‘Singing With the Player’: How Compulsion Games Created South of Midnight’s Incredible Music Post a Comment Category: Games March 20, 2025 ‘Singing With the Player’: How Compulsion Games Created South of Midnight’s Incredible Music Joe Skrebels, Xbox Wire Editor-in-Chief Summary South of Midnight’s soundtrack, created by Olivier Deriviere, is available today on all major streaming platforms, including Spotify, Apple Music, Amazon Music, and Bandcamp. To celebrate, we spoke to Deriviere and Audio Director Chris Fox to find out how they created a unique gaming musical experience. South of Midnight has also gone gold! Compulsion Games has reached a major milestone, with the game’s development now complete and approved for release. South of Midnight will be available on April 8, 2025, for Xbox Series X|S, Xbox app for Windows PC, Steam, cloud, and will be available day one with Game Pass. And with Xbox Play Anywhere, play on Xbox consoles, Windows PC, and cloud with full cross-entitlements and cross-saves. Play up to five days early, starting April 3, 2025, and get access to digital extras with the Premium Edition. Pre-order The Art and Music of South of Midnight, developed in collaboration with Dutch design house and publisher Cook and Becker. The box set includes a two-LP vinyl with the full soundtrack of the game presented in a beautiful gatefold – alongside a 160-page art book, a comic book inspired by the game, and more. Composer Olivier Deriviere has a very elegant way of summing up South of Midnight’s approach to music: “This game is singing with the player.” Xbox Wire spoke to Deriviere, and Audio Director Chris Fox, on an important day for the team – South of Midnight had just gone gold, with development complete ahead of the game’s April 8 global release date. On the day this article publishes, it’s another important milestone – South of Midnight’s soundtrack is now available on all major streaming platforms. It felt only natural, then, to discuss how this game uses music in an all-new way for the genre. In most games, the soundtrack is something like a mood board – something to prompt you on the fact that you’re in an important battle, or experiencing the joy of exploration. But Compulsion Games has woven music far more intricately into the experience of playing South of Midnight. As you progress through its levels, melodies and harmonies repeat, snatches of lyrics float like a breeze through the experience, offering hints at the wider story you’re taking part in. And, as you reach each level’s crescendo, taking on the game’s mythical creatures, it explodes into life as a fully performed track, ebbing and flowing, reacting to your actions, and telling the creatures’ tales through lyrics. It was, as you might imagine, a complex task. “It’s the biggest music production I’ve ever done,” explains Deriviere. “But, at the beginning, it wasn’t supposed to be like this.” Musical Introduction Compulsion did a huge amount of research in the early parts of production, with Creative Director David Sears and his team undertaking multiple trips to the American South in order to properly capture the look, feel, and stories of the region they aimed to depict. And it was at the end of one of these trips that Sears returned with an idea. Audio Director Chris Fox tells the story that started it all: “David came back from one of his trips to the South and said, ‘I really feel like I’ve had this epiphany – players’ actions should equal musicality.’ So that was kind of the first big challenge, and then I had to go away and kind of think about what that meant.” Music is a huge part of the identity of the South – blues, country, jazz and more can all trace their roots to the region – and that was always going to be represented. But the gauntlet thrown down to Fox and Deriviere was to create a game in which that music needed to feel tied to what the player was doing, where they were, and what story they were unravelling. “So I was like, ‘OK, how can someone make music while they play, but not [just make] a music game?’” explains Fox. “That was how it started, and then we just went into lots of brainstorms.” It’s rare for an action-adventure like South of Midnight to try something like this, and it’s rarer still for the songs created to have lyrics. This wasn’t just about creating a technical system for how music reacts to the player, but for how it told distinct stories around them. “We started with story, of course,” says Fox. “We needed to know the story of the creatures first, which then spawned the narrative – our version of the [real-life] tales – which in turn spawned the lyrics. The lyrics and the narrative have to go hand-in-hand. We worked with the narrative team, and then we had to make sure Olivier had what he needed. I was very pleased with the content that we got – it’s always a worry at the beginning when you talk about making original songs, it’s not something that’s normally done. Anything could happen – and the most important thing was just to put trust in everyone.” That trust meant that Olivier was given another unusual task – to create a concept song, in the same way a game’s production will often begin with concept art. “This was the first time I’ve had to think of [traditional] songs within a game,” Deriviere continues. “How can we make a song happen, and how is this relevant? How do we arrange the song? The starting point was this concept song – and I had to sing it. And when the song was there, just by me, it was enough for David and Chris to be like, ‘OK, with that, we can go into production.’” The Art of Science From here, the team worked together to create the full suite of songs you’ll hear in the final game. And unexpectedly, at least for Deriviere, the practical element of getting the game to adjust its music to how you’re playing was actually one of the easier parts of the process. “Technology in video games has immensely improved over the time, and we are now able to very much tailor – throughout any situation in a game – [how the music reacts to] whatever we want. The difficulty is that you have the technology, but you still have to have the creativity and the coherency of using the technology in the right way. For instance, for music, you don’t want the system to be complex [to the point where it] doesn’t make musical sense. It’s just years and years of practicing and experimenting. And we did experiment – it’s fail-and-retry, basically.” The systems Fox and his team created mean that the soundtrack will ‘know’ if you’re stopping to explore, or charging headlong into a combat section, adjusting the track around that to feel right, while still carrying the core themes. “We had to deconstruct each song to make it work within the levels,” Deriviere continues. “At the end of the level, you visit the creature and you have this song at its peak – but previously [in the level], you have sections that are building up, and it’s not in the same form as the final song. It’s a completely different form, with different harmonies, different melodies. Sometimes there’s even a corrupted aspect to the melody, because the world is corrupted, and we wanted people to feel this way.” In effect, it’s turning music into a part of the wider soundscape – the same way a game will have different sound effects for walking through water as opposed to mud. “I think that’s why I wanted to work with Olivier,” enthuses Fox. “He sees the audio and not just music. It’s music woven into sound effects, sound effects woven into music. It’s the audio experience for the player, and they’re not separated necessarily.” Pushing that idea even further, in South of Midnight, music is quite literally a character: “At the end of the level, the song is always performed by a top-talent singer, but within the levels it’s by a kids’ choir,” explains Deriviere. “The kids are basically the star of the show – they’re all over the place, and they mean so much to the game. These are the Strands, the entities, whatever magic you want to call them, that are helping [lead character] Hazel find her way through this magical world.” Southern Charm And to add to the complexity of all this, there was a final piece of the puzzle for Fox and Deriviere – going all the way back to those original research trips, the music needed to feel as if it belonged in the South, across multiple regions, while still offering up a single, coherent soundtrack. “At the beginning, you know, talking with Chris and David, it was more about trying to find something that would be interesting, get something inspired by the Deep South, but create something that was unique for the game,” explains Deriviere. He realized that, in order to do that, he needed to look outwards, not inwards: “Oh, we may need to hire some talents to record live music. But [then it became] multiple talents, on a scale that I’ve never done. [We had] more than 50 people involved, not even including the orchestra.” This was a much bigger task than the team had gone in expecting. ““It was something that evolved over time,” says Fox. “We started with like an hour of music, or something ridiculous like that, which was obviously way too little. But at the beginning of a project, you just don’t know what the needs are. “I appreciate the belief in us that when I said, ‘We’ve got this really cool idea, we need to we need to go with live performers.’ And then later on, ‘Oh, actually, I know I said we weren’t going to use an orchestra, but we actually need to go and record an orchestra now.’ “For the higher-ups here at Compulsion to say, ‘This wasn’t necessarily budgeted, but we think you’ve got a strong vision, and what you’re doing with Olivier seems really good, so here we go’ – that was something I really appreciated from Compulsion and Xbox, to roll with us on that.” But even with all of this in place, Deriviere needed to create music that managed a tricky balance: “We worked with various established musicians from the South, but we were never willing to copycat – it would have been inauthentic, because I’m not from there, you know? It was not the goal. The goal was to be inspired and to turn the music into something else. So yes, there is of course influences from country, bluegrass, blues, jazz. But the best reaction was from these [musicians] – one of them plays blues, one of them country – and they were playing the songs, and they were like, ‘Oh, I wouldn’t do this, but this is super interesting!’ “They were doing what they were used to, but with the twist that I would do. I thought they would be a little bit lost in the process, but it was completely the opposite. They embraced it so much. For me, that’s the success in this production, working with these people, getting their genuine, authentic vibe from the South, and [bringing them] into the world of Compulsion, the world of this music.” The result is a soundtrack that Deriviere and Fox believes represents the South, but doesn’t simply copy its homework – this was a true collaboration with the real musicians from the region: “You can feel, hopefully, when you’re listening to the soundtrack or the songs, that there are people there,” says Deriviere. “It feels like they’re there, and they want to provoke emotions, move you, tell the story, bring you into this world.” It’s an idea that lends extra weight to the idea that South of Midnight sings with you – it’s not just the game itself singing, but the many, many people who made that music. South of Midnight will be available on April 8, 2025, on Xbox Series X|S, Xbox App for Windows PC, Steam and cloud, and arrives on day one with Game Pass. If you want to immerse yourself into the macabre and fantastical world of South of Midnight early, get the Premium Edition to play up to 5 days early, and get access to digital extras. The South of Midnight soundtrack is available to stream today on all major streaming platforms. You can also pre-order The Art and Music of South of Midnight, developed in collaboration with Dutch design house and publisher Cook and Becker. The box set includes a two-LP vinyl with the full soundtrack of the game presented in a beautiful gatefold – alongside a 160-page art book, a comic book inspired by the game, and more. South of Midnight Premium Edition Xbox Game Studios ☆☆☆☆☆ ★★★★★ $49.99 Pre-order Immerse yourself into the macabre and fantastical world of South of Midnight with the Premium Edition, which includes the full game, up to 5 days early access, and digital access (in English) to: • South of Midnight Artbook • Original Soundtrack composed by Olivier Deriviere • The Boo-Hag Comic book by Rob Guillory • Music Video: Songs & Tales of South of Midnight • Documentary: Weaving Hazel’s Journey, Director’s Cut UNRAVEL THE PAST From the creators of Contrast and We Happy Few, South of Midnight is a spellbinding third person action-adventure game set in the American Deep South. As Hazel, you will explore the mythos and encounter creatures of Southern folklore in a macabre and fantastical world. When disaster strikes her hometown, Hazel is called to become a Weaver: a magical mender of broken bonds and spirits. Imbued with these new abilities, Hazel will confront and subdue dangerous creatures, untangle the webs of her own family's shared past and – if she's lucky – find her way to a place that feels like home. A DARK MODERN FOLKTALE When a hurricane rips through Prospero, Hazel is pulled into a Southern Gothic world of memory made real and must embark on a journey to rescue her mother and safeguard her hometown. In this folktale for modern times, Hazel will need to reconcile the weight of family, history, and legacy against her own identity. CONFRONT MYTHICAL CREATURES Wield an ancient power to restore creatures and uncover the traumas that consume them. Cast weaving magic to fight destructive Haints, explore the diverse regions of the South, and reweave the tears in the Grand Tapestry. HAUNTING BEAUTY OF THE GOTHIC SOUTH Discover the lush, decayed county of Prospero and its locals. Experience a crafted visual style, touching storytelling, and immersive music inspired by the complex and rich history of the South. South of Midnight Xbox Game Studios ☆☆☆☆☆ ★★★★★ $39.99 Pre-order From the creators of Contrast and We Happy Few, South of Midnight is a spellbinding third person action-adventure game set in the American Deep South. As Hazel, you will explore the mythos and encounter creatures of Southern folklore in a macabre and fantastical world. When disaster strikes her hometown, Hazel is called to become a Weaver: a magical mender of broken bonds and spirits. Imbued with these new abilities, Hazel will confront and subdue dangerous creatures, untangle the webs of her own family's shared past and – if she's lucky – find her way to a place that feels like home. A DARK MODERN FOLKTALE When a hurricane rips through Prospero, Hazel is pulled into a Southern Gothic world of memory made real and must embark on a journey to rescue her mother and safeguard her hometown. In this folktale for modern times, Hazel will need to reconcile the weight of family, history, and legacy against her own identity. CONFRONT MYTHICAL CREATURES Wield an ancient power to restore creatures and uncover the traumas that consume them. Cast weaving magic to fight destructive Haints, explore the diverse regions of the South, and reweave the tears in the Grand Tapestry. HAUNTING BEAUTY OF THE GOTHIC SOUTH Discover the lush, decayed county of Prospero and its locals. Experience a crafted visual style, touching storytelling, and immersive music inspired by the complex and rich history of the South. The post ‘Singing With the Player’: How Compulsion Games Created South of Midnight’s Incredible Music appeared first on Xbox Wire. source https://news.xbox.com/en-us/2025/03/20/south-of-midnight-music-interview/ Location: Share : Post a Comment for "‘Singing With the Player’: How Compulsion Games Created South of Midnight’s Incredible Music"
Category: Games March 20, 2025 ‘Singing With the Player’: How Compulsion Games Created South of Midnight’s Incredible Music Joe Skrebels, Xbox Wire Editor-in-Chief Summary South of Midnight’s soundtrack, created by Olivier Deriviere, is available today on all major streaming platforms, including Spotify, Apple Music, Amazon Music, and Bandcamp. To celebrate, we spoke to Deriviere and Audio Director Chris Fox to find out how they created a unique gaming musical experience. South of Midnight has also gone gold! Compulsion Games has reached a major milestone, with the game’s development now complete and approved for release. South of Midnight will be available on April 8, 2025, for Xbox Series X|S, Xbox app for Windows PC, Steam, cloud, and will be available day one with Game Pass. And with Xbox Play Anywhere, play on Xbox consoles, Windows PC, and cloud with full cross-entitlements and cross-saves. Play up to five days early, starting April 3, 2025, and get access to digital extras with the Premium Edition. Pre-order The Art and Music of South of Midnight, developed in collaboration with Dutch design house and publisher Cook and Becker. The box set includes a two-LP vinyl with the full soundtrack of the game presented in a beautiful gatefold – alongside a 160-page art book, a comic book inspired by the game, and more. Composer Olivier Deriviere has a very elegant way of summing up South of Midnight’s approach to music: “This game is singing with the player.” Xbox Wire spoke to Deriviere, and Audio Director Chris Fox, on an important day for the team – South of Midnight had just gone gold, with development complete ahead of the game’s April 8 global release date. On the day this article publishes, it’s another important milestone – South of Midnight’s soundtrack is now available on all major streaming platforms. It felt only natural, then, to discuss how this game uses music in an all-new way for the genre. In most games, the soundtrack is something like a mood board – something to prompt you on the fact that you’re in an important battle, or experiencing the joy of exploration. But Compulsion Games has woven music far more intricately into the experience of playing South of Midnight. As you progress through its levels, melodies and harmonies repeat, snatches of lyrics float like a breeze through the experience, offering hints at the wider story you’re taking part in. And, as you reach each level’s crescendo, taking on the game’s mythical creatures, it explodes into life as a fully performed track, ebbing and flowing, reacting to your actions, and telling the creatures’ tales through lyrics. It was, as you might imagine, a complex task. “It’s the biggest music production I’ve ever done,” explains Deriviere. “But, at the beginning, it wasn’t supposed to be like this.” Musical Introduction Compulsion did a huge amount of research in the early parts of production, with Creative Director David Sears and his team undertaking multiple trips to the American South in order to properly capture the look, feel, and stories of the region they aimed to depict. And it was at the end of one of these trips that Sears returned with an idea. Audio Director Chris Fox tells the story that started it all: “David came back from one of his trips to the South and said, ‘I really feel like I’ve had this epiphany – players’ actions should equal musicality.’ So that was kind of the first big challenge, and then I had to go away and kind of think about what that meant.” Music is a huge part of the identity of the South – blues, country, jazz and more can all trace their roots to the region – and that was always going to be represented. But the gauntlet thrown down to Fox and Deriviere was to create a game in which that music needed to feel tied to what the player was doing, where they were, and what story they were unravelling. “So I was like, ‘OK, how can someone make music while they play, but not [just make] a music game?’” explains Fox. “That was how it started, and then we just went into lots of brainstorms.” It’s rare for an action-adventure like South of Midnight to try something like this, and it’s rarer still for the songs created to have lyrics. This wasn’t just about creating a technical system for how music reacts to the player, but for how it told distinct stories around them. “We started with story, of course,” says Fox. “We needed to know the story of the creatures first, which then spawned the narrative – our version of the [real-life] tales – which in turn spawned the lyrics. The lyrics and the narrative have to go hand-in-hand. We worked with the narrative team, and then we had to make sure Olivier had what he needed. I was very pleased with the content that we got – it’s always a worry at the beginning when you talk about making original songs, it’s not something that’s normally done. Anything could happen – and the most important thing was just to put trust in everyone.” That trust meant that Olivier was given another unusual task – to create a concept song, in the same way a game’s production will often begin with concept art. “This was the first time I’ve had to think of [traditional] songs within a game,” Deriviere continues. “How can we make a song happen, and how is this relevant? How do we arrange the song? The starting point was this concept song – and I had to sing it. And when the song was there, just by me, it was enough for David and Chris to be like, ‘OK, with that, we can go into production.’” The Art of Science From here, the team worked together to create the full suite of songs you’ll hear in the final game. And unexpectedly, at least for Deriviere, the practical element of getting the game to adjust its music to how you’re playing was actually one of the easier parts of the process. “Technology in video games has immensely improved over the time, and we are now able to very much tailor – throughout any situation in a game – [how the music reacts to] whatever we want. The difficulty is that you have the technology, but you still have to have the creativity and the coherency of using the technology in the right way. For instance, for music, you don’t want the system to be complex [to the point where it] doesn’t make musical sense. It’s just years and years of practicing and experimenting. And we did experiment – it’s fail-and-retry, basically.” The systems Fox and his team created mean that the soundtrack will ‘know’ if you’re stopping to explore, or charging headlong into a combat section, adjusting the track around that to feel right, while still carrying the core themes. “We had to deconstruct each song to make it work within the levels,” Deriviere continues. “At the end of the level, you visit the creature and you have this song at its peak – but previously [in the level], you have sections that are building up, and it’s not in the same form as the final song. It’s a completely different form, with different harmonies, different melodies. Sometimes there’s even a corrupted aspect to the melody, because the world is corrupted, and we wanted people to feel this way.” In effect, it’s turning music into a part of the wider soundscape – the same way a game will have different sound effects for walking through water as opposed to mud. “I think that’s why I wanted to work with Olivier,” enthuses Fox. “He sees the audio and not just music. It’s music woven into sound effects, sound effects woven into music. It’s the audio experience for the player, and they’re not separated necessarily.” Pushing that idea even further, in South of Midnight, music is quite literally a character: “At the end of the level, the song is always performed by a top-talent singer, but within the levels it’s by a kids’ choir,” explains Deriviere. “The kids are basically the star of the show – they’re all over the place, and they mean so much to the game. These are the Strands, the entities, whatever magic you want to call them, that are helping [lead character] Hazel find her way through this magical world.” Southern Charm And to add to the complexity of all this, there was a final piece of the puzzle for Fox and Deriviere – going all the way back to those original research trips, the music needed to feel as if it belonged in the South, across multiple regions, while still offering up a single, coherent soundtrack. “At the beginning, you know, talking with Chris and David, it was more about trying to find something that would be interesting, get something inspired by the Deep South, but create something that was unique for the game,” explains Deriviere. He realized that, in order to do that, he needed to look outwards, not inwards: “Oh, we may need to hire some talents to record live music. But [then it became] multiple talents, on a scale that I’ve never done. [We had] more than 50 people involved, not even including the orchestra.” This was a much bigger task than the team had gone in expecting. ““It was something that evolved over time,” says Fox. “We started with like an hour of music, or something ridiculous like that, which was obviously way too little. But at the beginning of a project, you just don’t know what the needs are. “I appreciate the belief in us that when I said, ‘We’ve got this really cool idea, we need to we need to go with live performers.’ And then later on, ‘Oh, actually, I know I said we weren’t going to use an orchestra, but we actually need to go and record an orchestra now.’ “For the higher-ups here at Compulsion to say, ‘This wasn’t necessarily budgeted, but we think you’ve got a strong vision, and what you’re doing with Olivier seems really good, so here we go’ – that was something I really appreciated from Compulsion and Xbox, to roll with us on that.” But even with all of this in place, Deriviere needed to create music that managed a tricky balance: “We worked with various established musicians from the South, but we were never willing to copycat – it would have been inauthentic, because I’m not from there, you know? It was not the goal. The goal was to be inspired and to turn the music into something else. So yes, there is of course influences from country, bluegrass, blues, jazz. But the best reaction was from these [musicians] – one of them plays blues, one of them country – and they were playing the songs, and they were like, ‘Oh, I wouldn’t do this, but this is super interesting!’ “They were doing what they were used to, but with the twist that I would do. I thought they would be a little bit lost in the process, but it was completely the opposite. They embraced it so much. For me, that’s the success in this production, working with these people, getting their genuine, authentic vibe from the South, and [bringing them] into the world of Compulsion, the world of this music.” The result is a soundtrack that Deriviere and Fox believes represents the South, but doesn’t simply copy its homework – this was a true collaboration with the real musicians from the region: “You can feel, hopefully, when you’re listening to the soundtrack or the songs, that there are people there,” says Deriviere. “It feels like they’re there, and they want to provoke emotions, move you, tell the story, bring you into this world.” It’s an idea that lends extra weight to the idea that South of Midnight sings with you – it’s not just the game itself singing, but the many, many people who made that music. South of Midnight will be available on April 8, 2025, on Xbox Series X|S, Xbox App for Windows PC, Steam and cloud, and arrives on day one with Game Pass. If you want to immerse yourself into the macabre and fantastical world of South of Midnight early, get the Premium Edition to play up to 5 days early, and get access to digital extras. The South of Midnight soundtrack is available to stream today on all major streaming platforms. You can also pre-order The Art and Music of South of Midnight, developed in collaboration with Dutch design house and publisher Cook and Becker. The box set includes a two-LP vinyl with the full soundtrack of the game presented in a beautiful gatefold – alongside a 160-page art book, a comic book inspired by the game, and more. South of Midnight Premium Edition Xbox Game Studios ☆☆☆☆☆ ★★★★★ $49.99 Pre-order Immerse yourself into the macabre and fantastical world of South of Midnight with the Premium Edition, which includes the full game, up to 5 days early access, and digital access (in English) to: • South of Midnight Artbook • Original Soundtrack composed by Olivier Deriviere • The Boo-Hag Comic book by Rob Guillory • Music Video: Songs & Tales of South of Midnight • Documentary: Weaving Hazel’s Journey, Director’s Cut UNRAVEL THE PAST From the creators of Contrast and We Happy Few, South of Midnight is a spellbinding third person action-adventure game set in the American Deep South. As Hazel, you will explore the mythos and encounter creatures of Southern folklore in a macabre and fantastical world. When disaster strikes her hometown, Hazel is called to become a Weaver: a magical mender of broken bonds and spirits. Imbued with these new abilities, Hazel will confront and subdue dangerous creatures, untangle the webs of her own family's shared past and – if she's lucky – find her way to a place that feels like home. A DARK MODERN FOLKTALE When a hurricane rips through Prospero, Hazel is pulled into a Southern Gothic world of memory made real and must embark on a journey to rescue her mother and safeguard her hometown. In this folktale for modern times, Hazel will need to reconcile the weight of family, history, and legacy against her own identity. CONFRONT MYTHICAL CREATURES Wield an ancient power to restore creatures and uncover the traumas that consume them. Cast weaving magic to fight destructive Haints, explore the diverse regions of the South, and reweave the tears in the Grand Tapestry. HAUNTING BEAUTY OF THE GOTHIC SOUTH Discover the lush, decayed county of Prospero and its locals. Experience a crafted visual style, touching storytelling, and immersive music inspired by the complex and rich history of the South. South of Midnight Xbox Game Studios ☆☆☆☆☆ ★★★★★ $39.99 Pre-order From the creators of Contrast and We Happy Few, South of Midnight is a spellbinding third person action-adventure game set in the American Deep South. As Hazel, you will explore the mythos and encounter creatures of Southern folklore in a macabre and fantastical world. When disaster strikes her hometown, Hazel is called to become a Weaver: a magical mender of broken bonds and spirits. Imbued with these new abilities, Hazel will confront and subdue dangerous creatures, untangle the webs of her own family's shared past and – if she's lucky – find her way to a place that feels like home. A DARK MODERN FOLKTALE When a hurricane rips through Prospero, Hazel is pulled into a Southern Gothic world of memory made real and must embark on a journey to rescue her mother and safeguard her hometown. In this folktale for modern times, Hazel will need to reconcile the weight of family, history, and legacy against her own identity. CONFRONT MYTHICAL CREATURES Wield an ancient power to restore creatures and uncover the traumas that consume them. Cast weaving magic to fight destructive Haints, explore the diverse regions of the South, and reweave the tears in the Grand Tapestry. HAUNTING BEAUTY OF THE GOTHIC SOUTH Discover the lush, decayed county of Prospero and its locals. Experience a crafted visual style, touching storytelling, and immersive music inspired by the complex and rich history of the South.
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