Oh boy first new Unreal Tournament and now Killing Floor 2 – set in… Paris (at least that’s what we see on the first screenshots). The zed is back and it wants to kill.
Everyone in the dark conference room at Tripwire Interactive laughs or oohs as they watch the most complicated gore system in gaming—a gore system they’ve been building for Killing Floor 2 for the past two years—eviscerate the zed in a way they’ve never quite seen before.
Since shipping Red Orchestra 2 in 2011, Tripwire has dedicated itself to the sticky art of digital dismemberment for the sequel to 2009’s co-op wave-based shooter. They want each and every exploded brain, severed leg and bloody gutshot to look unique. Bill Munk, creative director and senior animator at Tripwire, has a saying:
Red Orchestra is realism. Killing Floor is coolism.
“Killing Floor is a simple game,” says Munk. “You have weapons. You see something that looks messed up. And you kill it. You get money for doing it and you buy better weapons. Rinse and repeat. The more enjoyable that small little loop is, the more successful the game is.”
Munk is one of Tripwire’s co-founders. He couldn’t hide his enthusiasm for games if he tried; over dinner, he gushes about how he played a borrowed copy of Metal Gear Solid in his college dorm for an entire weekend, substituting caffeine for sleep. When Munk talks about Killing Floor 2, most of his sentences end with “as sick as possible.”
“This project on an animation end has been a dream come true for me,” he says. “This is the first time we had the budget for me to do mocap for everything and try to make everything look as sick as possible.”
When Munk says everything, he means it. The gun animations are mocapped. Melee is mocapped for first- and third-person perspectives. Killing Floor 2 is still a simple game. But this time, it looks good.
Source: PC Gamer