As a seasoned game developer with decades of experience under my belt, I must say that the interview with the team behind Deepest Fear was nothing short of enlightening. The passion and dedication these developers have for their craft is truly inspiring. Their journey, filled with trials and tribulations, mirrors the very games they create – a labyrinth of challenges and victories.
Variable State has recently announced their upcoming game titled Deepest Fear, which blends retro-futuristic elements with survival horror. This title promises Metroidvania-style exploration, complex problem-solving akin to an immersive sim, and a significant dose of fear of the deep sea (thalassophobia). The game is set in a vast underwater facility, where players find themselves battling for survival while uncovering the station’s mysteries. They must also confront terrifying creatures that could emerge from any water source at any moment. A key aspect of the gameplay involves a sophisticated water simulation, used extensively to create problem-solving challenges. Players need to construct dams and control water flow in order to solve puzzles and keep the monstrous creatures at bay. As players progress, they will unlock new areas for exploration in a Metroidvania style, encouraging them to revisit earlier locations for a more detailed survival horror experience.
In a chat with Game Rant, Lyndon Holland (game director and co-founder) along with Terry Kenny (co-founder and animator), talked about Deepest Fear’s intriguing mix of exploration, survival, and puzzles based on fluid dynamics. They shared their thoughts on how the game aims to scare players, how the interaction between creatures and fluid simulation leads to nerve-wracking situations, and how unexpected occurrences ensure that every playthrough is distinct. For your convenience, this interview has been condensed for conciseness and clarity.
The Classic Horror Films That Inspired Deepest Fear
Q: Can you lay out the broad strokes of the setting and what inspired the story?
In our creative process, we were determined to craft a chilling horror game with survival action elements. We aimed for unique, captivating ideas that haven’t been fully explored in gaming yet. Additionally, we pondered over how the environment could influence the types of creatures inhabiting it. Our team has had “The Abyss” in mind during past endeavors, particularly for shaping the character dynamics between our primary characters, a husband and wife.
We found that to be a very satisfying character development in an otherwise mostly action thriller, so the idea then was that we could set it underwater in a facility that’s sinking and taking on water.
The initial thought evolved into considering the types of creatures inhabiting this world. Perhaps they could originate from the water. Essentially, we’re starting with an environment and then envisioning these organisms emerging from it. In terms of the narrative, we aim to create something deeper than a sequence of events—we want to infuse the story with a recurring theme that binds it together.
The character finds themselves unexpectedly in a circumstance that requires immediate learning about someone from their past, whom they’ve known as somewhat peculiar but never fully explored. This person, who has been a part of their history, is now bringing forth hidden truths and long-forgotten memories. The character must now face these buried secrets and confront the unresolved issues that have lingered in the recesses of their mind. They’re compelled to tackle them head-on.
The story revolves around unearthing a hidden truth submerged in the ocean depths – a revelation about an individual who you believed was well-known, but perhaps there’s more to discover than initially thought.
Kenny: I believe it’s a well-done summary. However, let me point out that when dealing with aspects concerning this individual, it becomes inevitable to address them due to the specific circumstances and the environment you’re in.
Question: In Deepest Fear, water seems to have a distinctive part due to its fluid dynamics and the emergence of adversaries from it. Could you discuss the development process behind this concept? How did concentrating on water influence the game’s evolution?
As a passionate gamer, I can say that the allure of creating this project stemmed from a unique perspective: we hadn’t quite seen anything like it before. We dabbled with water system prototypes in our early phases, and the thought of merging a Dead Space or Resident Evil-style game within such an environment seemed incredibly exciting to us.>
We’re confident that the aspect of Deepest Fear will be an appealing feature for players. The underwater exploration, coupled with the suspense of possible drowning, reminds me of my favorite game, Subnautica. In this game, there are instances where you swim into shipwrecks and question if you can escape in time. This element is not fully demonstrated in the demo, but I believe it could enhance the survival aspect of a game like ours.
Kenny: I believe we’ve found our mark. You see, in places with water, danger lurks. There are numerous spots where the ground is wet, there are pools of water and sinks, and it seems like the place is always leaking. This setup provides us with a versatile means of introducing threats, whether they’re enemies, the risk of drowning, or sudden environmental changes. A location that was straightforward to traverse when it was dry becomes much more challenging when it’s flooded. It simply adds a lot of variety to the environment and gameplay.
As a gamer diving headfirst into the world of “Deepest Fear”, let me share some insights on how the Metroidvania-style exploration unfolds. The game design cleverly weaves in elements where I, as the player, can explore interconnected regions, gain new abilities to access previously inaccessible areas, and gradually uncover the game’s secrets. It’s like being a detective in a vast, intricate maze, piecing together clues and overcoming challenges at my own pace. Each discovery makes me feel more empowered and immersed in this captivating universe.
Holland: What attracts me to the genre of Metroidvania is its focus on allowing players to extensively explore an environment, rather than quickly moving through an area without returning. It offers the opportunity to revisit areas, encounter a locked door, and ponder, “Perhaps I can unlock that later.” This exploratory element forms the core of Metroidvania games.
In survival horror games, locations previously inaccessible – perhaps due to lack of swimming abilities – now hold intrigue. With the addition of tools like breathalyzers or O2 tank systems, you can venture to unexplored destinations by swimming. Re-visiting areas and uncovering hidden secrets makes exploration feel exciting and rewarding.
The lockdowns add another layer to the gameplay, making it even more engaging. The unpredictability of an area suddenly going into lockdown during gameplay increases the fun factor. This way, every playthrough feels unique since you might not encounter the same lockdown in a specific region on your first try, or the placement of puddles and enemy spawns may vary.
Question: How does Deepest Fear incorporate elements from the immersive sim genre, and can you give some imaginative solutions players might come up with to overcome challenges? Is it likely that resourceful players could exploit the game mechanics in unintended ways, as is common in immersive sims?
Holland: Sometimes, there are multiple methods to solve a problem. Let me give you an illustration: Imagine you have an electrical box that’s been damaged by water. You could fix the box itself, or create a detour by rerouting the wiring, or even build a makeshift dam to drain the water temporarily. In this way, you can repair the box before the water returns and the door can open again. This is just one scenario.
As an enthusiast, I’ve always admired games that allow you to transform weapons into tools for exploration, just like in the captivating game Prey, where you can gather raw materials and create various useful items. What I find intriguing is the concept we’re exploring here, not only about doubling up our existing weapons as tools but also enhancing the diversity of collectibles by injecting more dynamism into them.
Question: In the context of a horror video game, what methods do you employ to instill fear in players? Which elements do you consider crucial to strike the right balance and make the game genuinely terrifying?
Kenny:That’s an excellent query! It appears that through our own experiments and observing others, we’ve found that it’s usually not just one factor, but a mix of elements that make something truly effective. We could spend endless hours perfecting a creature’s appearance, believing it looks fantastic or frightening based on a single image. However, its true impact only becomes apparent when it’s in motion, placed in different contexts, and given sound. For instance, viewing it in a vast open space versus a confined area where the doors are sealed shut behind you, makes a significant difference.
It turns out that adding jump-scare moments to the game is quite straightforward, and we’re comfortable with that choice. I believe these elements serve to keep players on edge, always anticipating some unexpected horror. However, our main focus has been to create an atmosphere where the setting and dialogue consistently convey a feeling of impending danger or unease, regardless of whether something truly frightening occurs.
Experimenting with creating an eerie atmosphere has been a process of trial and error. For example, when we first assembled the rec room, there wasn’t much detail, but it still managed to be frightening when the water flooded in and creatures emerged. As we started adding elements like the cinema room, you could almost picture the staff enjoying themselves before things took a turn for the worse. If you take a closer look at the room now, you’ll notice remnants of a birthday party, which gives the impression that something truly tragic happened to these people.
In our game, there are numerous adjustments and settings to fine-tune to maintain the desired level of tension. It’s been truly rewarding to let others experience it. We capture videos of newcomers playing and observe their responses. During testing, we found instances where we thought, “This will definitely hook them,” and it did. For example, when we initially incorporated water, building up the suspense with “stay out of the water, there are creatures in there,” some players were genuinely scared. We watched as players swam through the water, emerging at the other end saying, “Please don’t make me do that again.
Frankly speaking, we didn’t go into this with a preconceived notion of how to instill fear in others. Instead, it’s been an experimentation process, testing out various concepts and observing the results. We’ve been taken aback on numerous occasions by what does and doesn’t scare people.
It must feel special to be working on a horror game and see players actually become scared.
Kenny: I’m afraid my words might come off as harsh. However, let me clarify that I have a strong affinity for horror movies and games. The thrill they provide is quite something. There’s this built-up tension that gets released in those sudden surprises, if you know what I mean?
Absolutely! It’s thrilling to witness someone finding joy in a scary situation, especially when they initially jump or are startled, then bravely confront their fear. That’s what makes horror so intriguing; you can encounter things that you would typically steer clear of in real life. In a game, though, you’re often compelled to face these fears, and you get to do it within a secure setting where overcoming them leaves you feeling triumphant.
In relation to the tension, can you tell me about your strategy for handling weapons and conflicts within Deepest Fear? Given that it’s a horror game, do you think giving players too much fighting power might diminish the emotional impact?
Holland: One challenging aspect of finding balance is ensuring that the player feels weakened, yet they truly are. They aren’t like He-Man who overpowers every situation without any consequences. However, the game can’t grind to a halt if the player runs out of ammo.
In the demo, we provided slightly more ammunition than what’s anticipated for the full game, primarily due to time limitations during development. The demo follows a more structured path compared to the game’s intended design at launch. I anticipate that the final version will be much stricter with ammo distribution because there will usually be alternative escape routes or methods not requiring ammunition. For instance, in the fight within the rec room, it’s possible to avoid engaging with a gun; you can still advance even if you run out of ammo.
To quickly showcase the game, we constructed a demo. However, for those with limited playing time, it may be difficult for them to grasp its essence within such constraints. I believe that with extended gameplay, the overall experience could become significantly more engaging and demanding.
Q: What would you say are Deepest Fear’s most unique qualities? What’s your “elevator pitch?”
As a gamer, I can tell you that my initial idea for this game has evolved quite a bit. You see, crafting an elevator pitch is like setting out on a journey, but as I delve deeper into the game development process, I find myself drawing inspiration from countless sources along the way.
Mike urgently advises, “Keep clear of the water! Exit the water immediately,” in a worried tone inside the elevator. I trust this warning will be effective.
Holland: It seems there’s an apprehension about diving into depths – once submerged, you’re at a disadvantage as your speed is significantly reduced compared to when you’re walking on land.
In simpler terms, the elevator pitch is like a blend of the suspense and terror found in games such as Dead Space and Resident Evil, but with a twist of underwater exploration similar to The Abyss. It offers the thrilling survival horror gameplay elements you’re accustomed to, but this time, it’s all set within a watery environment.
Q: About the game’s overall theme: What led you to go with an 80s retro-future style?
Kenny noted that The Abyss had a significant impact on us. Interestingly, it was something we found ourselves drawn to, even before Deepest Fear. As Lyndon mentioned, its appeal lies in being an exceptional story about characters who are grappling with the dissolution of their relationship and finding themselves in a situation where they must rely on each other again to survive. This dynamic sheds light on their feelings towards each other, particularly when all else is taken away and they only have survival to focus on. Do they trust each other now? And does this mutual trust eventually enhance not just their lives but also those of everyone else aboard the ship or base?
That was a big deal from a story point of view.
We greatly appreciate the eerie vibe and tense atmosphere found in films such as “The Thing” and other productions by John Carpenter. Admittedly, we might share a common admiration, which sometimes makes us apprehensive about sounding too cliché. However, these movies effectively portray a sense of solitude and entrapment, whether it’s the characters being stranded in a remote location like in “The Thing,” or being confined within a base as in “Assault on Precinct 13.” This feeling is also present in other films such as “Halloween” and “The Fog,” where desolate settings create an enclosed, eerie environment, such as the opening scenes of “The Fog,” where it seems like a quiet town is being watched over by something sinister.
In creating “Deepest Fear”, we were determined to convey the right atmosphere, as we’re huge admirers of that particular film style.
Beyond this, the foundation is intended to embody a cutting-edge, military base from the 80s era. From a design perspective, many consumer products from that time period are still identifiable today, such as Sony Walkmans. We aimed to recreate this sensation with touchscreens, switches, dials, and buttons, all giving off a nostalgic atmosphere. Artistically, we were striving for this specific feel. It was natural for us to achieve this, given the team’s enthusiasm for those films and their distinctive style.
Holland:At this moment, constructing such an underwater structure as large as a lunar base is beyond our capabilities. The concept is reminiscent of the Apple TV series ‘For All Mankind’, where it’s imagined what would happen if the space race hadn’t ended, if Russia had landed on the moon first, and the competition continued. Eventually, they reach Mars or perhaps even the moon, establishing a base there in the 1980s.
You notice that particular vision of the future, presented with a retro aesthetic – often referred to as “cassette futurism.” I believe there’s a sense of nostalgia attached to it. For many of us, it serves as an inspiration, a longing to be immersed in that era. Since we aspire to be part of that world, we assume others might feel the same way too.
How Variable State Crafted Deepest Fear’s Horror Atmosphere
Question: How did you end up composing for Deepest Fear’s soundtrack? Could you explain your objectives regarding the overall music and ambiance of the game?
Holland: Compared to the entire game, this part is quite minor – it lasts about half an hour, leaving limited time to fully develop all main themes. Typically, I’d focus on major themes, compose those first, and then create other pieces based on them. However, I chose a different method here, responding to the energy needed at each moment instead.
I was really inspired by James Horner’s score forAliens, just how ferocious and wild it is, and avant-garde at the time—I still think it is, to be honest. I love that stuff, and it was an opportunity I hadn’t really gotten to write music like that before, so there was a personal ambition to write music in that mold.I wish I had more to say about it. I played the demo, saw where all the moments where we needed music, and I suppose, drew a line on a graph of what the intensity needed to be at these different moments. Based on that, I was able to determine what energy each cue should have at the different points in the timeline of the game.
Q: Did you feel that it was different from your past music work? Was there a learning curve?
Holland: I agree with that. To be honest, I haven’t worked on music like this much previously, so it was certainly a challenge. Yet, it turned out to be quite enjoyable. It felt invigorating to venture into something new and different. Previously, I’ve been focusing more on emotional, melodic pieces. However, creating something ominous and atmospheric for the game was an exciting experience.
Question: In terms of visual design, Terry, I understand that you often collaborate on Deepest Fear’s animation creations. Could you share some insights about the team’s methods when it comes to animating these beasts?
Kenny: In a way, the character design and animation have quite a bit in common. How do these characters appear? That’s an easy question, but with animation, it’s about the basics of motion. We aimed to make them move in an unsettling manner, almost contrary to their physical structure. They are primarily tall humanoids with two legs, two arms, and a head, so we all understand how they should move using those limbs. However, what we sought was something that would give off a creepy vibe. We didn’t want them to resemble zombies, though. Initially, we attempted to make them appear eerie, but it began to look like typical zombie movements, which is fine if that’s your goal, but we were after something more engaging.
In the game, the monsters switch between two modes: one where they stand upright, enabling them to attack you at eye level, and another where they hunch over into uncomfortable postures. During filming, we captured our own actions as a reference, yet some maneuvers were simply too challenging to replicate. To gain insight, we studied horror films, particularly Japanese horror, focusing on their unique unsettling movements. Additionally, we examined contortionists and gymnasts for inspiration, aiming to innovate these movements within the game characters.
In video game animation, while some aspects function well, others may not. The difficulty lies in ensuring smooth transitions between animations, such as moving from standing to crawling or other positions. This requires extensive trial and error to determine what looks natural and what might appear eerie, though sometimes the eerie can turn out to be comical. This was an experience we encountered with some of our own animations, but it’s been a thrilling journey. It pushes us to explore creatively in ways that are not necessary in simpler action games where solutions are clearer. In horror games, however, the possibilities are vastly open-ended, which is what makes it so exhilarating.
Watching contortionists could be an inspiring concept for creating animated creatures. I have the utmost admiration for their athletic abilities, yet sometimes, their movements can appear slightly unsettling or eerie.
Kenny: I believe it’s crucial to keep things somewhat familiar, whether in character design or actions, as going too far from recognizable elements could make it less relatable. It should remain at the border of being identifiable and understandable. There’s an animation we didn’t display in the demo that showcases one of the creatures crawling over a sink. I think Noah, one of our animators, drew inspiration from observing a cockroach emerge from a drain and its swift movement to find a suitable spot. Despite being a large character with limbs, when you watch the animation and consider it like a cockroach, it becomes clear and even feels authentic.
Question: Has the development of Deepest Fear been influenced by any genetic material or lessons from previous games such as Virginia, Last Stop, and POLARIS?
Holland: In our narrative style, both in Virginia and Last Stop, we’ve continued to emphasize characters over plot. This has been the core of our previous works. We don’t ask, “What is the story?” but rather, “Who is the character? What will they discover? Why is this character in this tale? How do they evolve by the end?” I believe this focus on character development is deeply ingrained in us.
Question: Do you remember instances where player feedback significantly influenced changes or improvements?
Kenny: We placed a traditional key-locked locker in one of our office areas, thinking it would be crystal clear for players. However, we’re unsure if we made the target area for shooting the lock too precise and narrow or simply assumed it was self-explanatory. Given our certainty, we didn’t make any adjustments. Later, when we watched gameplay videos, everyone was utterly puzzled about how to interact with it. Details are hazy, but we all had a moment of realization that we should have done better in retrospect.
Holland: Initially, some players attempted to fire at an object without success, assuming the game wouldn’t allow such action. Others simply overlooked it entirely. To make it more apparent, we incorporated a highlighting effect on the lock itself, which periodically flashes to signify its interactive nature. Additionally, we included hints for the player’s convenience. If the player spends time exploring the level, Michael will offer suggestions such as “I believe the keycard is in that room over there,” and if the exploration continues, he will suggest “Perhaps it’s in the locker. Maybe you can shoot the locker door.” These additions were not initially planned but became necessary after observing players becoming frustrated. Our aim was to help players advance and continue playing the game smoothly. The hints proved particularly helpful for those who needed them, especially during subsequent playtests.
Kenny: I believe we might have figured out the locker issue. The hitbox was rather tiny, so if someone wasn’t accurate, it wouldn’t break the lock. I guess they just missed their shots and assumed it wasn’t functioning properly, moving on without a second thought. We needed to discover another approach to manage that situation. Absolutely fascinating! Developers often encounter situations where they invest significant time into something that appears self-explanatory to them, but only truly understand its complexity when the game is in the hands of players. It’s not until you witness them play, hear their feedback, or observe them exploring and finding unforeseen collision problems that you realize, “Wow, we never even considered that!” Such insights are like pure gold.
Was there ever a time during the development process when you experimented with an idea that turned out to be a failure instead?
Initially, during a preliminary trial, we were exploring the mechanics of the lockdown gameplay. Originally, the process to adjust the valve was lengthy and intricate. Our initial thought was to make it strategic, but when tested, it turned out to be quite aggravating as players were frequently assaulted from behind while adjusting the valve. Consequently, we decided to streamline and simplify the process to enhance the overall gaming experience.
Initially, we developed a tool called the resin gun for constructing dams more efficiently. We brainstormed various concepts such as firing one wall and then the other to establish a connection, with additional blocks appearing automatically. We assumed it would be user-friendly, but found it awkward nonetheless. Eventually, we streamlined it so players simply shoot blocks to build dams, which is the current version in the game. However, even this simplified method can still feel somewhat clunky at times.
In my gaming experience, I came up with an idea for a new weapon – one that could instantly build a dam with a single shot. This would be a game-changer during intense moments when precision isn’t always possible. Instead of struggling to draw the perfect line, you’d just aim and shoot, knowing your path is safely blocked. Previously, water would leak through unsealed gaps in earlier versions, but we’ve simplified it now by expanding the shot’s range, which effectively destroys everything in its path. It’s been a real game-improver!
As a gamer, I’m excited to share some upcoming features for our game! While we didn’t showcase it during the demo, expect a gun in future versions that can create an instant water shield with just one pull of the trigger. Can’t wait to see you all in the gaming world!
Q: Any last thoughts before we head out?
Kenny: I’d love to share something truly special, but I’m not entirely sure I have. Truth be told, it’s been a heartfelt project for everyone involved. Frankly, I just… yes. I truly wish people appreciate it and notice its worth. Above all, I hope they can see what we’ve seen in it.
Beyond stating that we enjoyed working on it, we eagerly anticipate a positive reaction from viewers regarding the trailer.
Deepest Fear is currently in development for PC.
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2024-12-07 19:28