It’s the kind of ambiences that lie in the borderland between music and sound effects. Silent Hill 2 also does this really well – unsettling ambiences help to constantly keep you on your toes. David Lynch‘s “ Eraserhead” has an amazing industrial soundscape – even the interior shots are accompanied by industrial tones which gives the whole film a claustrophobic feel. The Maw is not a friendly place and I wanted to convey this a lot via ambient sounds. What were some sound design and music inspirations for your work on Little Nightmares ? So the first few times when she eats, the music has a quite subtle and mellow tone, and for the final scene it morphs into something completely different but still retains the same basic musical motif.

The events where Six gets hungry are key moments in the game, and we tried to find a musical motif that evolves each time she has to eat. Instead we tried to convey the shift through the music. Towards the end when Six becomes more powerful, animations change a little bit as she moves in a more confident style, but we didn’t do that much with the player sounds. Just the simple fact that Six is barefoot adds a lot to the feeling of being small and vulnerable, and we tried to emphasize that contrast by mixing quite distinct footstep sounds with heavy background ambient sounds – especially in the first part of the game. How did you get the sound design to reflect her small size but slowly developing into more feral/creature tendencies as the game plays out? Six is a young girl in a yellow raincoat, creeping her way through The Maw.

Little nightmare 2 character