Soldier of Fortune II: Double Helix (2002) attempted to build on everything from the first game, with more detail to the gore system, a longer game, more weapons (but with the crazier ones removed) and a very advanced graphics engine for its time. It also stood out for being a surprisingly decent FPS even without the gore system, as well as having some interesting ideas like the possibility to customise your difficulty setting ("stock" options were provided that scaled up, but you could also have stuff like very limited inventory space but easy enemies, or vice versa, along with other options like the save system). The storyline and weapons like the microwave gun puts the extent of his guidance under serious dispute, but nobody cared.
The game apparently had the real-life mercenary John Mullins (who also starred in the game) make sure the game was as realistic as possible.
You are given many tools to play with said damage system, from shotguns for full limb chopping action to pistols and other such weapons for those precision groin shots, along with extras like Flamethrowers and Microwave guns (pretty much as insane as it sounds).
The main selling point of the series is the extremely detailed damage system that simulates many areas of bodily damage (and gruesome deaths to go along with it). What happens when you take Video Game Cruelty Potential and Ludicrous Gibs to their extreme. These two tracks will matter as much today as they did at release.A series of First Person Shooters from Activision, most of which were developed by Raven Software. These songs are a continuation of those ideas, and though it seems Ken is either slightly ahead or out of step with his contemporaries, his recordings are never without merit. As well it should please those familiar with Ken?s Direction 12", Echoes, on the Lissy's label from the mid-90?s.
No Pro Tools, multitracking or other funny business were used in the construction of these songs, which lean towards a 70?s Herbie Hancock-fusion vibe as seen through the eyes of DJ Shadow. The songs were constructed in the old school style of sampling (MPC) and feature a collection of sounds old and new. The two tracks "We Live in the Future" and "Soldier of Fortune" were recorded at Ken's home studio and mixed at Soma Studios, both located in Chicago. Gray Market Goods builds off this remix work and is more pastiche in sounds reminiscent of more recent work by acts like Too Many DJs and RJD2. When not recording or engineering, Ken has taken on a number of remix projects for such diverse acts as Tortoise, Coldcut and DJ Food, as well as the more traditionally indie-rock acts of Yo La Tengo, Aerial M and Calexico. Gray Market Goods is a completely different beast altogether, one which falls more in line with Ken's remix work of the last few years than it does his recent music endeavors.
More recently he, along with Chris Brokaw, Curtis Harvey and Douglas McCombs, has helped elevate acoustic instrumental music (taking its cues from Cooder, Kottke and Fahey) back into fashion with Pullman. Shortly after leaving Tortoise he recorded as Directions in Music with Doug Sharin and James Warden.
Ken has played a pivotal roll in the formation and development of many of the bands that helped define a generation of sound. Beginning with the controlled chaos of Bastro and then onto a brief stint in sleepy-time rockers Seam before becoming a founding member of Tortoise. Brown", Ken has been involved in a number of projects that have sewn the patchwork of American independent/undergro und music over the last decade. Credited on many recordings through the years as "Bundy K. Gray Market Goods was musician and engineer Ken Brown.