We've got a real treat for you today - an interview with our sound designer, Kostek Antonowicz (check out his Instagram)! Sound is of great importance to us, so we were looking for someone whose passion would allow us to translate it into the game.
Are you curious about who's behind the magical audio in Shadow of the Road? No need to beat around the bush - allow us to introduce...
Who are you?
Hey, I'm Kostek, I came to Earth to make some noise.
What are your responsibilities in the team working on Shadow of the Road?
I am responsible for audio. I create sound designs and implement them - first into Wwise and later into Unity. Additionally, I collaborate with a musician to create interactive music.
Which software do you use?
I use game engines like Unity or Unreal, and sound middleware like Fmod or Wwise. For sound creation, I use Cubase and Ableton.
How would you define “video game music”?
Video game music is the primary carrier of emotions. It's a universal language that doesn't require translation, allowing creators to shape how players perceive the game world and gameplay at any moment.
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Full video on Kostek's Instagram
What role, in your opinion, does the music play in Shadow of the Road?
The music in Shadow of the Road, in addition to fulfilling basic requirements, places a strong emphasis on interactivity. For example, it incorporates changes in feelings and character of the music based on dialogue choices. It adapts as you explore the game world or encounter danger, creating a dynamic and immersive musical experience.
What guides you when creating the audio layer for Shadow of the Road?
When creating audio for Shadow of the Road, my primary focus is on the concept of immersion. I want players to navigate the game world not only through their eyes, but also through their ears. Sometimes, while walking along the path, you might hear something that catches your attention, or you might get startled by a sound and decide that you're not ready to go in that direction.
I have a deep appreciation for the ambient sounds of nature and previously nonexistent creatures in games, as they provide room for creativity and interpretation. I have the opportunity to work on all of this and more with Another Angle Games.
What sets the sound in Shadow of the Road apart from other games?
At a certain point, the audio in most games can be comparable. In Shadow of the Road, we placed a greater emphasis than usual on environmental sounds that allow for deeper immersion and the ability to differentiate areas. We are giving them a distinct audio character. Forests should feel mysterious, dense, and full of life, while other dimensions should sound demonic and ominous. The goal is to create a unique audio identity for each area.
What is the most challenging aspect of your job?
Finding the balance between individual sounds. On one hand, sounds need to be clear and attention-grabbing, but on the other, there are times when audio should step back and make room for something else. I also strive to find unconventional solutions to make sure that the designs, even if they are abstract, are clear and intuitive for the player.
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Full video on Kostek's Instagram
Which aspect of your work are you most proud of (at this stage)?
The most satisfying moment is when I can experience the game I've worked on from the perspective of a player. I feel proud that everything is cohesive, and I can spend a lot of time in the game just walking around and listening.
Why is it worth waiting for Shadow of the Road?
I had the opportunity to observe the team's dedication and the progress of development - there's no doubt that this title is going to be fantastic. It's a massive game being made with heart.
What is your favorite Yokai?
My favorite Yokai is Kazenbō, because sometimes when I'm hungry, I make a scene just like him. He's not threatening, but people are afraid of him. :D
Thank you!
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https://store.steampowered.com/app/1173980/Shadow_of_the_Road/