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Broken Sword video game
Broken Sword game
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Broken Sword

The first sequel, Broken Sword II: The Smoking Mirror, was released a year later, and was followed by three more sequels: Broken Sword: The Sleeping Dragon in 2003, Broken Sword: The Angel of Death in 2006, and Broken Sword 5: The Serpent's Curse in 2013. This was mainly due to the switch to 3D graphics...

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The first sequel, Broken Sword II: The Smoking Mirror, was released a year later, and was followed by three more sequels: Broken Sword: The Sleeping Dragon in 2003, Broken Sword: The Angel of Death in 2006, and Broken Sword 5: The Serpent's Curse in 2013.
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The first sequel, Broken Sword II: The Smoking Mirror, was released a year later, and was followed by three more sequels: Broken Sword: The Sleeping Dragon in 2003, Broken Sword: The Angel of Death in 2006, and Broken Sword 5: The Serpent's Curse in 2013. This was mainly due to the switch to 3D graphics and that the third game left the "point and click" interface to a more action oriented gameplay. In 2007, it was revealed that a Broken Sword film was in the works and would be produced by CastleBright studios, although there has been no sign of development for many years, which may indicate that the project has been abandoned. Video game designer, writer and director Charles Cecil began working on the scenario for Broken Sword, Revolution Software's third game following Lure of the Temptress and Beneath a Steel Sky , in 1992, which would be set in Paris with a Knights Templar storyline. After visiting Paris and reading The Holy Blood and the Holy Grail, Cecil was certain the Templars would be a good subject for a game. Cecil, Dave Cummins and Jonathan L. The background layouts were produced in a similar way, also starting out as pencil designs. They were all drawn by Eoghan Cahill and Neil Breen, who both previously worked on the original Broken Sword game, while they were now working together with Amy Berenz and Lee Taylor. Advances in hardware plus the changes in methodology allowed the game to move to 24-bit color. To make the game feel like a film, Revolution brought in a cinematic consultant, Bob Keen, who made sure the game conveyed emotions and atmospheres appropriate for each scene. The music in the game was composed by Ben McCullough.

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