It’s been a week since the release of Space Hulk: Tactics. We want to thank you for all your support and feedback. Today, we’d like to share with you a guide to some in-game symbols to give you a quick reference so that you can easily start creating your own strategies as the Terminators or Genestealers.
Please find below the details.
There are 2 factions, and 4 chapters for the Terminator faction.
You can customize your own squad or swarm.
The Terminators have ten weapons available. All of them are for a specific class.
Genestealer Spawn Points
Overwatch is a defense ability that allows the Terminators to react to a Genestealers movement.
The card system allows flexibility in your strategy.
Hello @morgancr, the system requirements are already available on steam page! https://store.steampowered.com/app/399810/Call_of_Cthulhu/
Space Hulk: Tactics released two days ago and we’d like to extend a huge thank to all of you who played and posted feedback about the game. We’re closely monitoring your reports on Steam, the official forums, and social networks to develop patches answering your requests.
You’ll find below our take on the main feedback we’ve received.
We’ve read a lot of comments about the AI of the game, especially in the campaign. Space Hulk: Tactics’ campaigns are meant to slowly introduce players to the mechanics of the game. The first missions feature a less aggressive AI to give time to new commanders to learn to control a terminator squad. The further you progress through the campaign, the more risks the AI take and it quickly starts to become aggressive, as you would expect a Genestealer pack to be.
Of course, it doesn’t mean the AI is perfect and we’re working hard on your reports to improve it. You can count on the Genestealers to be more aggressive in many situations after a first update next week!
The frequency and variety of the mini-skirmishes in the campaigns will also be tweaked as some of you reported some issues on that front.
We’d also like to come back on the mechanics of the macro map in the campaigns as we’ve seen some reports about the map being smaller than expected. The macro map brings an additional layer to the campaign with optional story elements, events, and loot.
The big points in the maps are the main missions and the other nodes are smaller encounters that flesh out your progression through the campaign. Note that a node can also be empty. It’s up to you to either rush from one mission to another by taking the shorter path, or explore the macro map to collect optional bonuses and fight mini skirmishes.
Once you’ve finished a main story mission, it will unlock a new portion of the macro map. The map you see at the end of the first mission is only a small part of the overall map of the Space Hulk you’ll visit. The Blood Angels campaign features 13 main missions, as well as 4 optional ones depending on your choices, and the Genestealers campaign features 9 missions in which you face Ultramarines, Dark Angels and Space Wolves squads.
Some of you posted some requests to speed up the overall pace of the game. We understand your feedback on that side as well and we’re working on various options to increase the pace of the game both in singleplayer and multiplayer. More about that soon as we plan this update in the coming weeks.
Finally, we’re hard at work on the remaining technical issues. We’ve just created a Beta branch for you to test the latest technical improvements. If you’re experiencing crashes in the campaigns, please try our Beta branch and tell us if it’s smoother.
See you soon for more info,
The Space Hulk: Tactics Team
As we near the October 30 release of Call of Cthulhu, we’re taking a closer look at the game’s development through a series of Devblogs, each presented by a different member of Cyanide Studio’s team. Today, we’re joining Lead Sound Designer Swann Ménage as he tells us more about Call of Cthulhu’s sounds.
Hello! I'm Swann, Lead Sound Designer on Call of Cthulhu. I work for a company called G4F, which is specialized in sound design for video games. I'm in charge of the audio identity of the game: sounds, music and voices.
What we wanted to do with Call of Cthulhu is to creep you out with sound. One of the key ways to achieve that is to primarily keep things realistic, so you feel safe - until we add an unnerving sound that frightens you! However, we’ve tried to avoid ‘horror movie scary spooky’ sound design and jumpscares. We aimed at an oppressive atmosphere.
Some parts of the game are really diegetic-based, meaning that everything you hear comes from what you see. We also tried to mess a bit with how music and diegetic sounds blend together. Sometimes, you won't really be able to tell if what you're hearing is something from the environment, a music, or a hallucination. We hope that players will sometimes ask themselves "did I really just hear that?"
Here is an extract of what we created for the Hawkins mansion with regards to sound design.
Some of what you hear is really happening - thunder, wood creaking, rain, etc. - while others are there to freak you out a bit.
This entire soundscape is randomly generated: wood creaks from within the manor, weird unknown sounds spinning around you, lightning strikes with the sounds of thunder following on a random delay, and more.
We tried a lot fun stuff, especially when Pierce is dreaming or gets hallucinations. During one sequence, you'll hear something I named the "Dream Generator". A lot of dream-like sounds spawn randomly all around the player, creating a weird threnody.
During the first dream of Pierce, in the introduction, we tried to play with the boundaries between his dream and reality. If you listen closely, you'll be able to hear a distorted, dreamy, stretched version of what's playing on his radio when he wakes up.
Of course, this has all involved teamwork! Markus Schmidt did the music, G4F helped me, and Renaud was our Foley artist. SIDE, a London-based recording studio, was in charge of recording all voices.
Call of Cthulhu is narrative-driven, meaning pretty big recording sessions as you can imagine. Everything occurs near Boston, and recreating the 1920's Boston accent wasn't easy.
We focused on the acting of our characters and how the fall into madness affects their tones (panic, anger, confusion, etc...)
We also recorded a SoundBank (that we call the "ScreamBank") just for this game: mad wails, sick people, weird women, running madmen, locked prisoners... we recorded all of them.
On my side, I had to integrate all these voices and occasionally modify them. As an example, here is how I did the voice that follows your journey into madness.
We hope you'll enjoy Call of Cthulhu as much as we did developing (and sound designing!) it.
Stay tuned for more Devblogs soon! Call of Cthulhu releases for PlayStation 4, Xbox One and PC on October 30. Digital and retail preorders are available on PC and consoles.