Designing the sound of the impossible
Robin Arnott’s soundscapes push the edges of what nothing sounds like. We dig deeper into his design philosophy and how making music is as crucial to feel of Antichamber as the game itself.
Robin Arnott’s soundscapes push the edges of what nothing sounds like. We dig deeper into his design philosophy and how making music is as crucial to feel of Antichamber as the game itself.
The first time I played Dead Space, I couldn’t sleep. I saw Necromorphs crawling on the ceiling above my bed and had to leave a night light on for safety and sanity. The rest of my play sessions were in the middle of the day, where those things couldn’t find me. My terror stemmed from some ineffable quality of the game that I couldn’t explain. It wasn’t the slow pacing or the hideous creatures. It was something else, some sense of forboding of something somewhere just out there. Well, I recently figured out why. As part of our ongoing series with Creators…