00:00GTFO è un gruppo di 4 persone
00:03in questo Complexe, giusti contro il loro will,
00:08forcibano in i dettagli per fare cose,
00:11o per fare altre obiettive per questo non conosco
00:14chiamato il Warden.
00:15Il Complexe ha stato abbandonato per molti anni,
00:19è stato overrunto da giovani, giovani monstri,
00:23e si vuole andare fuori.
00:42Il nostro corso gratuito è necessario di essere in un modo giusto, perché se non si non,
00:49si enda in una situazione di Leroy Jenkins, quando qualcuno è riuscita in una zona vera e
00:54non si non si non si non si non si non si è possibile.
00:59You have survival horror levels of resources,
01:03you're almost always running out of ammunition,
01:05you're almost always running out of health.
01:08This sets a slower and more deliberate pace
01:10than other games you'd be likely to compare to GTFO 2.
01:13There's a lot of emphasis on exploration,
01:15stealth and strategy.
01:17If you want to survive, you have to use
01:19all your tools and instincts to detect
01:21the combat situation before it happens.
01:24Prepare for it and control the action.
01:30What we experience is that a lot of games
01:33that claim to be cooperative really only require
01:36the players to fight alongside one another
01:38and not really fight together and communicate and coordinate.
01:42If you like a challenge, if you like playing together,
01:45if you like solving problems in groups, this game is for you.
01:50It is very challenging.
01:52It is something that will put a different strain on your team
01:57than other games.
01:58But if you're up for the challenge, this is something for you.
02:09There's a lot of mysteries in the game.
02:11Who are the Warden?
02:12What's their agenda?
02:14How did you end up in the complex?
02:16What was the complex originally built for?
02:19Where do the monsters come from?
02:22And can you escape?
02:25So in GTFO you play as one of four scavengers trapped inside this underground complex.
02:31You're held there against your will by some entity called the Warden.
02:35You're forced down into the complex every day to carry out different objectives
02:39and you get to keep what you can scavenge from down there that the Warden aren't interested in.
02:45The story is not going to be told through a traditional story campaign mode,
02:51but rather through the free continuous updates of the game post-release.
02:58The four characters in GTFO is this sort of ragtag team of non-military game characters.
03:05A lot of the equipment is repurposed mining gear.
03:09They don't have the best weapons, they're not a special unit.
03:12We've created games before where the game characters are talking and bantering between one another.
03:17But for GTFO we really want to take that to the next level,
03:20so we have created this proprietary system that can have the characters say different things
03:28and it'll sort of adapt to the current situation and the conditions of the current gameplay session.
03:41Of course all this work going into the systems would be a waste of time if the dialogue wasn't excellent.
03:49So we hired a professional writer to help us out.
03:54Adam Gascoyne is writing dialogue for the game and he's been involved in some fantastic titles.
04:02These are characters after all that you as a player are going to spend a lot of time with
04:06and it's important that there's things to take from.
04:10Things to build the relationship on between the characters and between you as a player and the characters.
04:19My name is Ronan Summers, I play Hackett in GTFO.
04:23He's an Irish character and despite being a cynic and a pessimist and all that stuff,
04:28he's also the kind of guy that's not going to let you down.
04:30He's a fun guy to play and I think Adam, the writer, got it bang on with the character
04:34and I feel like the character is really well written.
04:35It can be hard sometimes with action-y games to find those little character nuggets
04:41and really get that side of a three-dimensional human to come through.
04:45But I think GTFO has spent a lot of time on making sure that these characters are well designed
04:49and that definitely makes it easier to play as well.
04:52Many games these days that I work on tend to have some level of choice or variation in the dialogue
04:58but very few have quite the level of distinction in the way that the same piece of information
05:04can be delivered to a player over and over and over again in so many different ways
05:07with so many different permutations, whether they're shouted or whispered or something in between
05:11and depending on context and situation, it's pretty phenomenal.
05:16I think all that work is really going to pay off when the game comes out and the players get
05:19their hands on it.
05:20Fans are in for a treat in terms of just the dialogue system and the work that's gone into it.
05:25I think it's going to lead to some real replayability for people to just hammer at this thing for a
05:31hundred hours on end.
05:38Setting up to do the complex and the whole sort of environmental design,
05:42we wanted to create something that had a lot of sort of color to it,
05:47and not make your average brown or next-gen grey type art direction.
05:55We wanted something that was sort of potent in colors
05:59and were of course heavily inspired by Ridley Scott stuff like the first Alien movie and stuff like that.
06:10The quality we've managed to get to, we're really happy with,
06:16and I think people will sort of appreciate all the work we put down on it in the end.
06:24I hope.
06:29The sort of style of the environments are purposely picked to sort of start off
06:37in something that registers as something natural, normal, something you can understand,
06:42something you understand when you look at it, you understand what it is.
06:46It's not necessarily too sci-fi or too weird or too...
06:50It's actually trying to establish some sort of normal baseline for what the environment was,
06:59but also sort of rooted in some sort of reality.
07:04And then as players progress through the game, this will of course change and become, I guess, weirder and weirder.
07:22We set out to design something that will freak people out.
07:26How do we do that? What are they? They're not zombies. They're not aliens.
07:32They're something that's disgusting.
07:36When we concepted the creatures, we explored so many different designs on paper.
07:42We did the most ridiculous stuff, but we had to get it out of our systems.
07:47Like, how do we get the readability out to the players, but also keeping it scary in the horror genre.
07:57So we had a lot of crazy ideas that we actually tested out, but didn't really work out.
08:05Maybe it got a bit ridiculous. It just didn't work for the setting.
08:10Everything kind of ended up being more subtle, actually.
08:15Which is the difficulties, because we want that readability.
08:19We want to communicate clearly.
08:22When designing the disgusting stuff, everything is all in the small details.
08:29Is there a twisted face in there, or has the body been decomposed in a weird way that makes you
08:40see things move under the skin more?
08:43And a lot of design actually came together when we did motion captures for the enemies.
08:49Because we had to really think about how did they move? Why did they move the way they did?
09:06There's really no other genre of games or movies where sound is as important as in horror.
09:13And for 18 years, as long as I've been working in the game development business, I've been wanting to do
09:18a horror game.
09:20And finally, the day has come.
09:24What we decided to do was start measuring all these little events and actions performed by the players and the
09:32monsters.
09:33Like whether a monster is actually targeting you at the moment, or if you close a door and suddenly that
09:39monster doesn't have a line of sight to you.
09:42Or you're running out of ammo, you're picking up more ammo, your teammate is downed.
09:47All these little things that affect your level of stress from second to second will influence the music and change
09:55its intensity or mood in subtle ways.
09:58And it makes for the most complex and dynamic music system that I've ever been involved with.
10:07From a style standpoint, the GTFO soundtrack is very different from the often empowering and in-your-face music I've
10:15done previously.
10:15The music in GTFO is much more subtle and conveys a feeling of dread and vulnerability.
10:21The way it's implemented with near-infinite combinations of random elements makes it unpredictable and that helps make it very
10:29eerie.
10:30Weaving the music this tightly into the gaming experience has been a great technical challenge and I can't wait to
10:35see players be absorbed into GTFO with the help of this soundtrack.
10:39The music in GTFO
10:41The music in GTFO
10:50The music in GTFO
10:55The music in GTFO
10:55The music in GTFO
10:55The music in GTFO
10:55The music in GTFO
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