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''Metroid Prime 3: Corruption'' was the first game in the ''Metroid'' series in which the characters utilize full voice acting, though previous games in the series used limited voice acting. However, Samus remains silent for the game as in previous titles (Minus some grunt noises). ''[[Metroid: Other M]]'' would later be the first ''Metroid'' game to give Samus a speaking role, and she would have one line in ''[[Metroid Dread]]''. |
''Metroid Prime 3: Corruption'' was the first game in the ''Metroid'' series in which the characters utilize full voice acting, though previous games in the series used limited voice acting. However, Samus remains silent for the game as in previous titles (Minus some grunt noises). ''[[Metroid: Other M]]'' would later be the first ''Metroid'' game to give Samus a speaking role, and she would have one line in ''[[Metroid Dread]]''. |
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− | In the Japanese version of ''Corruption'', a [[Galactic Federation Bounty Claim Form|questionnaire]] is presented to players when playing a file for the first time to determine the game's difficulty. This was added as a unique feature, whereas Western versions of the game enable direct selection of the difficulty level. |
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''Corruption'' uses an [[interactive music system]]. In designing the sound for the game, [[Scott Petersen]] identified the aesthetic and sonic palette Retro Studios was seeking as "Sci-fu": highly-stylized and synthetic. This meant that all such sounds were required to have little to no midrange content, so that world sounds would mostly be highs and lows, with the middle range being left for creature and weapon sounds, and music. [[Kenji Yamamoto]] also sought to stick to the "Metroid music creation theory" he had established with the previous two games.<ref>https://web.archive.org/web/20090228072301/http://www.music4games.net/Features_Display.aspx?id=174</ref><ref>http://www.originalsoundversion.com/a-blast-from-the-past-metroid-prime-3-corruption-with-kenji-yamamoto-and-retro-studios/</ref> |
''Corruption'' uses an [[interactive music system]]. In designing the sound for the game, [[Scott Petersen]] identified the aesthetic and sonic palette Retro Studios was seeking as "Sci-fu": highly-stylized and synthetic. This meant that all such sounds were required to have little to no midrange content, so that world sounds would mostly be highs and lows, with the middle range being left for creature and weapon sounds, and music. [[Kenji Yamamoto]] also sought to stick to the "Metroid music creation theory" he had established with the previous two games.<ref>https://web.archive.org/web/20090228072301/http://www.music4games.net/Features_Display.aspx?id=174</ref><ref>http://www.originalsoundversion.com/a-blast-from-the-past-metroid-prime-3-corruption-with-kenji-yamamoto-and-retro-studios/</ref> |