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[PDF] Representation of History in Assassin's Creed
2 août 2019 · I have also aimed to analyse how Assassin's Creed Origins uses its Ancient Egyptian setting to go beyond just entertainment, where the video
[PDF] Assassin's Creed - a few words about the music - Edouard Brenneisen
Empire: for this theme I've tried to to imagine a theme that would fit the character of Shao Jun, the hero of “AC Chronicles : China” I thought that a more
[PDF] Assassin and Ninja:Several dimensions of cultural - Atlantis Press
Japanese culture is inherited from Chinese culture, but different from Chinese mature career, such as widely known single game " Assassin's Creed", it is in the the influence of transport and communication technologies in ancient times
[PDF] Assassin's Creed - Edouard Brenneisen
Assassin's Creed are the very powerful and lyrical themes associated with the various games I tried to hero of “AC Chronicles : China” Shadows on the Battlefield: this piece explores a more ancient and mythical tonality of the Assassin's
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9056_5Assassins_Creed_a_few_words_about_the_music_English.pdf 4212 Irvine Avenue Studio City, CA 91604 !617 784 0012 info@eb-music.net www.eb-music.net EDOUARD BRENNEISEN Music for games, film, television and advertisingAssassin's Creed - a few words about the music !• Eternity: this theme is one of the first ones I came up with for this demo. I am referencing it multiple times in the tracks that follow. Besides the gameplay music, a very strong characteristic of the sound of Assassin's Creed are the very powerful and lyrical themes associated with the various games. I tried to synthesize the many elements that I like best about the series, as well as attempting to offer a personal point of view on the subject of the main theme. !• Stealth Baroque: I have always been fascinated by the way the series can engage the player into a "suspension of disbelief", and I think music plays a great role in this. This piece represents a stealth type environment encountered in Assassin's Creed. I tried contributing to as much "suspension of disbelief" as possible by lending original colors to the music, using period instruments (fidule, bass viola de gam-ba, harpsichord) that are juxtaposed to more contemporary elements. !In general, in this demo I have tried to maintain the ambivalence between the more historical aspects of the score and the Animus universe, the interface between the player and the past of his/her ancestors. I wrote "Stealth Baroque" with Ezio in mind. !• Legend of the Seas: I was always very impressed by the quality and the fluidity of the audio implemen-tation in the series. It's very stimulating for me not to feel reduced to simplistic techniques in the writing and creating of interactive music. "Legend of the Seas" is the result of a very horizontal writing, offering different stages in the gameplay of a long naval battle, which are now an integral part of the series. In the vein of the soundtracks for "Liberation" and "Freedom Cry", this piece is propelled by agile strings and authoritative percussion. !• Empire: for this theme I've tried to to imagine a theme that would fit the character of Shao Jun, the hero of "AC Chronicles : China". I thought that a more contemplative theme dressed with a lighter or-chestration would be ideal for a new main female character, the first since Aveline. !• Shadows on the Battlefield: this piece explores a more ancient and mythical tonality of the Assassin's Creed universe. The combat sections blend the orchestra and more electronic colors. !• An Unsettling Journey: whether dealing with the fight between the Assassins and the Templars, or con-flicts that are more specific to the historical period of each game, the series superimposes grandiose dis-putes to graphically fabulous environments. "An Unsettling Journey" was written by imagining a cine-matic sequence where our Assassin discovers a new city in which an ill intentioned character is waiting for him, watching from a distance. !• Versailles 1787: I had a chance to watch the session that was given by Bénédicte Ouimet and Jérôme Angelot at the 2013 GDC on the music of Assassins Creed III. I was really taken by the interactive mu-Assassin's Creed - a few words about the music
sic techniques that were discussed. I created a piece that displays the same interactive elements, that I later implemented in Wwise (see video "Assassin's Creed - Adaptive music - Combat" that details the different sequences that were utilized. "Versailles 1787" is the linear version of the interactive music piece shown in the video). !• Brotherhood: this piece is another main theme. It utilizes in a subtle way some of the elements from the other two themes from this demo, but portrays the heroic character of the Assassin rather than the gravi-ty of the conflicts that live within the character. !• A New Perspective: synchronization points or some of my favorite moments in the Assassin's Creed games. They are a bridge between the extraordinary capacities of the Assassins, the beauty of the envi-ronments, and the map given to the player. The few seconds spent "on top of the world" are very poetic, and offer a possibility to get lost in the beauty of the game, sheltered from aggressive soldiers, pick-pockets or Templars. Assassin's Creed - a few words about the music