It's clear that he lives for the ability to define new possibilities for gaming, and he's happy to spread the credit for that around to other designers doing cutting-edge work. Which can be quite thrilling."Ī sound designer by trade, he came to games by way of film, which explains his holistic approach, if not his unhinged creativity.
approaching a project with a kind of scientific focus like that – for me anyway – leaves me more open to be taught something by the project. I like to play scientist instead of playing artist," he says, laughing. "I like to do that, because it focuses my work and I like to think like a scientist. "I feel most creatively empowered when I realize that I have a singular goal that I can kind of focus on with an almost scientific rigor." Whereas Alexander Bruce (the subject of part one) comes by his best ideas by playing with and defying player expectations, Arnott finds value in challenging his own assumptions and working toward a dedicated goal. that thinking has worked its way into my blood, into every project I work on."Īrnott approaches design with a thoughtful, Zen-like focus. Deep Sea has taken me towards radical, holistic experiential design. "Whatever you devote your mind to over an extended period of time, it's bound to influence the way you think.
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It's a direct result of his taking the project to it's full potential, and it has impacted the way he sees everything else in the world. "Working on Deep Sea has gotten me into a state of mind where I as an artist, am trying to interface directly with the player's body," he says. It's sensory deprivation and physical punishment married to gameplay, and Arnott has called it a "series of uncomfortable choices." It scared the bejesus out of everyone who played it at last year's E3, so much so that Arnott was invited to speak at the prestigious (and never boring) Experimental Gameplay Workshop at this year's GDC. In playing it, players don a light-and-sound-blocking WW1-era gas mask, hold onto a joystick, and descend into a terrifying, sound-only world, where the enemies – a brand of sea monster you never want to meet – are attracted to the sound of your real-life breathing. On top of being Antichamber's audio designer, Robin Arnott is the mad scientist behind Deep Sea, which is perhaps one of the furthest "fringe" experiences – and one of the most truly intense and successful experimental games ever produced.
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