![chris remo chris remo](https://assets.doublefine.com/archive/images/tester-torture-1-1.jpg)
I also think it’s striking how few quiet spaces are left in our lives most of us, certainly myself included, are surrounded by sound of some kind fairly constantly, and when you go out into these massive wilderness areas, it can be amazing how quiet it can be.
![chris remo chris remo](https://hardcore-gamer.s3.amazonaws.com/uploads/2016/02/maxresdefault-1-1.jpg)
Henry is very isolated, and we wanted the soundscape of the game to reflect that. Companionship is a big part of the game as well-you spend nearly the entire game in constant communication with your supervisor Delilah-but it’s companionship at a remove. Was that a design choice to emphasize on the player loneliness or is there another reason for that?įirewatch is very much about solitude. One thing that struck me in Firewatch ambiance is how life was so discrete and even non-existant by times (almost no birds singing, etc.). On this topic, I had the pleasure to interview Chris Remo, audio director, composer and game designer on Firewatch. Such aspects, as delightful as they are, shouldn’t however overlook its gorgeous, emotion-filled audio direction. Whether you heard of Firewatch when it was announced a couple of years ago, around the time of its successful release or when it won such awards as Unity’s own “ Best 3D Visuals” last year, you probably were struck first by its wonderful visual design and the incredibly natural and realistic flow of the conversations between its two protagonists, Henry (played by Rich Sommer) and Delilah (played by Cissy Jones).