David Mervik

you know, it could pull out when we needed to, pull in when we needed it to, it could go wherever we wanted it to, to serve the scene that we were creating while always keeping the players on screen at all times. And when we got that test back, we were like, we've got it, that's it now, that's the game. And so that was like a real, real pivotal moment.

The gameplay itself, you know, you've got to be really careful in terms of like, co-op gameplay when you're creating horror. It's not because we played in the early days. We, we, it takes two came out, you know, and we all played that, you know, with big fans of Joseph Farris stuff in Sweden.

The gameplay itself, you know, you've got to be really careful in terms of like, co-op gameplay when you're creating horror. It's not because we played in the early days. We, we, it takes two came out, you know, and we all played that, you know, with big fans of Joseph Farris stuff in Sweden.

The gameplay itself, you know, you've got to be really careful in terms of like, co-op gameplay when you're creating horror. It's not because we played in the early days. We, we, it takes two came out, you know, and we all played that, you know, with big fans of Joseph Farris stuff in Sweden.

And then it was great, but it was also, it would have been almost the antithesis of what we're doing because, um, that so much fun doesn't belong in this kind of... Exactly.

And then it was great, but it was also, it would have been almost the antithesis of what we're doing because, um, that so much fun doesn't belong in this kind of... Exactly.

And then it was great, but it was also, it would have been almost the antithesis of what we're doing because, um, that so much fun doesn't belong in this kind of... Exactly.

So it becomes about just going through this together. There are obviously things that you have to do to progress forwards, co-op stuff. But it's not this kind of novelty, you know, I've got a bow, you've got an arrow. I've got this, you've got that. Because again, it becomes very gamey. And I love those kind of games. But for this, it was more about like, right, we're in a boat. I'll steer it.

So it becomes about just going through this together. There are obviously things that you have to do to progress forwards, co-op stuff. But it's not this kind of novelty, you know, I've got a bow, you've got an arrow. I've got this, you've got that. Because again, it becomes very gamey. And I love those kind of games. But for this, it was more about like, right, we're in a boat. I'll steer it.

So it becomes about just going through this together. There are obviously things that you have to do to progress forwards, co-op stuff. But it's not this kind of novelty, you know, I've got a bow, you've got an arrow. I've got this, you've got that. Because again, it becomes very gamey. And I love those kind of games. But for this, it was more about like, right, we're in a boat. I'll steer it.

You look at what's coming, you know, look out for the danger with the lights. It's kind of more about that kind of cooperating to just stay alive, really. So that was kind of where we focused in on.

You look at what's coming, you know, look out for the danger with the lights. It's kind of more about that kind of cooperating to just stay alive, really. So that was kind of where we focused in on.

You look at what's coming, you know, look out for the danger with the lights. It's kind of more about that kind of cooperating to just stay alive, really. So that was kind of where we focused in on.

Yeah, I mean, audio always has to trail. It puts a lot of pressure on them. I mean, we don't get nothing. Because there's some stuff that you know, like how footsteps are going to sound and your effort sounds are going to sound and all that sort of stuff. So you get the basics, like, oh, when the door opens, it's going to sound like this. So you get a feeling for where you are.

Yeah, I mean, audio always has to trail. It puts a lot of pressure on them. I mean, we don't get nothing. Because there's some stuff that you know, like how footsteps are going to sound and your effort sounds are going to sound and all that sort of stuff. So you get the basics, like, oh, when the door opens, it's going to sound like this. So you get a feeling for where you are.

Yeah, I mean, audio always has to trail. It puts a lot of pressure on them. I mean, we don't get nothing. Because there's some stuff that you know, like how footsteps are going to sound and your effort sounds are going to sound and all that sort of stuff. So you get the basics, like, oh, when the door opens, it's going to sound like this. So you get a feeling for where you are.

But because we change so much and tweak that experience... Even if they do something late on, which they always have to, the thing has to exist first, and then they do sound design on it and compose music for it. They will do that, but it's...

But because we change so much and tweak that experience... Even if they do something late on, which they always have to, the thing has to exist first, and then they do sound design on it and compose music for it. They will do that, but it's...

But because we change so much and tweak that experience... Even if they do something late on, which they always have to, the thing has to exist first, and then they do sound design on it and compose music for it. They will do that, but it's...

It's probably an insufferable part of a composer and a sound designer's job where you're like, hey, we made these changes, by the way, because the game wasn't playing well enough or people weren't scared enough. Here you go. So now you've got to change everything. And I laugh about it. I don't take it that lightly, but it is like that.