As someone whose only strategy experience being Fire Emblem, this feels like a great foundation to build up. None felt like they were the "definite best", they all had a good balance, which I appreciate as that's hard to do sometimes.
The game-play is a very fun strategy game, and I like all of the units and their roles.Again, a neat detail was the dynamic-ness of the music in places, like for bosses. The music, though minimal (understandably so, it's a small project), was pretty nice and atmospheric for the game's areas.
Props to the little details too, like how chunks of the enemy fly when defeated. It was very good animation quality and the pixel art was fantastic.
" Towards the end of BioShock, Ken demanded that we find the worst TV in the studio. In a 2011 interview with Kill Screen magazine, Pat Balthrop, sound designer, was concerned about the sound mixing in the game and the lack of a standard in the video game industry.
Some parts of the score is described by Schyman as "aleatoric" with some parts of the composition cuing up in response to the player's chance maneuvers and encounters. Other pieces were written for introducing each level and imbuing each with their own distinct soundtrack. Much like a film score, several pieces of music are written specifically for certain scenes like the first reveal of Rapture and the introduction of Dr. Schyman's experience with film scoring lead to natural choice by Ridgway for BioShock for creating an atypical video game soundtrack with emphasis on "No Electronic Music." They had previously worked together for the audio on the retro-inspired 2005 video Destroy All Humans!. Audio director Emily Ridgway worked closely with composer Garry Schyman in developing the score.
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