![]() However, we’d much rather the people in places like Germany and Australia vote out these governments that place ridiculous restrictions on games.” The Killing Floor movie “The most important thing is that players everywhere get to play Killing Floor 2. Gibson said he would be willing to offer tamed-down versions in countries opposed to the gore. Munk doesn’t expect too much backlash from parents or advocacy groups because players are dismembering genetic freaks and not realistic-looking people.Īmerican audiences probably won’t bat an eye at this next-level graphic violence, but both Munk and Gibson were willing to concede that the game will almost certainly have to be altered for more conservative gaming markets, such as Germany or Australia. system as “the most dynamic video game gore system in history.” ![]() “We call this Zed juggling,” Gibson said.īoth Munk and Hensley referred to the M.E.A.T. The player then used the AA-12 automatic shotgun to blast the creature into five or six pieces. One Zed was killed by a grenade, which sent him flying towards the demo’s player (controlled by Munk). The Tripwire team also made it a point to show us that dismemberment of already-dead creatures is possible. Hands and feet - not just whole arms and legs - can now be removed from Zeds. If it takes two or three, you know that these are tougher enemies.” “If the head explodes in one shot, these are low-level zeds. “Actually, you can use this information as a barometer of difficulty,” Hensley said. ![]() The head alone has five points of dismemberment. A clean headshot might decapitate a Zed, but it may also blow a chunk of its skull off too. system brings horror and gore enthusiasts’ wildest dreams to life. The catchy name refers to the 19 points of dismemberment on each Zeds body, as opposed to the five points of dismemberment in the first Killing Floor. (Massive Evisceration and Trauma) system. Hensley went on to elaborate on the M.E.A.T. “We wanted to do it in a way that caused no memory lag or frames-per-second issues, and we succeeded.” “To my knowledge, this is the only game that has ever done this,” art director David Hensley said. The Zed’s gushing corpse is simply peeling back a layer of animation to expose the bloody core of the level. The colors that make up the floors, ceilings, etc. Now, the blood from the hundreds of dead Zeds will stick around throughout the entire game.īasically, Tripwire covered every part of every map in blood from the beginning. The strength and number of Zeds increase with each wave. The Killing Floor games center around teams of players killing waves of Zeds. If something looks cool or badass, it’s going in Killing Floor 2.”Īnd that’s exactly what the developers did. “I’ve played games for years, and I’ve always though ‘hey, wouldn’t it be badass if the blood from all these bad guys stayed on the map?’ That’s basically our entire design strategy. The goreĪround 60% of the presentation and most of my one-on-one interview time was spent discussing the gore.Īgain, Munk was the driving force behind the bloody nature of the title. This was just an early-Alpha build of the game, so it is entirely possible that these small inconsistencies will get ironed out in the months leading to the release of Killing Floor 2. Some of the wrong body parts were also flying off a downward slice to the shoulder sometimes decapitated the Zed. Occasionally, there would be a slight delay from when the sword hit and when the body parts of the creatures were sliced off. He went on to show off the Katana weapon, but some of the animations were a bit off. “Our hope was that players would be willing to play Killing Floor 2 even if there were no guns,” Munk said during the presentation. The blades section was the least polished of Killing Floor’s “big three.” We only got to see the assault rifles and shotguns, but they looked smooth and realistic. Munk painted the walls and ceiling of the newly-envisioned Biotics Lab (a fan favorite in Killing Floor) map with the blood and body parts of genetically-modified freaks known as Zeds. The end result looked fantastic during the demo. Munk also animated the gunfire in Killing Floor 2 at over 200 frames-per-second to catch the subtle nuances of gun behavior, such as the wobbling of the barrel during a shot. He promised realistic gun animation and lifelike reloading animations thanks to a motion-capture session with “an insane weapons specialist that can do all of this shit in real life” at the Sony San Diego studios. ![]() Bill Munk, creative director and senior animator for Killing Floor 2, was all-too-happy to gush about the title’s weapons.
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