Beowulf - Jeu vidéo

La légende de Beowulf™ : Le Jeu

Synopsis :

Incarnez Beowulf, un héros épique et torturé par la soif de puissance et de gloire. Un tueur et un roi, déchiré par la noblesse et la brutalité qui sommeillent en lui.Vous êtes Beowulf, légendaire guerrier nordique possédant la force de 30 hommes.Arrogant, égoïste, avare d'or et de gloire, vous vous rendez sur les terres désolées du Danemark afin d'y pourfendre une bête assoiffée de sang qui fait des ravages à travers ce pays de glace.Mais le mal persiste… et vous succombez peu à peu à l'attrait d'une renommée grandissante, tout en manœuvrant discrètement pour conquérir le trône danois.

En tant que Roi, Beowulf devra assumer la conséquence de ses actes et de ses ambitions alors que la guerre menace le royaume. Menez vos chevaliers au combat, tuez les derniers Titans d'une époque révolue et exterminez les ennemis qui menacent d'anéantir votre royaume et votre peuple. Quand le moment sera venu et que vous regarderez votre destin en face, vous verrez alors quel genre de héros vous êtes réellement...

NB : Le terme « Carnal » désigne un état second dans lequel se plonge Beowulf afin de terrasser les ennemis les plus résistants. Ce pouvoir sanguinaire est maléfique et il ne lui permet pas de différencier ses alliés de ses ennemis. On peut assimiler le mode « Carnal » à une « Furie »

Caractéristiques

• Une aventure épique, narrant 30 ans de la vie de Beowulf non présents dans le film, permettra aux joueurs de vivre leur propre destinée. .

• Débloquez une armée allant jusqu’à 12 guerriers grâce aux progrès héroïques (en sauvant vos coéquipiers, en tuant des monstres géants …)

• Votre pouvoir "Carnal" vous permet d'effectuer des attaques encore plus redoutables et d'utiliser des armes telles que des piliers.

• Donnez des ordres à vos hommes, changez la position de votre armée et utilisez certaines armes en fonction de la situation et ou des ennemis.

• Utilisez votre armée pour déclencher des mécanismes (comme des portes) et pour faire avancer votre drakkar.

• Les différentes progressions apportées à votre mode «Carnal» vous permettront de les utiliser plus longuement et surtout de ressentir moins d’effets secondaires.

• Vous améliorez vos combos, vos parades et vos aptitudes tout au long de votre progression.

• Les capacités de saisie permettent à Beowulf de s’agripper aux murs, de se battre en corps à corps, ou encore à mains nues contre des ennemis géants et monstrueux.

• Utilisez vos points d'expérience pour recruter des chevaliers, remplacer vos armes et améliorer vos compétences "Carnal".

• Explorez des environnements magnifiques ! Beowulf™ prend vie sous vos yeux grâce à la technologie dernier cri YETI, récompensée pour les titres Tom Clancy's Ghost Recon Advanced Warfighter® et Tom Clancy's Ghost Recon Advanced Warfighter® 2.

UBISOFT PRESENTE LE JEU BEOWULF, UN CONTE EPIQUE MELANT VENGEANCE, POUVOIR ET GLOIRE

Le film de Paramount Pictures et Shangri-La devient une expérience vidéo ludique intense


Paris, France – le 26 juillet 2007 – Ubisoft annonce « La légende de Beowulf™ : Le Jeu » est un jeu d’action/combat tiré du film de “Paramount Pictures” et de “Shangri-La Entertainment”, réalisé par Robert Zemeckis (récompensé par plusieurs Oscars tout au long de sa carrière). Ce jeu est en cours de développement sur Xbox360™, PLAYSTATION®3, PSP® (PlayStation®Portable) et sur PC. Le jeu vidéo « La légende de Beowulf™ : Le Jeu » est développé par l’équipe récompensée pour la création de «Tom Clancy’s Ghost Recon Advanced Warfighter® » dans les studios de TIWAK d’Ubisoft. « La légende de Beowulf™ : Le Jeu » sortira mondialement conjointement avec le film en Novembre 2007.

Le jeu vidéo « La légende de Beowulf™ : Le Jeu », plonge les joueurs dans la vision renversante de cette saga réalisée par Robert Zemeckis. Les joueurs incarnent Beowulf, un guerrier légendaire ayant la force de plus de trente hommes et qui est constamment tiraillé entre la noblesse et la brutalité qui sont en lui. Arrogant, opportuniste, avare d’or et de gloire, Beowulf séjournera au Danemark afin de tuer un monstre sanguinaire terrifiant ces contrées glaciales. Mais le mal persiste… Beowulf succombe à sa soif de reconnaissance, en faisant preuve d’un esprit manipulateur, et parvient à conquérir le trône Danois. En tant que Roi, Beowulf devra assumer la conséquence de ses actes et de ses ambitions et ce plus particulièrement en temps de guerre. En tant que Beowulf, les joueurs devront mener leurs hommes, faire appel à des coéquipiers pendant les combats, tuer des titans d’un autre temps et annihiler leurs ennemis qui menacent à la fois le royaume mais également leur peuple. C’est à ce moment là que Beowulf fera face à sa destinée et saura quel genre de héros il est réellement devenu.

« Ubisoft, Paramount Pictures et Shangri-La Entertainment ont travaillé main dans la main afin de développer Beowulf » déclare Gilles Matouba directeur créatif de chez Ubisoft. « Depuis le début de ce projet, nous avons eu accès aux éléments et aux informations relatives au film comme jamais auparavant. Cet accès combiné avec les qualités créatrices et techniques de nos équipes nous ont permis de restituer beaucoup d’éléments du film et de les adapter parfaitement au gameplay, comme le combat viscéral à mains nues, le maniement de l’épée, ainsi que des visuels magnifiques… tout en nous donnant la liberté créative nécessaire à la conception de nouveaux contenus exclusifs au jeu qui ne sont abordés ni dans le film ni dans le conte originel. »

“Le talent des équipes créatrices d’Ubisoft transforme notre vision du film, et en fait une expérience interactive qui permet d’aller au delà de l’histoire classique» ajoute Robert Zemeckis réalisateur de Beowulf. «Nous avons été impressionnés par ce que nous avons vu de la part des créateurs du jeu et nous sommes confiants et persuadés que les joueurs vivront une expérience immersive et divertissante qui ira bien au-delà du simple jeu tiré d’une licence de film »

Le célèbre réalisateur Robert Zemeckis offre une vision de la saga « Beowulf » jamais vue auparavant. Aux temps des héros mythiques, le féroce guerrier Beowulf a vaincu le démon Grendel, provoquant la colère de la monstrueuse et pourtant si séductrice mère de ce dernier, et l’entraînant ainsi dans un conflit qui le fera passer du statut de roi à celui de légende. Le casting de « Beowulf » comprend Ray Winstone dans le rôle titre, Anthony Hopkins dans celui du roi corrompu Hrothgar, mais aussi John Malkovich, Robin Wright Penn, Brendan Gleeson, Crispin Glover, Alison Lohman et Angelina Jolie dans le rôle de la mère de Grendel. « Beowulf » est un film de Paramount Pictures, en association avec Shangri-La Entertainment et une production de ImageMovers.

De plus amples informations sont disponibles sur http://www.playbeowulf.com

Beowulf TM & © 2007 Warner Bros. Entertainment, Shangri-La Entertainment, LLC and Paramount Pictures. All Rights Reserved. Game software: © 2007 UBISOFT Entertainment. All Rights Reserved. Ubisoft and the Ubisoft logo are trademarks of Ubisoft Entertainment in the United States and other countries.

THE GOLDEN COMPASS - Jamie CHRISTOPHERSON

Composer 80mn de musique pour un jeu vidéo adapté d'une super production cinématographique, en moins d'un mois, est un véritable challenge pour un compositeur. C'est un défi qui a été relevé avec brio par Jamie Christopherson. Ce jeune compositeur né en 1975 a déjà à son actif la composition d'une dizaine de musiques de jeux (Les Rois de la Glisse, Pirates des Caraïbes On Line, Le Seigneur des Anneaux: La Bataille pour la Terre du Milieu II...). Mais il ne faut pas se leurrer, c'est un travail titanesque, de 16 heures par jour qui lui a permis de composer un score très thématique et orchestral qui n'a rien à envier aux compositions de musiques de films.

Please Mister Christopherson, can you tell me about you, your training and your background?
I grew up in Los Angeles to a musical family. My dad was a bass player for a bunch of rock bands in the 60s and 70s, and I was pretty much conceived on the tour bus. My mother is an excellent musician as well, playing saxophone, piano and the accordion. She is still a much better sight-reader than I am. In my teenage years I found jazz music and became obsessed with piano players like Bill Evans, Ahmad Jamal, Chick Corea and Thelonious Monk. It was about this time that I discovered film music as well. I would set up a dinky Casio keyboard in front of my television and just improvise music over the visuals I saw. Jazz improvisation and film music really fit well together for me. I also studied classical music theory at Vassar College and then got a masters degree in film music from the University of Miami, Florida, before moving back to Los Angeles.

How and why did you come to music/ VG music?
When I moved back to Los Angeles I was working at a company that produced sound effect and music production music called the Hollywood Edge. One day I met two composers (Bill Brown and Mikael Sandgren) who worked in the same building that were writing music for videogames. I was shocked when I heard how far along game music had come since the days of blips and beeps. That’s when I realized that videogames might be something to look into.

What kind of music do you enjoy listening the most?
I listen to all kinds of music, depending on my mood of course. In the car I usually have the radio tuned to the local jazz station, as it helps me relax and take my mind off of other things. I buy a lot of soundtracks and listen to present and past masterpieces, trying to absorb more techniques and styles of film music. My wife listens to a lot of mainstream pop and rock music, so when I hang out with her I get to hear what is “new and cool” (I’m not sure if that is a good or bad thing really).

Do you consider yourself as being part of a “school” of composition? How would you describe or characterize your own musical style?
I am a bit of a chameleon when it comes to film music. While I do like to maintain my own style for all of my compositions, I like to always try new things. At times my music can be very minimal, at times it can be very romantic, and at times it can be very modern and dark. I like to think my music is a direct reflection of the project I’m working on (film or game). That being said, I gravitate towards melodic and thematic writing using live instruments and organic textures. When I do use synths and plug-ins, I try to use them in organic ways.

How do you choose a project to work on?
Sometimes the projects I work on are the direct result of a previous relationship I have with someone else, who calls me for the next project. Sometimes I hear of a cool project in advance and track it down and try to get my music into the hands of the right people. I’ve got some people acting as agents for me a well to help with finding the next project. I’m fortunate that I am able to pick and choose projects a bit more now in my career.

How do you compose? Do you have a method of working? How do you proceed? What technology and what software do you use?
My method of composing varies slightly depending on the demands of each project. I use all of the familiar tools available to most other composers, including computers and samplers, pencil and paper, and often composing themes in the shower. Usually I start a project by developing all of the major themes and melodic fragments, which usually come to me at the oddest times and places. Sometimes these thematic ideas are easy to come by and sometimes I have to sit at my computer for hours and hours until something comes. Then the next step is to program my musical template with the computers in order to achieve a particular “sound” that I have in my head for the project. This takes quite a bit of time at the beginning, but speeds up the process greatly later on. I think of this as similar to a painter choosing a color palette before beginning to paint on the blank canvass. Having a limited set of tools can be very liberating, so I try to limit the sounds I want to use.

How and why did you accept to work for THE GOLDEN COMPASS’ Video Game?
I got involved in the project at a very late stage in the game. I accepted the project because the material really intrigued me, and the production team gave me a lot of freedom with the music. Another determining factor was that there was a budget for a live orchestra recording, and I will usually jump at any opportunity to use a live orchestra! Despite having only about 4 weeks to write over 80 minutes of music and my wife having a baby due around the same time as I was to deliver the finished score, I took on this project with a real passion to write some grand orchestral music.

Was there a selection? Some demo competition? What was the process of being hired on that?
I pitched a bunch of my music to the sound director and he though right away that my music would be a great fit for the game. The selection process was pretty smooth for me this time.

You have neither seen the film, nor listened to the Alexander DESPLAT score, before you compose it. How did you work, and with what request from the crew? Did you been in touch with Alexander DESPLAT?
I never talked with Alexander Desplat or any of the music team from the movie before writing my score. My score for the game is completely original from the film music.

Did you read the book before to inspire you? Why?
I did buy the books but the project happened so quickly that I never got a chance to read them before writing the music! The visuals and storyline were enough for my imagination to take over though.

You have created an 80 minute piece of music in less than a month. How did you deal with the stress? How did you organize your work on a daily basis?
When you are faced with such a fast deadline, you have to just put your personal life on hold and devote all of your energy to a project. I worked 16-hour days on the project, and had a wonderful group of people helping me out. Part of the process was coming up with all of the themes for the game first. I had two friends who would take some of that thematic material and write some additional music as well, so that certainly helped. My orchestrator and conductor, James Sale, helped out immensely at the final stage as well. You just have to assemble a team of people that you trust and then put in the hours.

How do you collaborate with scriptwriters and game designers when you’re conceiving your music? You used video capture, video footage and screenshots to compose your score. How did this help you? What kind of other material did you have at the beginning of the project?
I was given a lot of videos and images for this game, as well as the basic plot description and character descriptions. The sound director for the game would also give me some vague descriptions of what the music should sound like for certain characters and levels. He liked to talk in non-musical terms to get his point across, which is certainly the best way to talk to a composer I think!

What did you want to express or to convey through your music for this game?
I wanted to express a sense of mystery and depth to the characters in this game. While this is a children’s game, I approached the music from a lot more sophisticated angle. None of the characters are painted with a one-sided brush, as each character has a lot of depth, and I tried to reflect that in my score. Lyra is a prime example of that.

What orchestra and what size did you choose for the recording session? Did you use some electronic sounds in your score with live music? If yes how? If no, why?
Did you choose special instruments for the scores? (ethnic, folk, army,…)
We were fortunate enough to have a 65-piece orchestra performed in Los Angeles through the local 47 musician’s union. These are the best musicians in the world, and play on all of the major motion pictures. On top of that, we did have a lot of percussion programming and additional instruments recorded. One instrument we used for a character was the cello for Iorek’s theme.

You choose to compose thematically. Why? Can you tell me about the themes you created for the video game? May you describe us all your themes? May you explain us why you chose to deal with them in such a way? Your score uses themes according to the role played by each character (Iorek, Lyra). Please may you explain us how and how you did that?
For this game, the sound director requested that I come up with themes for each of the main characters, specifically Lyra and Iorek. Sometimes the player can be Lyra or Iorek, and sometimes the player can be Lyra riding Iorek. Because of these options, the Lyra and Iorek themes needed to be written in such a way that they could be played at the same time (to switch). This worked out perfectly, as Lyra usually has the higher flute instruments and high strings, while Iorek is represented by the percussion and low cello. When the two themes are played back together the result really sounds great. Another major theme worth mentioning is the “compass” theme, which come in and out of various cues in the score. This is the fantasy element of the score, with a hint of dark mystery, and there is even a little “clock ticking” element that I had designed for me.

You seem to pay a particular attention to Lyra. Why? How is this translated in your score?
As my wife was about to give birth to our first daughter, I felt a special connection to the Lyra character. She also has a lot of depth to her character. She has a bit of innocence, mystery, sadness and adventure all rolled together. Characters that are multi-dimensional like that are really fun to write music for, as the music can be multi-dimensional too!

Can you tell me about the writing process for a VG (relation to pictures, loops, etc)
Everything I wrote was for in-game music, which meant to loop things. We did multiple stem variations of intensity levels to get more flexibility out of the music implementation as well.

Will there be a soundtrack release of the Golden Compass Video Game music? We are still working with a few companies to get a soundtrack released. No news yet.

Do you play VG yourself? What games, what platform, and since when?
I have an XBOX360 now and play when I can (which right now is not very often). I’ve played videogames ever since the days of Atari 2600 and Intellivision!

Do you have any anecdotes about the process to tell us, funny or interesting things?
Another funny story happened during the orchestra recording session in LA. As I mentioned, we had an intense time schedule where we had to record a lot of music in a short amount of time. As it approached the last hour of our session, we were running slightly behind so I had to put the pressure on my conductor and players. We started running through takes very quickly and often taking first takes (which only LA players can pull off). For the last 20 minutes we had to record a piece of music that constantly changed time signatures (3/4, 7/4, 5/4, etc.). We had a rough time getting through that piece, but I planned to save the toughest piece for last so they could see the light at the end of the tunnel. We slowly made our way through the music, section by section until we had about one minute of material to record in the last five minutes. As seconds ticked away, the orchestra contractor came into the control booth and said, “I think we need to push into overtime”, in which my sly response was, “We have 1:20 left Leslie, we will do it. Watch the clock”! So, as the seconds ticked towards the hour, the musicians played the last section with amazing precision. The last note was struck with 5 seconds to spare, and with the reverb tail at the Eastwood Stage, the music ended exactly when time ran out. We were all in the room cheering on the orchestra like a horse race or something. It was insane!!! I’ve been referred to as “Mr. 1:20” a few times since that session.

Some people say that some video games music are more successful than their adaptation on cinema. What do you think about it? What’s your opinion on Alexander DESPLAT score for GOLDEN COMPASS?
I got to go to an advanced screen of the Golden Compass with a Q&A afterwards with Alexander Desplat. I think that his score fit the movie very well and gave a very nice European flare often not found in big blockbuster films of this type. I met him afterwards and chatted with him briefly about the different approaches that we took to each of our scores. I do think that if you swapped his score for the game and mine for the movie neither one would have fit appropriately. They are just completely different projects, with different demands.

Are you working on another project? If yes, may you tell me about it?
I’m working on a trilogy of films at the moment, which has been pretty intense. They are an action/adventure series of films called “Jack Hunter” that will probably air on cable television later in the year. Luckily the films all use the same sounds and thematic material, which has helped in the writing process.

For a new project, if you could choose you a genre, a kind of story and a filmmaker, gamemaker, what would they be?
I love working on projects that have a real passion behind them (i.e. not just money makers). Whether the film or game is a comedy, action, sci-fi or horror project doesn’t matter so much to me. What matters is that the project is done well. Art is art when done well, and I just want to be a part of projects that are artful in whatever form that is.

Do you have specific message to add for our readers?
Please visit www.jamiechristopherson.com for some musical examples of past projects I’ve worked on if you want to hear more!

CONAN - Le jeu vidéo, interview de Mike Reagan par Christine Blanc

Surtout, n'allez pas imaginer qu'une sombre brute sans coeur se cache derrière la musique de CONAN, le jeu vidéo, tout recemment sorti et distribué par THQ.

Mike Reagan se distingue, au contraire, par la diversité et la qualité de ses productions: des musiques de films, des dizaines de publicités, 70 musiques de jeux... On le retrouve dans des collaborations avec John Woo, Oliver Stone, dans des films comme: Face Off, Flubber, Godzilla, pour des sociétés comme:Sony Pictures, Paramount Pictures, Warner Bros, Jim Henson Pictures et Walt Disney Pictures.

Mike attribue son succès à l'instruction de ses mentors, son amour pour la musique, sa soif d'apprendre, et sa passion pour les d'instruments, les textures et les genres musicaux.

Une combinaison gagnante puisqu'il s'est vu nomminé et récompensé pas moins de 6 foix ces deux dernières années!

2007 Nominee: British Academy of Film & Television Awards (BAFTA): Best Original Score
2007 Nominee: Spike TV VGA Awards: Best Original Score
2007 Winner: Tele Awards: Best use of music in Television
2006 Winner: Aurora Awards: Outstanding Individual Creative Achievement
2006 Winner: Game Audio Network Guild Awards (G.A.N.G.): Soundtrack of the Year
2006 Winner: Academy of Interactive Arts & Sciences Awards: Outstanding Achievement in Music Composition.
Alors Mike, continuez encore longtemps, de nous amuser, nous divertir et nous faire réver!

Please, Mister Reagan, may you tell us how you came to work on video game music?
Mike REAGAN - I got started doing sound fx in video games – Pitfall: the Mayan Adventure for Super Nintendo was my first game ever. Several games later, I got the opportunity to score the music for Xena: Warrior Princess for Playstation 1. It was then that I had to learn how to use the PS1 as a synthesizer and create the sound set I wanted to use for each level. It was a great exercise in critical listening, planning, and sampling / Editing. Then the trick was to write MIDI tracks and make it sound believable.

What are your sources of inspiration when you compose film music: styles of music, composers… Do you have any mentor?
It depends on the project, really. The style and feel of the film inspires me to go looking for all kinds of inspiration. I guess my favorite composers would be David Gilmour, Dave Grohl, John Lennon, Chris Martin, Chris Robinson, Alan Silvestri, John Williams, Elmer Bernstein, Bernard Hermann, Henry Mancini, Ennio Morricone and Basil Poledouris.

How did you come on the God of War 1 & 2 projects?
For the first God of War, I was asked to submit tracks for the project, but wasn’t able to see any pictures or game play. The project was so locked down… so protected, that the only input I was given was that it had elements of Greek Mythology, and they wanted it to sound like a film score with ethnic elements. I was chosen as the co-lead composer for God of War I, then was asked back to score God of War II.

How did you come on the Conan project?
I got a call from Victor Rodriguez at THQ to demo for the game. I had heard that there were about 17 of the top game and film composers being considered for the job, so I gathered my best tracks from God of War and other projects, then wrote some themes specifically for the demo, which ended up being the main theme for the game.

How did you come on the Spider Man project?
I got a call from Activision to compose some in-game music, as well as the opening cinematic for the PC version of the game.

Did you use some score from the Spiderman’s films?
No, but I was definitely inspired by Danny Elfman’s score from the first movie.

Did your way of working change along the years or according to each score?
How would you describe or characterize your own musical style?
The way I work has changed over the years. Because the challenge early on was to somehow match quality of film music within the confines of 300k of memory in the PS1, there was much more emphasis on production quality. This sort of frugal use of realistic samples limited a composer’s use of convincingly realistic melodies. Sure, there were ways around it with an enormous amount of tweaking, but I remember programming drums and grooves first, with low brass riffs. Then, trying to fit a melody in there somewhere so it sounded like music. I guess because I learned that way, I carried that method through on a lot of projects after that. Since then, I’ve really enjoyed finding melodies first, then producing the track to support melodic and harmonic movement. The drums are always going to be there – so there’s no need to go off the deep end right away. Music comes first. I’m still refining working this way, and try to find new ways to make this approach work. Lately, I’ve been singing into a portable digital recorder either a cappella, or with a guitar or piano. I seem to have good results coming up with stronger melodies when I’m not surrounded by gear.

How do you collaborate with scriptwriters and game designer when you’re conceiving your music?
It really starts with artwork – everything from sketches to final prints, then there’s the game play itself. It’s also a good idea to ask what music they like – what they’ve been listening to. Then it’s all about combining inspiration from everyone and mixing it with your own creative vision. It’s truly collaborative.

What is your average working day? How is it? What is your schedule?
I get started around 9am, and take care of emails and organizing my tasks for the day. Then I put the email computer to sleep and get started writing around 10:30. Stop just before lunch to check email again and return calls, then grab lunch and come back to work about 1pm. Then it’s more writing until 5 or so. Hang with the kids for a bit, grab dinner with them then spend the evenings organizing the tasks for the next morning. Depending on the project schedules, I can stop by 9pm or so… but sometimes there’s late nights until midnight. All nighter’s are a thing of the past for me. I simply can’t put my body through that torture anymore. It’s not healthy.

What technology and what software do you use?
I use a combination of Logic Pro for sequencing, Pro Tools HD for recording, mixing and editing. Multiple PC’s for Gigastudio and VST racks. The studio is wired almost entirely digitally, so there’s no noise and a lot of punch.

What instruments do you have and what are your favorite instruments? The guitar is a very specific instrument to write for, especially acoustic guitar. And, in the demo you emailed me, you seem very comfortable with that. Can you tell me about your personal relation to this instrument?
It’s one of the instruments closest to my heart, and it can perform in so many wonderful ways. I have a selection of Taylor, and Takamine acoustic guitars, as well as different electric guitars, a churrango, ukelele, quatro, harmonicas, basses, acoustic drums and various percussion instruments.

From now, my questions are rather about Conan, but feel free to take examples from some other projects of yours :
How much time did you dispose to compose ?
I worked on Conan for about 8 months. The budget unfortunately did not allow for any live musicians, but I felt is necessary to hire live trumpet players (Asdru Sierra and Ron Blake), as well as legendary percussionists Emil Richards, Denny Seiwell, and Michael Duffy. Everything else in the score was synth, which I find extremely limiting and time consuming – but sometimes budgets don’t allow for live recording. In God of War I, we were able to use a live choir here in Los Angeles, and for God of War II we recorded live Brass in London – just terrific… then recorded strings and choir in Prauge.

How did you work, and with what request from the crew ? Victor Rodriquez gathered some material for me that was really speaking to him – Basil Poledouris, Tchaikovsky, for instance. The Squid Battle and Sand Dragon battle in Conan really looks fantastic. It reminded me of Jason and the Argonauts or Sinbad, so naturally I referred to some Bernard Hermann for inspiration as well.

What did you want to express or to convey through your music for the game CONAN?
Honestly? Brutality, beauty, and unbridled energy.

To you, what should be the aim of music in video games? What are your own personal aims when you compose for that medium, musically, artistically and personally?
It’s a tough thing to remember sometimes… especially when you’re writing music that you’re attached to. But the thing is this – the music should be attached to the visual medium, whether it be for a game, film, or tv. It should support the picture without overpowering it. I’m still learning from every project not only what choices to make, but what choices I shouldn’t make. Where scenes work best with no music.

How do you approach the music of video game inspired by movies ? A different way from original VG? What do you want to bring gamer who are already familiar to the film?
Great question. Nostalgia is a powerful emotion. Pulling people to remember a particular feeling – a place in time that’s familiar to them is very important. So if a video game is made from a film, and the soundtrack was a powerful aid in that film, you can’t help but pay homage to it. Then, once you have convinced yourself and the audience that we’re in the same world that existed on the silver screen, you can take them to new places without disconnecting from that beautiful, nostalgic experience.

How do you deal with a videogame where gamer can interact, in comparison with a movie where all is already set and can’t be changed?
You have to do all the things you would do for a film – write memorable music that supports the game, but then you have to also think like a mixer and music editor and choose how the music will technically achieve the same result. That’s a whole other world you have to embrace when composing for a video game – it’s essential.

Do you play VG yourself? What games, what platform, and since when? Do you prefer playing alone or in group?
I enjoy playing different games to learn what works and what doesn’t – then there are the games I play just for fun – Halo, God of War, Conan, Mario. I’m not a big MMO player yet, but I’d like to get more into those games… I think I’m afraid of how much more time I’ll spend playing games and lose sight of my responsibilities. I enjoy playing games with my kids – my son is an especially talented gamer. He’s beaten Guitar Hero I and II on expert, and he’s 11 years old. His Daddy can rarely help him anymore on games… he’s surpassed his old man J

Is it longer to compose for a game or for a film?
Production schedules vary. I’m working on a film right now that I have only 8 weeks to complete, but sometimes it’s longer – same goes for games. It really all depends.

Can you tell me about the writing process for a VG (relation to pictures, loops, etc)
You have to write and deliver music in a way that sounds scored to picture. That’s the real art of composing music for video games. Yes, there are loops – but there are also cinematic sequences that are treated with the same approach as we would for a film. It’s all in the execution of an idea.

Is it frustrating to have to compose for short loops and not be able to develop themes?
I really don’t work on games that require short loops. The pieces I create for games are each 3 to 6 minutes long and are stretched with variation and delivered as mulitrack stems – up to 32 stereo tracks that can be manipulated by the audio engine to create a realistic linear, yet interactive experience.

What do you prefer to compose for: Series, VG or film?
It really doesn’t matter what venue I’m working with. If the concept and execution of the story is great, it’s going to make for an incredible project. Period J

What are the differencies and similarities between the three mediums?
Television is usually pretty insane – tight, back to back schedules for multiple episodes.
Film is great with sometimes nutty schedules as well, but usually the schedule and the budgets can be a lot healthier and allow for stretching your wings as a composer – recording more live elements.
Games have come such a long way, and are so much less confining than they were 15 years ago. We’re recording with live bands and orchestras and everything in between – working with the best musicians in the world. The lines are getting blurred between what composers like to work on – you see more and more film composers writing music for games, and game composers crossing over into feature film.

Have you any anecdotes about the process to tell us, funny or interesting things?
Do you have specific message to add for our readers?
Do what you love – follow your dream and you can accomplish anything. When doors close in front of you, others fly open. It’s the law of averages – the pendulem swings back and forth, and eventually you will get to where you want to go… or better yet, be surprised by where your journey takes you. In either case, it’s important to enjoy the journey.

Are you working on another project? If yes, may you tell me about it? Do you have any other projects to come?
I’m afraid I can’t speak about the projects I’m working on now, but I should be able to in the next couple of months.

For a new project, if you could choose you a genre, a kind of story and a filmmaker, what would they be?
I would love to work with Quentin Tarantino on a film or video game project and really fuse different elements of music together – not via editing, but via composing. Mixing surf guitar with Tuvan Throat singers and Harmonica. Something totally different that sounds amazing.

If there were a theatrical adaptation of the video game God of War, would you be interested to be part of it? What do you think you could bring to it? Do you know if this project envisioned?
I would love to be a part of it – it would be amazing to see Kratos on the big screen and support his character with music. I think I heard something about that somewhere – about a film, I mean… it would be great if this actually became a reality.

ASSASSIN'S CREED - HITMAN, posez vos questions à Jesper KYD

Elle n'est pas belle la vie, lorsque Monsieur Jesper KYD accepte de répondre aux questions des fans d'inter-activities?

Jesper KYD n'est pas moins que le compositeur de jeux vidéos comme Hitman, ou encore le tout récent Assassin's Creed.

Alors si vous êtes fan, posez lui vos questions! C'est peut être aux votres qu'il répondra, si elles sont sélectionnées! Alors battez vous, faites nous entendre le "Creed qui tue!"

Product Description
Assassin’s Creed is the next-gen game developed by Ubisoft Montreal that will redefine the action genre. While other games claim to be next-gen with impressive graphics and physics, Assassin’s Creed merges technology, game design, theme, and emotions into a world where you instigate chaos and become a vulnerable, yet powerful, agent of change.

The setting is 1191 AD. The Third Crusade is tearing the Holy Land apart. You, Altair, intend to stop the hostilities by suppressing both sides of the conflict.

You are an Assassin, a warrior shrouded in secrecy and feared for your ruthlessness. Your actions can throw your immediate environment into chaos, and your existence will shape events during this pivotal moment in history.

Key Features

· Be an Assassin
Master the skills, tactics, and weapons of history’s deadliest and most secretive clan of warriors. Plan your attacks, strike without mercy, and fight your way to escape.

· Realistic and responsive environments
Experience a living, breathing world in which all your actions have consequences. Crowds react to your moves and will either help or hinder you on your quests.

· Action with a new dimension – total freedom
Eliminate your targets wherever, whenever, and however. Stalk your prey through richly detailed, historically accurate, open-ended environments. Scale buildings, mount horses, blend in with crowds. Do whatever it takes to achieve your objectives.

· Relive the epic times of the Crusades
Assassin’s Creed immerses you in the realistic and historical Holy Land of the 12th century, featuring life-like graphics, ambience, and the subtle, yet detailed nuances of a living world.

· Intense action rooted in reality
Experience heavy action blended with fluid and precise animations. Use a wide range of medieval weapons, and face your enemies in realistic swordfight duels.

· Next-gen gameplay
The proprietary engine developed from the ground up for the next-gen console allows organic game design featuring open gameplay, intuitive control scheme, realistic interaction with environment, and a fluid, yet sharp, combat mechanic.

Product Specifications:
Publisher: Ubisoft
Developer: Ubisoft Montreal
Ship Date: November 2007
Category: Action
Web: www.assassinscreedgame.com
Rating: Rating Pending (expect M)

CONAN - Le jeu vidéo. Posez vos questions au compositeur, Mike Reagan

Bienvenue à Mike Reagan dans nos colonnes. Il a accépté de répondre à nos questions, y compris les votres, bien sur!

Alors à vos souris et claviers, vous avez la parole! Des questions à lui poser, des félicitations, des remarques? Laissez vos questions dans les commentaires de ce post, ou sur 666.nemesis@free.fr. Les meilleures contributions seront publiées!

Dead line pour le dépot des questions: Mercredi 6 décembre 2007, 18h06.

CONAN - Le jeu vidéo sur PS3, par THQ

Conan est un jeu d'action / aventure qui se déroule sur fond de combats épiques et brutaux et de lutte contre le mal dans un cadre fantastique grandiose. Suivez l'aventure de Conan le Cimmérien, amené à se battre contre de nombreux ennemis et contre un mal insaisissable qui menace de détruire le monde.
Utilisant tout ce qu'il a sous la main, des armes redoutables aux éléments du décor, Conan doit tout détruire sur son passage dans les différents royaumes du monde Hyborien qu'il traverse.
Des affrontements palpitants grâce à un système de combat très évolué proposant différents styles.
Enchaînez les combos et anéantissez vos ennemis avec des prises et des doubles attaques dans des combats au corps à corps ou à l'épée.
Des combats en temps réel dans un environnement interactif.
Une expérience de jeu digne du cinéma grâce à des effets spéciaux et des jeux de lumières éblouissants et à une bande-son poignante qui retranscrivent parfaitement l'univers de Conan.

Conan is an action adventure video game featuring a story of epic brutality, sheer evil and visceral combat within an expansive fantasy setting. Players will follow the journey of Conan the Cimmerian as he fights a vicious battle against a variety of enemies and an elusive power that threatens to consume the world. Using everything at his disposal, including deadly weapons and environmental objects, Conan must fight everything in his path as he traverses a variety of unique realms within the Hyborian world.
Contenus:
Intense Action Combat: Playing as Conan, players will utilize a deep and gratifying combat system that offers a variety of fighting styles to battle enemies. Through multiple movement trees, players can string together combos and fight foes using grappling moves, hand-to-hand combat, sword fights and dual-wielded attacks.
Interactive Environments: Highly interactive combat locations and real-time physics will allow players to pick up any weapons in sight, such as swords, axes, spears and torches, and use surrounding environmental elements to inflict damage on enemies.
Cinematic Game Play Experience: The Conan video game harnesses next generation hardware to deliver a cinematic game play experience, complete with innovative special effects, lighting and a powerful, epic soundtrack, to capture the essence of the Conan universe.

Remerciements à Christelle et Morgane

Les SIMPSON - Le jeu, Electronic Arts

Les Simpson™ Le Jeu propose un scénario hilarant et casse-tête qui part dans tous les sens, imaginé par les auteurs de la série télévisée récompensée aux Emmy Awards. Ce jeu d’action comique fait également appel aux acteurs de doublage de la série animée qui reprennent leurs rôles pour donner un aspect authentique et réaliste au jeu. Dans Les Simpson™ Le Jeu, Homer, Marge, Bart et Lisa utilisent leurs tous nouveaux pouvoirs délirants pour sauver le monde du chaos naissant. Pour aider les Simpson, les joueurs devront traverser toute la ville de Springfield (et d’autres vastes mondes !), vaincre une incroyable armée de méchants et se frayer un chemin à travers des parodies de nombreux jeux populaires.

Caractéristiques
Les vraies voix des Simpson — Vous n'aimeriez pas entendre le Vendeur de BD doublé par un vrai vendeur de BD, n'est-ce pas ? On ne ferait jamais ça ! Les acteurs de doublage de la série animée ont donc repris leurs rôles pour que les voix des personnages du jeu soient les mêmes que ceux de la série.

Incarnez vos personnages préférés — Incarnez tous les membres de votre famille de télévision préférée et battez-vous pour les sauver du purgatoire du jeu vidéo.

Comme dans la série TV — Vous voulez que les voix des personnages soient les mêmes que ceux de la série, mais également que le jeu ait le même aspect visuel. Nous avons relevé ce défi grâce à l'intégration de la 3D dans une technologie 2D. Ajoutez à cela un casting incroyable de personnages des Simpson et un niveau d'interactivité exceptionnel et vous vivrez une de vos meilleures expériences avec les Simpson.

Délirant ! — Lorsque Les Simpson débarquent dans l'univers du jeu vidéo, rien n'est sacré !Le jeu reproduit fidèlement l'humour des Simpson au travers de parodies de la culture et de l'actualité récente.

Les Simpson et leurs pouvoirs — Dans le jeu, les membres de la famille les Simpson ont des pouvoirs : Lisa peut étourdir les ennemis avec son saxophone et Homer avec son super-rot. Ces pouvoirs donnent aux Simpson le potentiel pour vaincre les méchants du jeu vidéo.

Remerciements à: Audrey Mini-Mauro, EA Games.

Entrez dans les cuisines de Ratatouille le Jeu Vidéo - Interview de Caroline Trujillo par Christine BLANC

"Tout le monde peut cuisiner, mais cela ne veut pas dire que tout le monde devrait cuisiner " .

Cependant, si vous avez faim de connaissances et d'informations, alors nous vous invitons à entrer avec nous dans l'univers du jeu vidéo de Ratatouille.

Nous allons vous dévoiler quelques recettes du rôle d'un producteur de jeu vidéo. Grace à Caroline TRUJILLO, vous découvrirez l'interieur des cuisines des Heavy Iron Studios.

Il ne vous reste plus qu'à vous délecter des paroles d'un grand chef !

What is the role of the producer of a video game ?

Caroline TRUJILLO: The general role of Production on any game is to facilitate the needs of the Development team and the creative talent that helps them get the game made. It often includes setting the game scope and defining the development schedules and tasks. Seeking for and the providing of Music, Sound Effects and any external licensing through contracts or outsourcing and negotiating the budget and deals to bring in extra support.
In addition, when dealing with a licensor like Disney-Pixar, we also nurture the relationship between the Licensor and the needs of the team. We evaluate requests form both the developer and the Licensor to the other to balance out what is needed for the game and what can and cannot be created or changed in the game.

Some of us bring additional skills to production that we use to help guide the project. I came from Game Design before I was a Producer and moved into production with the experience of both a Lead Designer and a Creative Director. I often use my knowledge of working “hands-on” in game development to judge tasks and to understand what the team can and can’t do at any point in development. I also give guidance on gameplay solutions and suggest alternate ways in which design and gameplay issues can be resolved.
In more simple terms, we are the parents to the children which are the talent. We spend our time making sure they have everything they need and shelter them from the things they don’t – as well as reprimand them when they need to be corrected or when they fall be hind or are not performing to expectations.

How did you become a videogame producer ? On what videogames did you work ?

I have been in the video games industry for the last 14 years. I started out as a tester to pay my way through the University and stumbled into game design soon there after. I spent 7 years in Game Design and have been a Producer for the last 5 years. The most notable titles I have worked on: Spyro the Dragon 1 – 3 and Spyro 5, Sly Raccoon, Ratchet and Clank, Disney-Pixar’s Ratatouille.

How did you come on the Ratatouille project?

I have always been a huge Pixar fan and when I heard of the opportunity to work with Heavy Iron on then then up and coming game for the 2006 Pixar movie, I didn’t hesitate to apply. I then found out that Brad Bird, the director of Iron Giant, was going to be the director and I was exstatic about working on a property with such a high caliber of talent.

How would you describe the Ratatouille videogame, generally speaking ?

Ratatouille the game is influenced and driven by the story and the events of the movie Ratatouille but something to keep in mind is the movie is less than 2 hours long and we endeavored to create an 8 – 10 hour game experience. We added new environments either not seen or only implied in the movie. We also created a character control scheme in Remy that could empower the player – makes the player feel like he’s truly playing in the small world of the rat in Paris.

The game was produced both in France and in America. How did you deal with that?

The time difference actually worked in our favor. The development team was able to complete a full work day and deliver us content which we could then review our same work day and have feedback, responses and needed information and assets delivered to them by the time they showed up for work on the next time. We communicated daily via emails and had a few conference calls a week to discuss the game. Every 2 months I would travel to Bordeaux or Asobo Creatives would travel to Los Angeles to discuss and demo the game. Overall, we established a strong camaraderie with our friends at Asobo, creating a game we can all feel proud of.

For you, what was the most interesting in the process of making Ratatouille?

Watching the overall game vision become a reality. The game you see today is exactly what I had envisioned it could be… only better. I received great pleasure in seeing the game and all it’s components come together.

What was the involvement of the creators of the film in the game, the Pixar people ?

Pixar was involved quite intimately with the content as it was interpreted for the game – how Remy looked and felt to control and in defining what Remy could and could not do. They helped us capture the Pixar look of the environments on the small screen by providing us with detailed direction and examples of how the game world should look and what emotion they should evoke in the player.

Some sequences (the sewer sequences and the dream sequences) seem to appeal to concept arts (by Dominique Louis, for example) or storyboards (by Enrico Casarosa) initiated for the movie, but that didn’t make it in the final cut. Can you tell me about those sequences and how they got into the game ?

We started working on the games for the movie very early on in the Movie’s development. THQ/Heavy Iron began working on the game in the Spring of 2005, before the movie was fully envisioned in the form it was released. We were privy to tons of concept art and designs of what Pixar though could eventually make up the final story – many of these concepts inspired gameplay designs that didn’t make it into the movie but that we were allowed to incorporate into the final game.
Remy is a dreamer, through out the story of the film, Remy is following his dream to become a cook, to become a master chef, to make “good food”. We felt the dream worlds in the game would further express this to the player – and we were very conscientious of making sure that Remy was depicted in the manner in which Pixar had originally intended.

The story of the game is not quite the same as the movie’s. For example, there are more scenes in the sewer and the meeting between Linguini and Remy doesn’t happen that way in the film. How do you create such a game play and what kind of freedom do you have in creating a new rendering of the original one?

We needed to present to and receive approvals from Pixar Creative on all additional content that we were creating for the game, for anything that didn’t already exist in the final movie. To tell the story in the game and to give the player an interesting experience unique to the game, we added additional gameplay in the Seine River, in the Paris Sewers, the Les Halles influenced market and along the Paris rooftops. Pixar was very much in favor of build on the movie worlds for the gameplay environments.

What are the differences between the stories and game play for the different game sets (PS2, WII, PS3, XBOX).

The story for these games was basically the same, although there were some small differences in the gameplay missions and tasks. The Wii game had additional content added that utilized the Wii controller and the basic character controls were modified to work using the Wii-mote. The Dream Worlds were unique both in design and gameplay on the 360 and PS3 when compared to the Wii and PS2. But overall the character moves, plus or minus small subtleties, were the same for all the console games.

How long do you have to produce a videogame ?

Typically we need at least 18 months to 2 years to create a game. Now that we are all rolling into the Next Generation of game consoles (360, PS3), these game will require a minimum of 2 years to develop due to the level of detial involve in creating worlds and animating the characters for these titles.

What are the different steps in the making of a VG ?

1. Concept and Game High Concept: At this stage will plan out the general design of the game which define s the character and his core move set, the camera view and camera style, and the over all story of the game.
2. Pre-Production: We then break the game down into its key features and perform tests on how these features will function, how the features will be created and how fun these features will play. After a few months of these tests, we put the game back together knowing what we want to keep in the game and how long it will take to create the game incorporating all these features. Schedules are then made and the game can be designed in detail knowing exactly what will be incorporated into the final product.
3. Production: We now take our Game Design and Schedule and build the game, working towards interim dates were we are constantly reviewing the game content and evaluating the quality and fun-factor of what’s going into the game. This is when we create the “fun”.
4. Post Production: We then put the game into test, which means, have hundred of testers play the game and a variety of ways and for extensive lengths of time to provide us with gameplay and functionality bugs. This allows us to produce a final product that is bug free and tuned.
It is also at this point that we localize the game into all the languages for global distribution. On Ratatouille we released in over 40 countries and in 20 languages.
5. Approvals: For all consoles expect for the PC and Mac, we must submit the game to the hardware companies – Sony, Microsoft, and Nintendo – for their final approvals that allow us to release a title on their hardware system. There are extensive and detailed standards that we must adhere to that allow us to manufacture for the hardware systems.
6. Manufacturing: Once approved, we send the game off to be manufactured. This is when the game code gets pressed onto discs, packaging is assembled (boxes and jewel cases), manuals are printed, and labels are applied to the discs and boxes. This also accounts for getting the games boxed into crates and sent to storage until we are ready to send out to the retail stores
7. Ship: The leaves the warehouse and is off to your neighborhood store
8. Street: And this is the day on which the game can be purchased :-)

At what moment of the production of the movie do you begin working on the VG?
This time, the composer of the movie, Michael Giacchino, is also the composer of the game, and with the same themes as the ones of the movie (which is pretty rare). How’s that ? It’s rather rare to have the same composer in both media. What do you think about this connection between cinema and VG ?

Working with Michael and his team was an absolute pleasure for us and you’re correct, not typical in game development. But something extra interesting here is the Michael game from the video game industry and was actually once a game producer before becoming a music composer. He started out as a composer for video games and then “made it big” on TV and then movies/film. Because of this back ground he was quickly and was ease able to understand our needs for the game music.

Do you have some other projects with Disney ? And not with Disney?

THQ has many, many projects we are currently working on at the moment, some with other licensors, some are original IP and some are announced and other yet-to-be announce titles with Disney-Pixar.

Special thanks to Christelle CARTERON - THQ

PIRATES DES CARAÏBES : JUSQU'AU BOUT DU MONDE - LE JEU VIDÉO DISNEY

Inspiré des scénarios, environnements et personnages des deux derniers volets de la désormais célèbre trilogie cinématographique Pirates des Caraïbes, le jeu vidéo Disney Pirates des Caraïbes : Jusqu'au bout du monde vous permet d'incarner Jack Sparrow, Will Turner et Elisabeth Swann, ainsi que d'autres personnages familiers, dans des échauffourées époustouflantes et des manoeuvres acrobatiques qui vous emmèneront au-delà du scénario des films.

À propos du film Disney Pirates des Caraïbes : Jusqu'au bout du monde:

L'histoire de "Pirates des Caraïbes : Jusqu'au bout du monde" reprend là où le deuxième épisode s'était arrêté, Will Turner (Orlando Bloom) et Elisabeth Swann (Keira Knightley), alliés au Capitaine Barbossa (Geoffrey Rush), s'apprêtant à partir à la rescousse du Capitaine Jack Sparrow (Johnny Depp), prisonnier de l'infâme Davy Jones. Mais les choses ne sont plus aussi simples depuis que le Hollandais Volant est sous le contrôle de la Compagnie des Indes Orientales. Navigant désormais en eaux troubles, le fameux trio va devoir se frayer un chemin jusqu'à Singapour pour affronter le légendaire Sao Feng (Chow Yun-Fat), avant de voyager au-delà des limites du monde connu pour une lutte finale épique. Chacun devra alors choisir son camp pour décider de l'avenir de la piraterie. Produit par Jerry Bruckheimer, réalisé par Gore Verbinski et scénarisé par Ted Elliott et Terry Rossio.

LONDRES, ROYAUME-UNI – (13 juin 2007) – Depuis sa sortie en mai, le jeu très attendu de Disney Interactive Studios, Disney Pirates des Caraïbes : Jusqu'au bout du monde, s'est placé en tête des ventes sur toutes les plateformes au Royaume-Uni, en France et en Allemagne.

« Nous sommes extrêmement contents du succès que rencontre Disney Pirates des Caraïbes : Jusqu'au bout du monde, dit Craig Relyea, vice-président marketing de Disney Interactive Studios. Les fans du monde entier sont attirés par ce jeu unique et dynamique, ainsi que par des graphismes magnifiques qui permettent une immersion totale dans l'univers des films, et ce bien au-delà des scénarios de ceux-ci."

Dans la lignée du succès incroyable du film éponyme, Disney Pirates des Caraïbes : Jusqu'au bout du monde s'est rapidement hissé en tête des ventes de jeux vidéo en Europe :

Au Royaume-Uni, le jeu est n° 1 des ventes sur la console de jeu et de loisirs Xbox 360™, le système de loisir interactif PLAYSTATION®3, le système de loisir interactif PlayStation®2 et le système PSP® (PlayStation®Portable), et n° 3 sur les consoles Nintendo DS™ et Wii™

En France, Disney Pirates des Caraïbes : Jusqu'au bout du monde a pris la 1re place sur Xbox 360™, PLAYSTATION®3, PlayStation®2 et PSP® (PlayStation®Portable), la 2e place sur PC, la 4e place sur Wii™ et la 8e sur Nintendo DS™.

En Allemagne, le jeu a atteint la 1re position* sur PLAYSTATION®3, la 2e sur PSP™ (PlayStation®Portable), la 3e sur PlayStation®2 et Xbox 360™ et la 4e sur Wii™. Sur PC et sur Nintendo DS™, le jeu est respectivement en 12e et 17e positions des ventes.

Disney Pirates des Caraïbes : Jusqu'au bout du monde est disponible partout dans le monde sur Xbox 360™, PLAYSTATION®3, Wii™, PlayStation®2, PSP® (PlayStation®Portable), Nintendo DS™ et PC. Depuis le mois dernier, plus de 2,8 millions d'exemplaires sont disponibles chez des revendeurs du monde entier.

À propos de Disney Interactive Studios

Disney Interactive Studios est la branche de loisirs interactifs de The Walt Disney Company (NYSE : DIS). Disney Interactive studios publie et commercialise, dans le monde entier, un vaste portefeuille de jeux vidéo et de loisirs interactifs multiplateformes. La société commercialise ses propriétés intellectuelles et travaille directement avec des éditeurs tiers de jeux interactifs afin de mettre sur le marché des jeux pour tous les âges. Disney Interactive Studios est basé à Glendale (Californie), et possède quatre studios de développement en interne : Avalanche Software, Fall Line Studios, Propaganda Games et Climax Racing.

Pour plus d'informations sur le jeu vidéo Disney Pirates des Caraïbes : Jusqu'au bout du monde, visitez le site http://www.jusquauboutdumonde.fr/

Merci à: Cécile Fouques Duparc