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The Rising has been in development since 2007 and is shaping up to be a real heavyweight release this year. The mod encompasses a strong feeling of fear and paranoia as you play as either the Human resistance or the alien race of Necrotrophs. The mod feels like a singleplayer campaign as you play through until you remember the other side aren't AI, meaning the fight is harder than you may have first thought![br]
With this interview, mod leader MattD talks about the mod as end of development draws nearer. The biggest announcement is the introduction of a new music composer / sound engineer, Rich Douglas. Rich has worked on many other big mods and commercial titles and promises to add a further dimension to the atmosphere for The Rising. You can read more below about development of The Rising by MattD and how Rich makes his music pieces, a selection of which is available as an early preview throughout.[br]
Interview with MattD and Rich from The Rising<hr size="3" noshade color="#ED761C"></strong>[br]
<u>Hectic Glenn: For those who haven't heard of The Rising, could you briefly explain what players can expect from the mod? </u>[br]
MattD: Players can expect to find themselves playing one of the scariest multi-player games available. Feelings such as: fear, dread, and paranoia have played an integral part in almost every decision we've made for the mod. The Rising may not have hundreds of weapons, maps, or custom models but it WILL scare the hell out of you.[br]
<u>Glenn: You've outlined some really interesting features for the survival aspects in the mod, which ones are you most proud of? </u>[br]
MattD: I'm most proud of ammo checking in the mod. It really is a feature that i've never seen in any other multi-player game or MOD. For me, it's the new weapon draw. In Counter-Strike/Counter-Strike: Source, they made the weapon draw animations feel and sound so nice that you just couldn't help spamming the Q key. The ammo checking feature feels the same way, you just can't help yourself from constantly checking your ammo because it sounds and looks so great.[br]
[br]
<u>Glenn: The sense of fear and isolation from your media is obvious in The Rising, is this something really integral to the feel of the mod?</u>
[br]
MattD: Fear and isolation are definately integral to the mod. I feel that there have just been too many multi-player games/mods that merely try to parody horror instead of honestly take a crack at representing it. In a sense, I do understand why. Trying to make an experience where people are frequently called either "noobs" or their sexuality is questioned everytime someone gets fragged can be very difficult. For The Rising, we'll be implementing a few unorthodox methods to downplay these aspects. One such feature I'm toying with right now is after the first 10 seconds of the round, text chatting between the two teams (Necro and Resistance) is blocked. [br] With this implemented, players can more easily immerse themselves into the MODs atmosphere for the entire duration of the round without the experience being ruined by teen angst. Also if you are the last one alive, although you are in a multi-player game, you truly do feel alone.[br]
<u>Glenn: Music is especially important in reinforcing atmosphere, what news do you have regarding the music composition for The Rising?</u>[br]
MattD: I've always seen The Rising MOD as a single-player game with the only exception being that the enemies are player controlled. This sort of approach on a multi-player game is identical with how we deal with music. Instead of just looping musical tracks in the background, we've taken a triggered approach. Since The Rising has objective-based maps, we know where players are going to go. So queuing a specific song when players enter an objective zone, leave an objective zone, or complete an objective is quite easy for us. Our musical composition for The Rising will be comprised of many musical ques that, with the help of pre-recorded gameplay footage, will be implemented with great accuracy.[br]
<u>Glenn: What effect do you think Rich's music composition will have on The Rising? </u>[br]
MattD: Before Rich joined, I thought we did a great job of achieving fear, isolation, and tension through level design and gameplay. The great thing about our maps is that they are incredibly varied and always keep you on your toes. For example, in a single map you will enter large open streets, pitch-black buildings, and claustrophobic sewers.[br]
[br]I believe that by constantly changing the players' surroundings is the best way to achieve fear. This is because once players have adapted to an area, the fear factor starts to drop and they begin to mentally cope with their surroundings. With Rich's music, we'll finally be able to add that missing element to our environments that will push their effectiveness from good to great. Once all of these elements are together (tense gameplay, music, and environments), it will make adapting to the game incredibly difficult.[br]
Questions to Rich<hr size="3" noshade color="#ED761C"></strong>[br]
<u>Glenn: You've become a recognised name on the mod scene now by producing some great musical pieces, what are you hoping to achieve for The Rising?</u>[br]
Rich: Wow, have I? Hah, I just really enjoy doing music for well thought out mods... it's usually tons of fun and a great way to help out the indie scene. Honestly, I'm just hoping to help add to the already very creepy atmosphere that Matt has come up with. When I saw the alpha video the other day I just had to send him an email offering my composing services. The video really amazed me, as did the whole multi-player gameplay disguised as a single player campaign. [br]The Rising is also giving me a chance to do something differently music wise for a multiplayer mod... score it in such a way that is usually only done for single player games, with a basic adaptive music structure. Overall, I would really and truly like to do more mod work.. so I suppose that is what I'm hoping to get from The Rising... as well a sense that my music helped to scare the hell out of players.[br]
<u>Glenn: What other projects have you worked on?</u>[br]
Rich: As for mods, I've done all of the music for the up and coming zombie mod No More Room in Hell, Insurgency, Eclipse, and most recently, Curse Episodes (all of which are very active on Moddb... well, save for eclipse which is now 5 years old). On top of mod work I recently completed the music for a space combat/ trading sim due out later this year called Evochron Legends and have done music for Stuntman Ignition (Xbox 360), Orcs and Elves (DS, Mobile), and Orcs and Elves 2 (Mobile).[br]
[br]
<u>Glenn: How does your style fit in with the feel and direction of the mod?</u>[br]
Rich: Well, dark and desolate music is definitely my speciality... and those are two words I would totally use first when trying to describe The Rising. I've been approached by the likes of casino game developers.. submitted demos.. and then was told my music would give the poor old lady playing said casino games a heart attack due to it's overly serious and dark nature. That said, my music is definitely a bit on the darker side making it a perfect fit for The Rising.[br]On top of that, I have a certain epic / cinematic flare that quite a few up and coming composers seem to be lacking... I can emulate that much sought after film score sound really well without my acoustic instruments sounding synthy. No offence to the other composers out there of course, I mean I have had the opportunity to purchase some pretty amazing tools to help me compose said epic music.... and it definitely takes amazing tools to create amazing music.[br]
<u>Glenn: For many people who don't know much about composing music for games, how do you go about producing a piece and how to you suit it for a specific part of a game?</u>[br]
Rich: The first step I usually always take is to simply ask the lead producer or head developer what film score / film composer they feel best suits the vibe of their mod. In the case of The Rising, Matt already had some temp music in which really fit the vibe well and gave me a great starting point... so I took that direction and added in my own flare on top of it (albeit a little more low key than I usually do). I also like to see footage of the game or screen shots for inspiration. [br]The Rising... for the first time in my mod composing career.. provided me with a video walkthrough of the first level which has helped immensely with timing and setting the mood of my music. Not only do I get a sense for what is happening in game, I can see what sort of vibe I'm getting from the environment and time my music to certain set pieces within the level so it sort of fakes the adaptability of a film score. Seeing a mod or game in action really helps to inspire the direction I take the music for it. [br][br]
<u>Glenn: What hardware do you use to compose your pieces, and how long does it take to produce a 2 minute piece?</u>[br]
Rich: I'm running Sonar 8.3 on a 3.0 ghz windows 7 PC with 8 gigs of ram, dual monitors, a saffire LE external audio card, yamaha studio monitors, and a full size 88 key semi-weighted controller. It's a GREAT set up, and for anyone worried about setting up an audio workstation on Windows 7, don't be... runs flawlessly. For The Rising, I'm basically utilizing 3 instruments non stop... Stormdrum 2, Project Sam Symphobia, and Spectrasonics Omnisphere... all of which are extremely versatile and all make the dark textures within the music possible.[br]For all of my post editing, I use Adobe Audition as my main multi-track editor, reverberate for my reverb.. and a slew of other plugins for my final mastering pass. It usually takes me about an hour per completed minute of music from start to finish.. quick eh? Part of this quickness is due to the fact I DO NOT use instrument templates and only load up what I need when I need it. Most of the tracks for this mod are only 10 or less tracks when I plop them into audition.[br]
[br]
<u>Glenn: I've listened to some of your previous work and examples of tracks you've created for The Rising, you can certainly feel the atmosphere of dread and fear. Do you take any inspiration from other games / movies in this genre?</u>[br]
Rich: Perfect! Dread is exactly what I felt when I saw the alpha video and is precisely what I'm going for with my music. If you listen closely, you'll notice that almost every track utilizes a slowly building drone of some kind... sometimes backed with slowly moving low sustaining strings. To me, that really nails the dread home... especially since it's just so basic and subtle (which isn't a bad thing sometimes). The music promotes a sort of uneasiness within the player and they don't even know why, at least that's what I'm hoping for! Since I learned my music theory from collecting film scores (I currently have over 400), I definitely take my inspiration from scores and film composers.[br]For The Rising, I've been listening to The Descent by David Julyan, The Dark Knight by Hans Zimmer, The Thing by Ennio Morricone, and some Innerspace by Jerry Goldsmith for good measure. All of which are providing some inspiration... but to be fair, the alpha video still sends chills down my spine so for the most part I'm just going with my gut feeling for this one... which is loneliness, darkness, and dread.[br]
<u>Glenn: Why do you think music is so important in games?</u>[br]
Rich: Music is a funny thing. It can really affect how a gamer feels. Sometimes it's important because the music is trying to warn the player.. other times it's because the music is reminding the player of an in game character that may have died. Sometimes the music heard in a game is making the player feel like a total badass in a fight, other times it's simply there just to mess with the players subconscious. All of these uses of music make it a very important addition to the development process! Music can be used in a slew of different ways, and when it's used correctly.. man... it helps to keep the player coming back for more. [br]
<u>Glenn: You've worked on several Half-life 2 mods now, as well as commercial titles. Do you enjoy working with mod teams and how do you decide which mods you can work with?</u>[br]
Rich: I do, for the most part, really enjoy working with mod teams. Unlike the game industry, there are no real due dates for a game project.. and no real penalties (other than the disappointment of the fans) if a mod misses it's release dates. That said, it can sometimes be frustrating if you score a mod during the height of it's production, then it changes management and they want a new direction, or the development of mod is at a standstill because many of the members are inactive. The biggest problem I've seen is that mod devs request a composer far too early in the development process. While it can be beneficial, it's just a more effective use of the composers time if you bring them on around alpha... so they can really get a sense of the game and where to take the music.[br]
[br]
Besides, lets be honest, probably close to 60% of mods unfortunately fall apart so getting brought on right at the beginning is a total gamble. Mods really let me do my own thing which is cool too. It's nice not having a producer lingering over you telling you exactly how the music should sound at specific parts in the game. For the most part too, the professionalism is pretty damn good, surprisingly good, amazing even. I've had to deal with some pretty.. lets just say interesting... people in the game industry and have yet to run into any of the issues / hardships I've dealt with in the game biz while working on a mod.[br]I like to check the top news stories at moddb on a semi regular basis.. and if I see a mod that really grabs me (like The Rising did), I'll shoot the lead an email explaining my services and send a link to my website. If I don't hear back from the dev, oh well, if so... great... lets get the ball rolling! I'd like to add that if anyone is reading this with hopes of becoming a composer for games, please check out my blog which has tons of great tidbits for breaking into the industry as an audio guy / composer (as well as more rants from yours truly). Thanks for this opportunity and have fun playing the mod![br]
Final Words with Matt<hr size="3" noshade color="#ED761C"></strong>[br]
<u>Glenn: How much has Rich's music contributed to developing the atmosphere you want?</u>[br]
MattD: Although Rich joined closer to the completion of the MOD, his music has definitely encouraged me to go back and touch up some areas. Listening to his music has given me a bunch of ideas on how I can improve both the atmosphere and gameplay.[br]
[br]
<u>Glenn: You must be excited to have him on board, is the finish line in sight yet for The Rising?</u>[br]
MattD: Absolutely. Things have really picked up in all aspects of the mod. From when I first started The Rising back in 2007, I pretty much had to do everything myself. Now, I have a very strong art department, sound/music team, and a great coder.[br]
<u>
Glenn: You've provided us with a few samples, are these pieces produced for specific areas of the mod? If so, could you give us an example.</u>[br]
MattD: Yes, Eyes Playing Tricks was a track composed for pitch-dark areas (see thumbnails) and Into the Tunnels was intended for a sewers sequence (see blue'ish sewer picture). Slow_Download will be used for an objective that requires players to wait for a short download period but it could also be used for just about any tense moment. The other tracks are mainly for atmosphere.[br]
<u>Glenn: Lastly, if you were a kangaroo what would you keep in your pouch?</u>[br]
MattD: My wallet.[br]
With thanks to Matt and Rich for their time answering our questions, and providing us with some examples of the work they've been doing on The Rising. Keep an eye out for it's release this year![br]<u>Samples of Rich's new tracks:</u>[br]
[url=http://www.halflife2.net/wp-content/uploads/2010/01/The-Rising_IntoTheTunnels.mp3]
[br]The Rising - Into The Tunnels[br]
[br]The Rising - Eyes Playing Tricks[br]
[br]The Rising - Overture[br]
[br]The Rising - Slow Download[br]
[br]The Rising - Wasteland
With this interview, mod leader MattD talks about the mod as end of development draws nearer. The biggest announcement is the introduction of a new music composer / sound engineer, Rich Douglas. Rich has worked on many other big mods and commercial titles and promises to add a further dimension to the atmosphere for The Rising. You can read more below about development of The Rising by MattD and how Rich makes his music pieces, a selection of which is available as an early preview throughout.[br]
Interview with MattD and Rich from The Rising<hr size="3" noshade color="#ED761C"></strong>[br]
<u>Hectic Glenn: For those who haven't heard of The Rising, could you briefly explain what players can expect from the mod? </u>[br]
MattD: Players can expect to find themselves playing one of the scariest multi-player games available. Feelings such as: fear, dread, and paranoia have played an integral part in almost every decision we've made for the mod. The Rising may not have hundreds of weapons, maps, or custom models but it WILL scare the hell out of you.[br]
<u>Glenn: You've outlined some really interesting features for the survival aspects in the mod, which ones are you most proud of? </u>[br]
MattD: I'm most proud of ammo checking in the mod. It really is a feature that i've never seen in any other multi-player game or MOD. For me, it's the new weapon draw. In Counter-Strike/Counter-Strike: Source, they made the weapon draw animations feel and sound so nice that you just couldn't help spamming the Q key. The ammo checking feature feels the same way, you just can't help yourself from constantly checking your ammo because it sounds and looks so great.[br]
<u>Glenn: The sense of fear and isolation from your media is obvious in The Rising, is this something really integral to the feel of the mod?</u>
[br]
MattD: Fear and isolation are definately integral to the mod. I feel that there have just been too many multi-player games/mods that merely try to parody horror instead of honestly take a crack at representing it. In a sense, I do understand why. Trying to make an experience where people are frequently called either "noobs" or their sexuality is questioned everytime someone gets fragged can be very difficult. For The Rising, we'll be implementing a few unorthodox methods to downplay these aspects. One such feature I'm toying with right now is after the first 10 seconds of the round, text chatting between the two teams (Necro and Resistance) is blocked. [br] With this implemented, players can more easily immerse themselves into the MODs atmosphere for the entire duration of the round without the experience being ruined by teen angst. Also if you are the last one alive, although you are in a multi-player game, you truly do feel alone.[br]
<u>Glenn: Music is especially important in reinforcing atmosphere, what news do you have regarding the music composition for The Rising?</u>[br]
MattD: I've always seen The Rising MOD as a single-player game with the only exception being that the enemies are player controlled. This sort of approach on a multi-player game is identical with how we deal with music. Instead of just looping musical tracks in the background, we've taken a triggered approach. Since The Rising has objective-based maps, we know where players are going to go. So queuing a specific song when players enter an objective zone, leave an objective zone, or complete an objective is quite easy for us. Our musical composition for The Rising will be comprised of many musical ques that, with the help of pre-recorded gameplay footage, will be implemented with great accuracy.[br]
<u>Glenn: What effect do you think Rich's music composition will have on The Rising? </u>[br]
MattD: Before Rich joined, I thought we did a great job of achieving fear, isolation, and tension through level design and gameplay. The great thing about our maps is that they are incredibly varied and always keep you on your toes. For example, in a single map you will enter large open streets, pitch-black buildings, and claustrophobic sewers.[br]
Questions to Rich<hr size="3" noshade color="#ED761C"></strong>[br]
<u>Glenn: You've become a recognised name on the mod scene now by producing some great musical pieces, what are you hoping to achieve for The Rising?</u>[br]
Rich: Wow, have I? Hah, I just really enjoy doing music for well thought out mods... it's usually tons of fun and a great way to help out the indie scene. Honestly, I'm just hoping to help add to the already very creepy atmosphere that Matt has come up with. When I saw the alpha video the other day I just had to send him an email offering my composing services. The video really amazed me, as did the whole multi-player gameplay disguised as a single player campaign. [br]The Rising is also giving me a chance to do something differently music wise for a multiplayer mod... score it in such a way that is usually only done for single player games, with a basic adaptive music structure. Overall, I would really and truly like to do more mod work.. so I suppose that is what I'm hoping to get from The Rising... as well a sense that my music helped to scare the hell out of players.[br]
<u>Glenn: What other projects have you worked on?</u>[br]
Rich: As for mods, I've done all of the music for the up and coming zombie mod No More Room in Hell, Insurgency, Eclipse, and most recently, Curse Episodes (all of which are very active on Moddb... well, save for eclipse which is now 5 years old). On top of mod work I recently completed the music for a space combat/ trading sim due out later this year called Evochron Legends and have done music for Stuntman Ignition (Xbox 360), Orcs and Elves (DS, Mobile), and Orcs and Elves 2 (Mobile).[br]
<u>Glenn: How does your style fit in with the feel and direction of the mod?</u>[br]
Rich: Well, dark and desolate music is definitely my speciality... and those are two words I would totally use first when trying to describe The Rising. I've been approached by the likes of casino game developers.. submitted demos.. and then was told my music would give the poor old lady playing said casino games a heart attack due to it's overly serious and dark nature. That said, my music is definitely a bit on the darker side making it a perfect fit for The Rising.[br]On top of that, I have a certain epic / cinematic flare that quite a few up and coming composers seem to be lacking... I can emulate that much sought after film score sound really well without my acoustic instruments sounding synthy. No offence to the other composers out there of course, I mean I have had the opportunity to purchase some pretty amazing tools to help me compose said epic music.... and it definitely takes amazing tools to create amazing music.[br]
<u>Glenn: For many people who don't know much about composing music for games, how do you go about producing a piece and how to you suit it for a specific part of a game?</u>[br]
Rich: The first step I usually always take is to simply ask the lead producer or head developer what film score / film composer they feel best suits the vibe of their mod. In the case of The Rising, Matt already had some temp music in which really fit the vibe well and gave me a great starting point... so I took that direction and added in my own flare on top of it (albeit a little more low key than I usually do). I also like to see footage of the game or screen shots for inspiration. [br]The Rising... for the first time in my mod composing career.. provided me with a video walkthrough of the first level which has helped immensely with timing and setting the mood of my music. Not only do I get a sense for what is happening in game, I can see what sort of vibe I'm getting from the environment and time my music to certain set pieces within the level so it sort of fakes the adaptability of a film score. Seeing a mod or game in action really helps to inspire the direction I take the music for it. [br][br]
<u>Glenn: What hardware do you use to compose your pieces, and how long does it take to produce a 2 minute piece?</u>[br]
Rich: I'm running Sonar 8.3 on a 3.0 ghz windows 7 PC with 8 gigs of ram, dual monitors, a saffire LE external audio card, yamaha studio monitors, and a full size 88 key semi-weighted controller. It's a GREAT set up, and for anyone worried about setting up an audio workstation on Windows 7, don't be... runs flawlessly. For The Rising, I'm basically utilizing 3 instruments non stop... Stormdrum 2, Project Sam Symphobia, and Spectrasonics Omnisphere... all of which are extremely versatile and all make the dark textures within the music possible.[br]For all of my post editing, I use Adobe Audition as my main multi-track editor, reverberate for my reverb.. and a slew of other plugins for my final mastering pass. It usually takes me about an hour per completed minute of music from start to finish.. quick eh? Part of this quickness is due to the fact I DO NOT use instrument templates and only load up what I need when I need it. Most of the tracks for this mod are only 10 or less tracks when I plop them into audition.[br]
<u>Glenn: I've listened to some of your previous work and examples of tracks you've created for The Rising, you can certainly feel the atmosphere of dread and fear. Do you take any inspiration from other games / movies in this genre?</u>[br]
Rich: Perfect! Dread is exactly what I felt when I saw the alpha video and is precisely what I'm going for with my music. If you listen closely, you'll notice that almost every track utilizes a slowly building drone of some kind... sometimes backed with slowly moving low sustaining strings. To me, that really nails the dread home... especially since it's just so basic and subtle (which isn't a bad thing sometimes). The music promotes a sort of uneasiness within the player and they don't even know why, at least that's what I'm hoping for! Since I learned my music theory from collecting film scores (I currently have over 400), I definitely take my inspiration from scores and film composers.[br]For The Rising, I've been listening to The Descent by David Julyan, The Dark Knight by Hans Zimmer, The Thing by Ennio Morricone, and some Innerspace by Jerry Goldsmith for good measure. All of which are providing some inspiration... but to be fair, the alpha video still sends chills down my spine so for the most part I'm just going with my gut feeling for this one... which is loneliness, darkness, and dread.[br]
<u>Glenn: Why do you think music is so important in games?</u>[br]
Rich: Music is a funny thing. It can really affect how a gamer feels. Sometimes it's important because the music is trying to warn the player.. other times it's because the music is reminding the player of an in game character that may have died. Sometimes the music heard in a game is making the player feel like a total badass in a fight, other times it's simply there just to mess with the players subconscious. All of these uses of music make it a very important addition to the development process! Music can be used in a slew of different ways, and when it's used correctly.. man... it helps to keep the player coming back for more. [br]
<u>Glenn: You've worked on several Half-life 2 mods now, as well as commercial titles. Do you enjoy working with mod teams and how do you decide which mods you can work with?</u>[br]
Rich: I do, for the most part, really enjoy working with mod teams. Unlike the game industry, there are no real due dates for a game project.. and no real penalties (other than the disappointment of the fans) if a mod misses it's release dates. That said, it can sometimes be frustrating if you score a mod during the height of it's production, then it changes management and they want a new direction, or the development of mod is at a standstill because many of the members are inactive. The biggest problem I've seen is that mod devs request a composer far too early in the development process. While it can be beneficial, it's just a more effective use of the composers time if you bring them on around alpha... so they can really get a sense of the game and where to take the music.[br]
[br]
Besides, lets be honest, probably close to 60% of mods unfortunately fall apart so getting brought on right at the beginning is a total gamble. Mods really let me do my own thing which is cool too. It's nice not having a producer lingering over you telling you exactly how the music should sound at specific parts in the game. For the most part too, the professionalism is pretty damn good, surprisingly good, amazing even. I've had to deal with some pretty.. lets just say interesting... people in the game industry and have yet to run into any of the issues / hardships I've dealt with in the game biz while working on a mod.[br]I like to check the top news stories at moddb on a semi regular basis.. and if I see a mod that really grabs me (like The Rising did), I'll shoot the lead an email explaining my services and send a link to my website. If I don't hear back from the dev, oh well, if so... great... lets get the ball rolling! I'd like to add that if anyone is reading this with hopes of becoming a composer for games, please check out my blog which has tons of great tidbits for breaking into the industry as an audio guy / composer (as well as more rants from yours truly). Thanks for this opportunity and have fun playing the mod![br]
Final Words with Matt<hr size="3" noshade color="#ED761C"></strong>[br]
<u>Glenn: How much has Rich's music contributed to developing the atmosphere you want?</u>[br]
MattD: Although Rich joined closer to the completion of the MOD, his music has definitely encouraged me to go back and touch up some areas. Listening to his music has given me a bunch of ideas on how I can improve both the atmosphere and gameplay.[br]
<u>Glenn: You must be excited to have him on board, is the finish line in sight yet for The Rising?</u>[br]
MattD: Absolutely. Things have really picked up in all aspects of the mod. From when I first started The Rising back in 2007, I pretty much had to do everything myself. Now, I have a very strong art department, sound/music team, and a great coder.[br]
<u>
Glenn: You've provided us with a few samples, are these pieces produced for specific areas of the mod? If so, could you give us an example.</u>[br]
MattD: Yes, Eyes Playing Tricks was a track composed for pitch-dark areas (see thumbnails) and Into the Tunnels was intended for a sewers sequence (see blue'ish sewer picture). Slow_Download will be used for an objective that requires players to wait for a short download period but it could also be used for just about any tense moment. The other tracks are mainly for atmosphere.[br]
<u>Glenn: Lastly, if you were a kangaroo what would you keep in your pouch?</u>[br]
MattD: My wallet.[br]
With thanks to Matt and Rich for their time answering our questions, and providing us with some examples of the work they've been doing on The Rising. Keep an eye out for it's release this year![br]<u>Samples of Rich's new tracks:</u>[br]
[url=http://www.halflife2.net/wp-content/uploads/2010/01/The-Rising_IntoTheTunnels.mp3]
[br]The Rising - Into The Tunnels[br][br]The Rising - Eyes Playing Tricks[br][br]The Rising - Overture[br][br]The Rising - Slow Download[br][br]The Rising - Wasteland
