This story didn’t start with a cursor on a blank screen; it started with the heavy, rhythmic thrum of a 100-ton bipedal tank walking across a low-res battlefield.
As I prepare to launch “Memories of Apophis” on March 19th, I want to take a moment to talk about the history of this project—why it exists, where it came from, and the “big robot” DNA that makes it pulse.
The Blueprint: From Mercenaries to the Frontier
It’s no secret that Fall of the Titans is an homage to the giants that came before it. My love for mechs was forged in the cockpit of Mechwarrior: Mercenaries. Back then, the graphics were a far cry from today’s photorealistic standards, but the mood was unmistakable. You weren’t just playing a game; you were piloting a force of nature. When Mechcommander arrived from FASA, the tactical “click” of RTS and Mechs became permanent.
But to my honest opinion, Titanfall I and II are the best FPS games ever made. The combination of speed, agility, and the sheer power of a Titan is something I haven’t seen replicated anywhere.
I still remember the nights I spent living in Poland, venturing to the “Frontier” every night because there wasn’t much else to do. I fell in love with those cinematic intros—the feeling that you weren’t just a player, but part of a massive, unfolding universe. I’m still a Team Grapple Hook, CAR, and Ronin pilot at heart.
The Spark: The “Last Ronin” Experiment
The actual birth of Fall of the Titans I happened by accident. I found some voice samples from Titanfall II and started messing around with them in my DAW, Reason. At some point, the song “Last Ronin” started to breathe. I realized that listening to the music actually made me feel like I was inside the game.
That’s when the vision hit me: Is it possible to describe a story by combining voice acting, an original narrative, and music?
The feedback on the first album was mixed in the best way possible. Some said they couldn’t listen to it as a “standard” music album, while others described it as an immersive audiobook where every element tells a story. I think that ambiguity is a great place to be. It’s not easy to define, and it’s definitely not easy to make—especially when you’re pushing the boundaries of what AI and human creativity can do together.
2026: The Next Level
Here we are now, standing at the edge of Act I: The Sins of Our Fathers. While the first album relied heavily on those initial voice samples, this new chapter is a different beast.
We pick up exactly where we left off: William Falck, alongside his Ghost Squad, is drifting toward Lord Commander Ares’ flagship as his shields fail under turbolaser fire. While I’m not relying as much on voice acting this time around, I’m not ruling it out—before the full album drops in December, I might just bring more of those voices back to life.
One-Man Show
This is a passion project. There’s no massive organization behind me—just a one-man show fueled by the same excitement I had as a 10-year-old falling in love with big robots.
Thanks for being here and for supporting the journey. We go to the frontier on March 19th.
Millennium Falck
