We’ve smashed several dozen pounds of fruit and vegetables and torn apart an entire closet of clothes! Since then, we’ve gradually accumulated our own sound library, which includes an unimaginable number of recordings of string vibrations, and resonances of iron sheets, rods, barrels, chains, and car doors in various studios. To make this happen, we armed ourselves with a hammer and a sound recorder and started knocking on all the surfaces around us in a small office room. This is how Andrey Bugrov, our sound director, outlined his approach, his method of solving this creative, and at the same time technical, problem, and, of course, our composer, Igor Gribov, fully supported him.Įven at the very beginning of the project, at the start of the testing and pre-production phase, we set ourselves a very high bar in terms of sound quality. In a sense, we want our players to experience a kind of synesthesia: Sound should represent the structure, fabric, and origin of objects in the game’s world, and their applied function should to tell us which way we should go.

Sound should also perform not only an artistic function in a project like Atomic Heart, but also a technical one. That’s half the success of any creative idea. The music and sound in Atomic Heart is extremely important, not just because we consider ourselves serious audiophiles, but also because we are of the firm belief that that sound and music account for a half of the whole vibe of the game, half of the impact, and half of the emotions that players experience while playing the game.

At Mundfish, we are very particular about sound.

Singer in atomic heart trailer