Whilst conversing about the best methods with which to accompany the plot of the game through audio, Iñaki Dan and I landed on the idea to manipulate the player’s sense of space. Due to the minimal in-game movement and subtle foley cues we had to work with, finding an avenue to focus on seemed the best option. Creating a contrast of space between inside and outside the phonebooth; creating an environment of quieter contemplation within the booth and emphasising the harsh storm on the outside.

Although we talked together as a group a lot about atmos and the sense of space, it was Dan who ended up with the task of actually sculpting the atmos. He did a great job, spatialising the wind with binaural pan pots. He also went and did some evening field recordings inside a phone booth to get the room tone (is a phonebooth a room?) which turned out great and provided a very immersive sound stage.

Overall the immersive and all-encompassing nature of the game turned out to be very successful in my opinion, and it was a good example of having the germ of an idea and then fleshing it out through discussions before actually acting on those decisions in the DAW.