount of time. While hand-created keyframe animation can create realistic movement, the process is really consuming, and you still wouldn’t capture all the subtleties that you can get from mocap.

Traditional keyframe animation is very good for stylized movement and stylized characters, and for the “realistic” motion of fantastic creatures like dragons. Obviously, you can’t mocap something that doesn’t exist!

A lot of people recognize the mocap suits that actors wear, but how does the process actually work?

A bunch of cameras track the position of the little white markers on the actors’ mocap suits, which are used to triangulate the position of the actor’s actual joints. The data is then converted into rotational joint information that’s put on the skeleton. (A lot of markers and a lot of math are involved because they haven’t figured out a way to put the markers inside the actors yet. :) ) Once this  motion is on the skeleton, we translate it again to the character’s animation controls (which we refer to as the “rig”).

In the end, the animation ends up on the character in the same format as it does when I keyframe it. The only difference is that mocap data puts a key on every frame (that’s 30 keys per second of animation), which requires different animation techniques and tools to edit the dense amount of data that motion capture gives you.

For cinematics, if you plan correctly, get a good performance from the actors, and get good motion from the mocap studio, the animator shouldn’t have to edit much. Gameplay motion is a whole different thing — that requires a lot of editing.

What do you look for in a motion capture actor?

Since we were shooting both cinematic and gameplay styles for this session, we were looking for people that were both good actors and had strong physical and athletic skills.

For our cinematic shoot, the actors just ran through the scenes like they would if they were on stage performing a play, and we captured their motion in large chunks. For these sequences we’re primarily looking for acting ability.

On the other hand, the gameplay part of the shoot required the actors to perform specific actions in small pieces, which can feel pretty counterintuitive or unnatural. For example, if a character picks up an object and then throws it, the acting sequence might be broken up like this: the character is standing still (one shot), the character picks up an object (second shot), the character stands with the object in their hands (third shot), the character throws the object (fourth shot), and finally, the characters returns to a casual standing state (fifth and final shot). For an actor who’s used to following typical stage directions to just pick something up and throw it, that can be a jarring experience!

It sounds like mocap is pretty specialized. How do you go about finding the right actors?

Well, in our case, one of the actors we used was highly recommended by Animatrik and the other was recommended to Animatrik by someone who had worked with him in the past. Most mocap studios will know talented local actors from past projects, and they’re usually happy to recommend them. When that approach doesn’t work, you can hold casting calls where actors and their agents can send you resumes, demo reels, and things like that.

Once you find someone that looks good, you typically hold auditions to make sure they’re a good fit for what you need. (Since our guys came highly recommended from people we trusted, we actually skipped this step.)

What’s a mocap session like? Tell us what you guys did when you were up there!

The session started out with breakfast provided by the studio. While we ate, we got acquainted with the team and the actors. We also went over some of the scripts for the acting portion and some of the action for the gameplay portion. Once the actors had their suits on and everything was calibrated, we had them go right into the acting.

Phinney and Kevin took turns directing the storyline scenes. Before each scene was recorded, they prepped the actors on things like where to be on stage, how the characters they were playing should behave, what their personality and state of mind should be during the scene, and how intense or subtle the scene should be. I chimed in a little bit on some logistical things, like the placement of the objects they were interacting with. The actors also had some great ideas and added a lot of personality on their own.

After the acting section of the session was complete, it was my turn to direct gameplay stuff. I coached the actors on the speed and strength in which they should perform an action, judging the motion on if I thought it I could easily make it loop or not. I also tried to get them to start out in an idle pose, do an action in place, and then end the motion in the same idle pose. That will make the animations blend much more smoothly when you actually put them in the game.

How long do mocap sessions usually take?

Our day consisted of two 3 to 4 hour blocks. In both cases, we started with cinematic scenes and moved on to action sequences.

The morning session started with breakfast, paperwork, and studio and actor set-up at 8:00 am. We started shooting at 9:30, then broke for lunch at 12:30. After talking zombie games, guns, and Skyrim with cast and crew, we went back into shooting at 1:30 and were scheduled to start wrapping up at 5:30. Things went quicker than we’d expected, though, so we finished our full list — plus some bonus recording — around 4:30.

Since we have a lot to do back at the Lab, we drove back to Seattle the same night. We were a bunch of zombies the next day, but hey. It fits, I guess. ;)

When we get back mocap data, what format is it in?  How do you get the finished characters into the game?

We get video first so we can choose the takes we like best. Once we’ve picked these, we send the details back to Animatrik, who  cleans up the files we requested and sends them to us as skeletons with the motion attached to them.

The animations we get back are in a lot of different pieces, so to get them ready to use, Scott translates the motion from the skeleton to the rig. When he’s done, he sends them to me to do the necessary edits and get the pieces organized and exported. Once we’re finished, they are usable for the designers to put into the game.

Thanks for giving details about your trip, Reid!

I hope you guys liked this inside view of how our characters are being built! Next week, we have more game information coming your way — Phinney is preparing a design article on multiplayer in Class3 to close out 2011, so be sure to check back in on Friday.

Have a great weekend, everyone!

Emily

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Throw Out Your Dead

From the first time I saw Night of the Living Dead when I was 13, I was hooked. That stark, black-and-white photography, the unrelenting brutality of the walking dead, the pressure-cooker intensity of the conflict between those few desperate survivors, and that ending! Zombies had their hooks in me and never let go. Dawn followed Night, of course, and from there the rest of Romero’s works, Fulci’s Italian giallo zombie movies, anything I could get my hands on. I devoured the movies, dragged my Dungeons & Dragons group kicking and screaming into games of All Flesh Must Be Eaten, and generally watched, played, and read just about anything zombie-related I could get my hands on.

Still, just about any fan knows that all things zombie aren’t created equal. It’s a polarizing genre, encompassing classics of cinema like my old friend Night of the Living Dead, modern blockbusters like Zombieland, and, let’s face it, some pretty cheesy (but still fun) low-budget schlock-fests. Now that I get to do this for a living, I find myself analyzing the zombie stories I’ve loved for more than half my life, asking myself: What separates a fun zombie story from a great one?

Well, I’ve got a theory about that…

At the heart of the matter, good zombie stories aren’t really about the zombies at all. Zombies are a catalyst for story, the fuel that makes the engine run. But just like fuel without an engine can’t take you anywhere, zombies without the core foundation of story can’t move you. Sure, it’s fun to brain them with a tire iron, but by themselves zombies are just monsters to be killed.

Characters, and the conflicts between them, are that core foundation. They’re what the story is really about. They give context to all the zombie-killing, supply-scrounging, base-building action and make your decisions mean something. When you can see the impact your choices make on the world as a whole and on these few scared, scattered people who are your fellow survivors, those moments stick with you.

Picture this scenario: Your friend Ed is sick, maybe dying, and nobody wants to risk him turning in the middle of the night and eating everyone in their sleep. If you can’t get him a doctor, the others are going to throw him out onto the street — assuming they don’t just put a bullet in his head and be done with it. You know of a doctor who survived this whole thing, but he’s not feeling charitable. He’s got expenses, he says, and the meds he needs aren’t easy to come by. He wants more than you can barter, and more than you can hope to scrounge before Ed’s too far gone to save. Maybe you’ve never drawn a gun on a man in anger before, or maybe you have, but the question is: How desperate are you to save your friend?

Here’s another one for you: You haven’t found any food in several days. Your stores are running dangerously low, and you come back from a scouting run to find that one of the other survivors in your camp has been caught stealing from the storeroom. That’s the difference between life and death out here, not just for you but for the whole community that trusts you and relies on you. When Jeb mutters “Somebody get a rope,” what’s the call you’re going to make?

These are the kinds of stories we want to tell — stories that dig down into the people who survived the zombie apocalypse huddled together in makeshift habitation. We want to examine the conflicts that arise in these pressure-cooker situations, whether they’re related to long-term survival or the stresses of post-apocalyptic life or folks who just plain don’t like each other. We want to use the zombie apocalypse as a metaphor, to examine the human condition the way all the great zombie films do.

I have a little trick when I’m writing for Class3. Everything I write, whether it’s a character (like crusty old Doc Hanson or those trouble-causing Wilkerson boys), a plot element, or a chunk of dialogue, I ask myself: “Would this still be awesome if it didn’t have zombies?” If the answer is anything less than a resounding “yes!”, it goes back to the drawing board. Zombies bring the awesome to just about anything, but I don’t want to give you folks “just about anything”. I want to give you the awesomeness of zombies on top of the awesomeness of a compelling story full of interesting characters with nuanced, believable motivations.

Everything I’ve learned in my career as a writer and every project I’ve worked on has prepared me for writing Class3. Alpha Protocol taught me about forcing the player to make hard choices with no clear right or wrong answer, and making the consequences of those decisions have a lasting impact on the game space. Fallout: New Vegas taught me to build a believable post-apocalyptic society, and the tricks and techniques for writing a coherent story in an open-world game where any character can die at any time. My years of writing tabletop gaming books for World of Darkness were all about creating moments of evocative, intense horror and emotional conflict between characters.

So, there you have it: My philosophy on writing zombie games. Take the zombies out of the equation and be damn sure you’ve got a rock-solid story full of interesting, well-developed characters and exciting action.

Then put the zombies back in so those characters can smash their heads in with tire irons.

Travis

(Emily’s note: If you just can’t get enough Travis and would like to know more about him, be sure to check out Jeff’s introduction.)

Comments (41)

Miss Manners Need Not Apply

Frank: So, how many are you holding back?
Joe: How many what?
Frank: You know… bullets. For just in case.
Joe: Jesus, don’t even start that shit with me, man!
Frank: What? You know it’s better than some of the alternatives. You ever seen a person starve to death?
Joe: No, and neither have you.
Frank: Okay, but I have seen what those things can do to a person. And if it comes down to that or a bullet…I got three. One for me, one for Millie, and one for Peter.
Joe: I think I’m gonna be sick.
Frank: I know it’s ugly, man, but you got a wife and kids too. You ought to think about it. It’d be kinder.
Joe: Just…go away, Frank.

This isn’t Shakespeare. It’s also not Stephen King. It’s sure not Emily Post. Hell, it doesn’t sound like book or movie dialogue at all.

And that’s exactly why we asked Travis Stout to join Team Zed to write Class3.

I often have a hard time with dialogue in movies and games, because it sometimes just doesn’t sound like the way real people talk. Like most of you, I didn’t grow up around Oxford professors or jet-setting, poodle-toting socialites. I grew up in a “normal” town in Texas, surrounded by real people—college graduates, high-school dropouts, doctors, farmers, cool people, jerks—and real people don’t say, “Joe, I think it’s time for us to discuss the number of bullets you are holding back as a hedge against the worst-case scenario.” They say, “So, how many are you holding back?”

We want to make a game that feels real—like a place you could actually be, doing things that could actually happen—and one of the most important aspects of that is finding a writer who understands how to build a believable world and fill it with believable characters.

In August we posted a job opening for a writer to our website that began, “If you’re a passionate, professional author or game writer who loves horror, knows your zombies, and wants to tell the story of the struggle to make it in a ravaged world, there may be a spot for you on Team Zed.”

That’s how we found Travis, an industry vet who’s been writing professionally in the game industry for a decade. He’s contributed heavily to Dungeons & Dragons rulebooks and campaign settings (notably the 4th Edition Dark Sun campaign setting), White Wolf Game Studios settings (particularly the World of Darkness products), and most recently, extensively to the writing and design for Fallout: New Vegas and Dungeon Siege 3. And, fortunately for us, he’s also a hardcore zombie fan.

After sorting through hundreds of applicants and subjecting the final ten or so to an arduous three-month interview process, we knew that Travis was the guy we wanted, and were able to convince him to join us to helping us to build the very real world of Class3.

Welcome aboard, Travis!

Now, how many are you holding back, man?

Jeff

P.S. Don’t forget to check out Travis’s welcome to his fellow survivors!

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The Feasting

Tomorrow is Thanksgiving — the time when we look back at all the things that we’re grateful for in our lives and, of course, gorge ourselves on tasty, tasty brains turkey, stuffing, and all sorts of traditional holiday stuff (I want to eat ALL the sweet potatoes…). Since it’s also a time to be with friends and family, we’ll be closing down the Lab tomorrow and Friday, which means that we won’t be posting an article at the end of this week.

Don’t worry, though. Doug’s cooked up a new wallpaper to tide you over, and this one’s pretty freaking awesome. Read on to check it out.

 

Sweet! It’s about time turkeys got their revenge… ;)

Now, here’s a puzzler for you: If a turkey snacked on a zombie pilgrim, and you ate the turkey, would you become a zombie? Post a comment and let us know what you think!

Happy Thanksgiving, everybody!

Emily

PS: Don’t forget that it’s Black Friday this week, so keep an eye out for awesome game deals. If you’re going to be hibernating at home to avoid the crowds (and any potential zombies), I know that Amazon and Steam always have great discounts.

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11.18.11
News, Studio Speak 14

Can’t Look Away

A little over a month ago, we completed our final pre-production milestone for Class3. To celebrate, we took an afternoon adventure to Seattle’s iconic Experience Music Project (EMP) to check out an exhibit that was right up our alley — “Can’t Look Away: The Lure of the Horror Movie”.

Read on to learn what it’s all about and to see some awesome shots from our trip!

The first thing that hits you about EMP is just how big the place is. It’s huge. Like, 140,000 square feet of music and pop-culture goodness huge. Appropriately, our destination was in the basement of the museum. Another nice touch: the stairwells featured wallpaper consisting of screaming faces (which we’d later recognize as shots from the scream booth, but more on that later).

Once we got down into the basement proper, the ambiance just kept on delivering. The entire room was bathed in red light, which gave a nice, eerie cast to the replica sculpts of classic Roger Corman monsters on the walls (“It Conquered the World”, anyone?). Even the ceiling got in on the act with some creepy, octopus-looking sculptures – made entirely out of Hannibal Lecter masks!

These guys obviously put a lot of love into crafting this exhibit, and it was great to see that passion on display. You want some more highlights? Here you go!

Movie Memorabilia

I’m a prop and makeup geek, so getting to see famous pieces from some of my favorite horror movies was pretty amazing. The most impressive was definitely the xenomorph from Alien, but there was one of the original facehuggers on display, which was cool too.

They also had one of the original zombie suits from Lucio Fulci’s Zombi 2, Freddy’s glove from A Nightmare on Elm Street, Jason’s mask from Friday the 13th, one of the critters from Critters, and, for a real blast from the past, the creature mask from Creature From the Black Lagoon.

When I asked the team what their most memorable moments were from the trip, Gronk mentioned Jeff’s… intense… expression when he was standing by the axe from The Shining. See for yourself. ;)

Classic Horror Timeline

One wall had a massive timeline of horror movies, cataloging decades of films, complete with replicas of a ton of movie posters.

We walked down the line, pointing out which movies we’d seen, and since I’ve spent years of my life watching horror movies, I was at the top of the pile.

Doug was up there, too, though. He loves him some classics…

Horror Movie Pods

A bunch of “pods” scattered around the center of the room were showing clips from some horror classics, along with commentary from various famous directors. For me, the best thing about this part of the exhibit was watching people get their first taste of movies like Dario Argento’s Suspiria and Takashi Miike’s Audition.

The Scream Booth

The last thing we checked out was the interactive scream booth. You’d step inside this little soundproof room, and you’d be prompted to scream — either a “terrified” scream or an “angry” scream.

As an added bonus, when you were finished screaming, your face would pop up on a wall outside the booth for everyone to see. For some reason, I just looked angry all the time, but Jeff’s “Jack Nicholson in The Shining” impression definitely came in first. Unless you count Brant’s “eek” face…

After we’d checked out “Can’t Look Away,” some of us went to see the other two exhibits hosted at the museum: Avatar and Battlestar Galactica.

I’m not a huge fan of Avatar, but I have to admit that the full-scale AMP suit and the creature models were pretty cool. I also liked the interactive tree spirit display.

Over on the Battlestar side, they had three massive replica ships: the Cylon Raider, the Viper Mark II, and the Viper Mark VII. Pretty freaking awesome!

If you’re a Seattle native, or if you have the chance to take a trip to our rainy city, I definitely recommend taking an afternoon to swing by the EMP. If you do, post a comment and let us know what your favorite part was!

Emily

PS: I’ve added a bunch of photos from the trip to our Flickr gallery, so head over and check them out!

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