![]() ![]() Upon reaching the mainland, the first goal of most players is to begin the central challenges of the game (Tests), find public resources, and expand upon what knowledge they have while integrating themselves into the community at large.ĪTITD has a legal system, a controlled variant on Nomic which is generally restricted by what the developers can code, as well as the nature of such a system. When a new player exits the welcoming island, they may immediately begin trekking around to look for a suitable settlement location or community. After completing a series of tasks given to them, players may make their way to the mainland and begin the real game. Ī recurring theme is a "newbie island" which established players can enter at any time: this allows them to train new players at their own leisure, and introduce them to the specifics of the game. Additionally, there are sufficient activities to be learned and performed that it is considered exceedingly difficult to be a Jack of all trades: this too lends itself to a much more social aspect. There is an in-game economy, including an amount of regional or global trade however, there is no official, backed currency for the most part, and efforts to implement them have met with little success. Within a Telling, players can write, introduce, and pass laws (including player bans), and make feature requests. The game's main focuses are building, community, research and personal or group challenges called "Tests".ĪTitD has a global foregame, midgame, and endgame: on average so far, every year and a half the game ends, achievements are tabulated, and a new "Telling" begins, with certain modifications requested by the player base. Instead, a variety of social activities provide for the basis of most interaction in the game. I really enjoyed working on music that is somewhat rare in mainstream gaming these days.Ĭheck out a sample of the new music here.A Tale in the Desert is a social MMORPG which does not include combat. ![]() In all, I felt the themes reflected a traditional sound of Ancient Egypt, while tossing in a bit of modern day aesthetics to add a certain mystical grandeur. With Body I felt a sense of pride from the word, and in turn, utilized a more regal, refined sound that involved a more sophisticated level of orchestration. With Thought, I went for something on the lighter side, with articulated flutes dancing around, mimicking waves of information overloading our brain. For each one, I wanted to develop a musical reflection of the emotional world that surrounds the given discipline.įor example, with the University of Conflict, I felt compelled to introduce a sense of uneasiness, so I went after a more tribal vibe, with large percussion and dramatic vocals to give a sense of inner tension. For example, there are Universities for Conflict, Thought, and Body. More than anything else, this provided me with a true sense of what I might like to hear if I were meandering around this game world and came upon one of the stately Universities.Įach University presents a specific skill that the player is required to master. I immersed myself in the game, to get a first-hand feeling of the world I would be addressing. Upon finding a decent list of appropriate instruments, such as percussive drums, flutes, harps and lyres, I felt ready to take the next step. So I set out, researching the actual physical instruments of the time period and geographic region. With that knowledge, several of the aforementioned questions were instantly answered, and the first question directly relating to my involvement is asked: What was the prevailing tonality in these mystical lands thousands of years ago? First ask "As hinted by the game's title, the setting is Ancient Egypt, a seemingly mystical, or "other-worldly" environment. I find the most important job, as a composer for a video game or film project is to understand the world that you're going to color with music. ![]()
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