Its that time again folks where we bring you the latest news of New York Comic Con 2011. and we start that Friday with the Arkham City Panel. it came full force with the Game Director Sefton Hill - Rock Steady Studios and Audio Director- Nick Arundel, Kevin Conroy the Voice of Batman Arkham Asylum and Arkham City as well as Batman the Animated Series and Claudio Sanchez, the lead singer of Coheed and Cambria who recorded a song for Arkham City’s original soundtrack.. They started the Panel with their newest trailer and from there they talked about one of the most anticipated games of the Year.
Arkham City’s game director Sefton Hill began to explain the story in which Batman sets off to find his arch-enemy The Joker. In order to reach him, Batman is forced to travel a considerable distance across Arkham City, which is zoned-off a section of Gotham and then handed to its criminals. He then explains the open-world format of the game and the feel of Batman’s movement from one point to another. Basically you are Batman and when you swoosh from one building to another you can actually feel that you are Batman soaring through the night.
Instead of the calculated creeping and crouching ala Arkham Asylum, players are given an jaw dropping experience of aerial fluidity; Batman can grapple a high point and release the cable at the last second, catapulting himself across a roof and gliding a bit before pulling himself forward once again with his grappling gun. Batman can glide continuously across the district with a combination of momentum and finesse. Batman’s ability to glide has been tweaked from a downward-only function to an asset that allows for motion similar to straight-out flight, So when you hurdle downward by pulling your cape in and then let go the motion of the cape will take in air and lift you up enabling him to both lift as well as drop his position as he floats forward. Perhaps more importantly, Batman can use his more airborne role in the game to make steep dives toward enemies on the ground which is a added plus with his assortment of his attack
In an interesting progression from the first game’s “audio awareness” of villains’ intentions gained from relying on Arkham Asylum’s PA system, Batman uses a radio earpiece keep him abreast of what Gotham’s criminals are up to throughout the Arkham City (and in the case of the demo, Batman has honed in on Harley Quinn’s frequency as she rambles about the Joker). Audio Director Nick Arundel mentioned that he wanted Batman’s audio surveillance to tell the story without necessarily slowing Batman or narrative progress down. Batman is also in radio contact with Alfred, who seems to be just as capable as the previous game’s Oracle in providing Batman with key information—and their respectful and easygoing rapport is a treat to hear.
From the Demo that was displayed as well as the playable demo that NYCC had offered in the DC booth,Sefton mentions the importance of sound and Arundel explains more in deatil of how Batman’s use of sound is a heavier use of his earpiece this time around for this game. Hill then started showed off a couple of exciting new innovations related to Batman’s gadgets. Arkham City’s Batman now carries a remote electrical charge able to execute several tasks, one of which includes the ability to create electromagnetic fields. This field can draw metal objects toward it, and in the demonstration, the tool allows Batman to cause an otherwise inanimate object to begin swinging with enough momentum to destroy an obstruction in his path. The charge can also shock enemies and, like other gadgets in the game, can now be used quickly with a controller shorthand, rather than with the longer process of selection and employment required from Arkham Asylum.
These small innovations applied to Batman’s utility belt go a long way in making the gameplay remarkable in this newer installment, and a similarly successful improvement has been brought to Batman’s animations, as well (which have apparently doubled this time around, from 30 to 90 members of Rocksteady Studios). One such example that got a roar from the crowd was Batman’s ability to run, slide his body along the ground, and seamlessly rise to run again—a simple but satisfyingly slick addition to the character’s aesthetic. Batman’s ability to fight, as well, showed enough of a step up to enthrall onlookers. For instance, Batman is now able to take down two thugs at once, or catch objects thrown at him for a near-immediate toss back. Particularly enjoyable to watch is Batman’s combo of a barrage of punches, which deals considerable damage to enemies much larger than himself.
The Arkham City panel of guests generated its own excitement, mostly due to the presence of longtime Batman voice actor Kevin Conroy, but also because of the enthusiasm of Game Director Sefton Hill, Audio Director Nick Arundel, and Claudio Sanchez, the lead singer of Coheed and Cambria who recorded a song for Arkham City’s original soundtrack. Between the four panelists seemed to be an air of modesty and an understanding of what kind of quality they owed the fans which we are all grateful for.
Hill stated that developing Arkham City wasn’t about “going bigger,” but giving the same amount of care and attention to the sequel’s story as had given to the first game, albeit on a larger canvas—that larger canvas involving a world five times larger than the original, a scope big enough to include warring factions led by Arkham villains, and 30 to 40 hours of gameplay. Arundel then explained in with similar thoughts about making plot the top priority, saying that the new game is still “all about the narrative” (and apparently, seeds from that narrative were planted in the first game). Kevin Conroy added that Paul Dini, the writer behind Batman: The Animated Series, wrote a story for Arkham City that was still tied to the acclaimed narrative he’d created on TV, only adapted for a new format. Conroy went on to say that Dini understands the vulnerability of Batman, and how to get fans to respond to it. Correspondingly, Hill stated that villains were selected based on who would best challenge Batman, as well as say something about the character.
Arundel stated that it was even important for Batman’s theme to inform players about who Batman is. Sanchez said that his band’s contribution to its soundtrack, “Deranged,” also explored character—although it’s the Joker’s perspective that his song investigated. Sanchez emphasized more than once how excited he was to be part of the project, creating and finishing the song within a day of being asked by game developers, he was so touched about getting the part that he almost cried in front of the panel, he mentions having grown up with Batman, his emotional connection to him fufilled his sense of commitment and excitement for the role he played in Arkham City’s finished product.
Overall, the panel was very good and very detail and Arkham City shouldn't disappoint and then they expressed measured pride in the work that went into the game, which was well earned; the sequel looks to be an evolved, polished, and masterful addition to the Arkham Asylum franchise. Lets hope they Rocky Steady Continues with the Legacy of making Batman Games.
