❓- Who are you?
I’m Michael Steinkellner, composer, sound designer, and co-CEO of Fire Totem Games. As a kid, I was fascinated by all kinds of things—chemistry, physics, computers, and of course, video games. My musical journey began at 17 when I picked up the guitar. From there, I played in several bands and learned to master a variety of instruments.
Now, as a father of two, my passion for music remains as strong as ever, but I’ve shifted away from the touring life to spend more time with my family. That change inspired me to teach myself music production, and I eventually found a way to combine my love for music with my passion for video games. Helping game creators bring their worlds to life through sound is incredibly rewarding.
❓- How did you start to work at Fire Totem Games?
When I was learning music production and sound design, I asked a friend how to approach the video game industry. He suggested attending game jams and connecting with the local dev community. At my very first game jam, I met Sebastian, and we collaborated on a project called Bee A Hero.
Afterward, Sebastian kept reaching out for music and sound for his games. I think my reliability, high-quality work, and the easy way we communicated made us a great team. Eventually, Sebastian invited me to join Fire Totem Games as a core member to work on our first commercial project, which back then was just called Project Spider.
❓- What is your role at Fire Totem Games?
I wear many hats! As the second CEO, I manage the business side of things—pitching our game to publishers, managing events, and making strategic decisions alongside Sebastian. I’m also involved in story and dialogue writing, but my favourite role is working on music and sound design. I compose and produce the soundtrack, create sound effects, and handle implementation using a middleware tool called FMOD.
❓- How does your job work?
I’ll focus on the music side. When composing, I start with a plan—usually based on references or a mood we want to capture. This might involve music from other games or a specific emotional tone.
I sketch out a concept on paper: How long should the track be? What instruments will I use? Does the music need to adapt dynamically to gameplay? Then, I experiment. I use Logic Pro to compose, blending loops, virtual instruments, and recordings.
Once I’ve created a draft, I share it with the team for feedback and test it in the game. Hearing it in context helps refine the piece. Next, I expand on the track, creating variations and transitions. Finally, I mix the music to ensure it sounds balanced across different devices, and if it’s dynamic, I program its logic in FMOD.
❓- What part of your job do you enjoy the most?
Creating music and sound effects, without a doubt. It’s not always easy, but when inspiration strikes, there’s nothing more satisfying than crafting something that enhances the game and resonates with players.
❓- What is your favorite video game?
One of the most influential games from my youth is Final Fantasy 7. It’s a masterpiece of storytelling, combat design, and music. I still haven’t played the remake, but it’s high on my list.
Another favourite is 140. It’s a minimalist platformer that integrates electronic music into its design. The soundtrack evolves as you progress, creating an amazing, immersive experience. I highly recommend it.
❓- What is your favorite thing in A Webbing Journey?
It's wholesome nature. From the start, our vision was to create a game that felt warm and inviting. We challenged ourselves to avoid combat mechanics entirely, which led to the idea of building webs as the core feature.
Playing as a spider is a rare experience in games, and we want to make it accessible and endearing, helping players overcome their fears of spiders. Beyond that, the game offers creativity, fun, and an opportunity to improve spatial awareness in a 3D world.