Lost Planet 2 Pc English Language Pa
Curtis Boykins
my theory is that Aurora will be on vol.2, maybe associated to an instrumental called MOTS III... my guess is that there will be new songs for the same planets but instead of the neon moons we will have this little blue planet
ok this is completely pulled out of thin air, but can anyone who has the CD and a good CD player or a laptop with a CD drive (does that still exist) and the right software check if there's a hidden track before track 1? As in, a track 0. Play track 1 and keep pressing rewind immediately.
the guy that worked with Coldplay for the emoji symbols answered questions using emojis... he symbolized aurora coming out of a whale ? Since Calypso is the water planet and in the trailer Aurora is just next to it, maybe we will know more when Let Someone go will be released as next single ... ??
They made sure to single out that color, it could be thematically worked well with the song but it also could be a nod to Aurora. Aurora is a blue planet. The only issue I have is the song's use of satellite term.
. . . a planet is a body orbiting a star that is big enough to be rounded by its gravity, not massive to cause a thermonuclear reaction. A satellite is an object in space that orbits or circles around a larger object.
So i'm definitely thinking it was supposed to be on MOTS vol1 but they removed it from the tracklist at the last minute. It's possible that at the moment they are seriously considering putting it on vol2.
Another theory I've seen online is that this could be another collaboration with BTS, but this time with either Chris or Coldplay featuring on a BTS song. This theory is supported by the fact that, apparently, the deal with BTS collaborations usually involves 2 songs. Another element to support that theory would be the whale, which isseen as a reference to BTS.
It doesn't make any sense not releasing the Aurora song on Vol I. since the album cover and Overtura feature it. Plus, Phil was the one who pointed out the planet's existence for us, no one had asked him about it before, so they must release it asap. I don't care if it is an ambient music, instrumental, whatever it is... Just release it, please lol
It would be neat if they released the Aurora song as first as a free music-download on the official Coldplay website for like 2 days only ( a span of 48 hours ) then afterwards have it available to buy for purchase on music streaming platforms.
"There is a color differential with altitude; at high altitudes oxygen red dominates, then oxygen green and nitrogen blue/purple/red, then finally nitrogen blue/purple/red when collisions prevent oxygen from emitting anything. Green is the most common color. Then comes pink, a mixture of light green and red, followed by pure red, then yellow (a mixture of red and green), and finally, pure blue".
"Both Jupiter and Saturn have magnetic fields that are stronger than Earth's (Jupiter's equatorial field strength is 4.3 Gauss, compared to 0.3 Gauss for Earth), and both have extensive radiation belts. Auroras have been observed on both gas planets, most clearly using the Hubble Space Telescope, and the Cassini and Galileo spacecraft, as well as on Uranus and Neptune".
Aurora in some languages is also the condition of sunrays in the moment immediately before or after the dawn, it deals with the end of darkness (don't ask for details, I can't explain it better as I'm not an expert). I don't know if this makes any sense, but I haven't thought about this before reading the last post
The Lost Planet series arguably isn't as well known as some of Capcom's earlier successes but has attracted a loyal fanbase nonetheless for its memorable setting and its third-person action-shooter mechanics. In the years since the first game - released in 2006 - it has even spawned a couple of spin-offs, with the most notable of these being 2012's E.X. Troopers for the 3DS and PS3.
E.X. Troopers was released exclusively in Japan back in 2012 and 2013; that's despite Capcom filing U.S. and European trademarks in 2011. As a result of this, western players had to resort to importing the game and trying to overcome the language barrier if they wanted to enjoy it for themselves.
Now, though, after 7 years of development, a dedicated team of fan translators has finally released English-language patches for the spin-off, letting a wider audience of players enjoy the game on both systems.
The people responsible for the project include the project coordinator Etokapa, localizer Phenomenal Flea, and the programmer IcySon55. There's also an extensive list of special thanks available on the Fan Translators International webpage, which thanks those involved with support, playtesting, and reverse-engineering efforts.
According to the IcySon55's post on the Fan Translators website, the translation faced many hurdles over the years with the group having to reverse-engineer the game's files, overcome the engine's limitations, translate over 17,000 individual Japanese lines, and replace hundreds of speech bubbles in pre-rendered videos. To add to this, it had to do this across two systems simultaneously, which sounds like a truly monumental task for the team to undertake.
In case you're unfamiliar, E.X. Troopers features a much more cel-shaded, anime-esque aesthetic than any of its predecessors. This extends to the characters too, who exhibit more exaggerated, larger-than-life personalities than any mainline counterparts. Like the games that preceded it, including Lost Planet and Lost Planet 2, the story again takes place on the hostile EDN III, an ice-age planet that humans attempted to colonize after Earth had become too uninhabitable.
"It was Eff Eff Six," Szymanski answers without missing a beat, no clarification needed. In 1994, a buddy's traveling father brought home a Super Famicom and a bunch of Japanese games, Final Fantasy VI among them.
Szymanski had been intrigued by Japanese game development ever since he'd beaten NES games years prior: "The credits would roll with fake names, but sometimes instead, you'd see these names jumbled with symbols. I remember an older kid telling me, those guys are all Japanese. I'm like, what?" Szymanski laughs. "You don't understand the concept of nationalities or anything like that, and you're thinking to yourself, 'this is made by someone who speaks another language and is very far away.'"
Throughout the late '80s and early '90s, American kids were at the mercy of giant Japanese developers, waiting for overseas games to eventually make their way stateside. Magazines like Nintendo Power commonly gushed about weird games that Westerners might never see. 1992's Final Fantasy V proved to be one of those. Now, Szymanski had Final Fantasy VI.
"That was the game that set off the idea that, 'OK, I have to learn this language and experience what's going on. I may never have a chance to play this. And even if I do, I may have to wait a couple of years for it. I don't want to wait for it!'"
For the past few years, as the West has outgrown Japan in game consumption, more Japanese game companies are following suit, hiring Western firms or focusing squarely on its shooter-heavy sales charts.
Lost Planet 3 is a particularly interesting case study in East-meets-West game design. Language and culture barriers are obstacle enough, but theirs is an attempt at double-redemption. Capcom had a critical failure in Lost Planet 2, while Spark's last flop, the first-person shooter Legendary, was followed by canceled contracts and unfinished games.
A backhanded compliment if there ever was one, but that approach enabled Oguro and Szymanski to have a "candid and frank" conversation about another Lost Planet release, which had entered the concept phase before LP2 had reached store shelves. Szymanski recalls specifically calling out the stun-lock issue that drove Western players nuts, and the resulting discussion about that and other design decisions proved to be an "epiphany" moment on both sides, which paved the way to shaking up the series.
The game changed when it shifted to the spanking-new Xbox 360. So that they could squeeze the most out of unfamiliar hardware, and launch "one of the first shooters" on the platform, the game became "an arcade, level-based experience," Szymanski says.
Technically, Szymanski never comes out and explains exactly why Capcom had to hire a Western developer to make Lost Planet 3. Nobody claims that Capcom's internal resources were stretched too thin, nor has anybody outright taken credit for setting sail across the Pacific or examining sales charts and data about American developers.
"In early stages, our fear was that we'd make compromises, they'd make compromises, and something in the middle would be something that nobody really likes," Spark lead designer Matt Sophos says. "After that, we realized that they came to us for a reason. We were afforded the freedom to spin [Lost Planet 3] in a Western-centered way."
When asked just why Capcom picked Spark Unlimited for the job, Szymanski launches a pre-emptive strike: "You don't have to mince words. We can take it. 'Why would they choose the developer of Legendary and Turning Point?' I get it!"
The Spark games in question had first-person gunplay in common, but also dismal sales. Both games launched in 2008 with a thud, and the next year saw Spark try to right itself in a particularly pre-Kickstarter way. After the company sent a few game idea pitches to publishers, one seemed to stick, and a new team formed to pound out a prototype.
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