1. Ambrosia Sky: Act One
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Ambrosia Sky: Act One News

Commmunity Update #1 / October 2025

[p][/p][h2]Community Update #1 / October 2025[/h2][p][/p][p]Welcome to the very first community update for our upcoming title, Ambrosia Sky. These updates will be semi-regular and will highlight streams, videos, press coverage, and other minor updates related to the game. Since this is our first one, we've got a few things to catch up on, so without further ado...

[/p][p][/p][h3]Don't miss IGN Nextfest![/h3][p][/p][p][/p][p]✨ Ambrosia Sky is part of IGN Fanfest! ✨

Tune in on October 15th to learn more about your upcoming trip to The Cluster, and discover what awaits you when you arrive...

Learn more here: https://www.ign.com/articles/ign-fan-fest-fall-2025-partner-lineup[/p][p][/p][p][/p][p][/p][h3]Personality Quizzes, plural![/h3][p][/p][p]If you are dying to know which type of fungus you most closely align with, or if you're curious which of our main cast resonates with you, we've got two personality quizzes you can check out now!

[/p][p]We have created a quick and fun quiz to finally end your sleepless nights, wondering what type of fungus from our game you would be. It's like a Rorschach test, but the blobs are your results. Take the quiz here!
[/p][carousel][/carousel][p]
We've introduced you to our cast of characters (see Devlog 7), and now you can find out which character you are most like! Are you the protagonist, the enterprising ex, the ruthless stepmother, or our guy-in-the-chair? Find out with this quiz![/p][p][/p][p][/p][p][/p][h3]A wild Story Trailer appears![/h3][p][/p][p]In case you missed it, we recently shared a brand-new trailer that reveals more about why Dalia has come home to The Cluster and what she'll face upon arrival.
[/p][previewyoutube][/previewyoutube][h3][/h3][p][/p][h3]Did you know we have a Discord server?[/h3][p][/p][p][/p][p]Have you been playing the demo and want to share your thoughts or feedback? Do you want to ask our developers questions directly? Would you like to learn more about our world? If you have answered yes to any of those... we've got the Discord server for you! Come join us, the water is fine.[/p][p][/p][p]Join the Discord![/p][h3]
[/h3][h3]Join us for a LIVE Developer Q&A![/h3][p][/p][p][/p][p]Next Tuesday at 3pm ET, join Joel, Colin, and Sofy as they answer your questions and play through our latest demo build. Catch the stream at: [dynamiclink][/dynamiclink] ✨
[/p][p]The stream will also be archived on our YouTube channel. If you can't make the stream or would like to submit your question ahead of time, please feel free to drop your questions in the comments below.[/p][p][/p][p][/p][p]That's it for our very first community update! We're nearing some major milestones that we'll discuss in more detail soon. If you haven't played the demo or wishlisted the game yet, this is your sign to do either or both!

[dynamiclink][/dynamiclink]
See you in the stars, Colin
\[Community Manager]
[/p]

A Clustered Cast of Characters

[p][/p][p]Kaitlin Tremblay is the narrative director at Soft Rains. As a writer and narrative designer, they’ve worked on games such as Grindstone (CAPY Game), Watch Dogs Legion (Ubisoft), A Mortician’s Tale, and others. They are the author of two non-fiction books on video games: Ain’t No Place for a Hero: Borderlands (ECW Press, 2017) and Collaborative Worldbuilding for Video Games (CRC Press, 2023).[/p][p][/p][p]The story of Ambrosia Sky is a homecoming tale, of Dalia returning to the asteroid colony where she was born, 15 years after she left in a huff. And as such, the other characters who inhabit this world are essential players in the story of Ambrosia Sky.[/p][p][/p][p]So, for this developer log on Ambrosia Sky, I wanted to take some time and talk about the other main characters in the game. There’s Maaz, Dalia’s Scarab partner and best friend. There’s Maeve, the estranged love of her life. And Hale, the overbearing stepmother. All of these characters play an important role, both in Dalia’s story, but also in the story of the Cluster & the story of the world Dalia left behind, the one that kept ticking without her.[/p][p][/p][h3]Maaz, our man-in-the-van[/h3][p][/p][p]While Dalia is technically alone on this job, she’s not without support, in the form of a Scarab named Maaz. Maaz is Dalia’s man-in-the-van, acting as both her mission dispatch and her sample analyst. While Dalia is out in the field, she’s dictating her notes to Maaz, which she uploads every time she returns to her shuttle. Maaz receives these observation notes and is able to provide delayed emotional support to Dalia, while also using the notes as crucial contextual information as he analyzes the samples Dalia sends to him while performing her job.[/p][p][/p][p][/p][p]Maaz isn’t just waiting for Dalia’s notes or samples, though. Despite their distance, Maaz has remote access to Dalia’s shuttle, so he’s able to monitor nearby comms, signals, and alerts while Dalia is deep in the field. And while this is primarily a safety precaution to protect Dalia from stray asteroids, it also allows Maaz to scan for any signs of life and movement on the Cluster that could indicate not everybody is dead. A role that will become incredibly important for Dalia’s motivations while she explores the Cluster.[/p][p][/p][p]Maaz joined up with the Scarabs shortly before Dalia. A lighthearted and charismatic man born to wealthy colonists in one of the furthest galaxies, Maaz sought to join up with the Scarabs out of boredom. He was tired of the same socialite people, and, like Dalia, he wanted out from the controlling regimes of his parents. Due to his upbringing, Maaz is a man who is comfortable in his own skin and naturally puts others at ease. Maaz has nothing to prove and effortlessly finds himself as the life of the party. As a Scarab, Maaz is ambivalent about the panacea–it could exist or it couldn’t. What Maaz is really after, though, is learning everything there is to know about the exo-life that exists in the galaxy.[/p][p][/p][p][/p][p][/p][p]It’s this background that makes Maaz an important and necessary foil to Dalia. When they meet, Maaz is fascinated by Dalia. He’s never met somebody from the Cluster before! And Dalia is at first put off by Maaz’s interest in her, but quickly accepts that he genuinely cares for her. Maaz’s affection for Dalia grows as he realizes she is the opposite of him in so many ways. They bond over their controlling parents, through both finding the Scarabs as a way to escape the life they don’t want, and Maaz’s insistent presence becomes a comfort to Dalia. He doesn’t want anything from her except for her friendship, and Dalia doesn’t want anything from Maaz except for his. Whereas Dalia is this emotionally tumultuous person, Maaz is her rock. As one of the few people she’s allowed herself to get close to since leaving her hometown, he’s able to ground her, help her. She’ll listen to him the way she won’t listen to pretty much anybody else.[/p][p][/p][p]But the emotional grounding isn’t the only reason we wanted to provide Maaz as a character. We knew we wanted Dalia’s experience and story to feel isolated, that her feeling of loneliness needed to be reinforced by her actual isolation on this journey. However, we still wanted a character to serve as a balance to her, both to provide moments of levity and to be a voice for the players. Since Dalia is from the Cluster, she isn’t always able to call out what’s strange. But it’s all new to Maaz, and so we wanted Maaz to be the voice that calls out the weird things Dalia might take for granted. Like sentient fungus. Like creatures that can change shape. Those sorts of things.[/p][p][/p][p][/p][p][/p][p]Developing Maaz was a lot of fun because of the way we envisioned him as a foil for Dalia. But we didn’t just want him to be a stoic, solid rock of a best friend. We wanted him to be weird and to have his own perspectives, as well. Maaz, despite joining the Scarabs, has a weak stomach and is easily grossed out. And he has a fervent belief in sentient, humanoid alien life. He’s the Mulder to Dalia’s Scully, without the sexual tension. He wants to believe, and that includes believing in hot aliens, as well as in Dalia.[/p][p][/p][p][/p][p][/p][h3]Maeve, the one who didn’t wait[/h3][p][/p][p]And then there’s Maeve, the reason for it all.[/p][p][/p][p]Maeve was Dalia’s best friend on the Cluster. Maeve was also the first person Dalia ever loved, despite Dalia never being able to tell Maeve this. Maeve and Dalia met as children in school, both studying agriculture from a young age. Dalia because Hale made her. Maeve, because she thought there was no other choice. However, Maeve was never good at their agricultural studies, despite Dalia excelling in them. Their differences bonded them together; Dalia helped Maeve with her studies, and Maeve became a confidante to Dalia. A lot of people kept their distance from Dalia on the Cluster, due to being the stepdaughter of the woman running the joint with an iron fist, but Maeve didn’t care about that. Thick as thieves, the only thing that could’ve broken Maeve and Dalia apart as teens was Dalia herself. So when Dalia left without warning at the age of 15 to become a Scarab, Maeve was hurt and furious. Both for Dalia abandoning her and for not even telling her she was going.[/p][p][/p][p]But Maeve refuses to wait for Dalia’s return and embraces her own reckless decisions. Since Dalia’s departure, Maeve has worked under Hale and become the beating heart of the Cluster, responsible for the community’s daily operations and welfare. While Maeve was never good with soil, she was always good with people and with numbers. She makes sure everybody is fed. She requisitions equipment for those who need it. She helps out at the clinic when it’s short-staffed. Maeve genuinely loves the Cluster, not for its history or mythos, but for the people who live there and make it what it is. Maeve is willing to work a thankless, stressful job if it means people on the Cluster can do what they need to do with less hassle.[/p][p][/p][p][/p][p]Maeve’s role in the story of Ambrosia Sky is one of the most important ones: she’s the beacon of hope for Dalia. As Dalia begins to tailspin in her survivor’s guilt, Maeve being alive is the one thing that keeps her afloat. We wanted a reason for Dalia to stay at the Cluster when things got progressively worse throughout the game, and professionalism wasn’t enough of a reason. Dalia left once before when things got too emotionally complicated for her; being here because she’s on a job wouldn’t be enough to keep her from peacing out yet again. So we knew we wanted a character who could be that lifeline for Dalia, the reason she would keep deciding to stay here even as her own life was threatened.[/p][p][/p][p]But I also didn’t want Maeve to exist just for Dalia. I wanted her to be her own character, with her own goals, needs and ideas. Just because she’s the lifeline for Dalia doesn’t mean Maeve wants that role or fulfills it willingly. Throughout the game, Maeve is actively trying to find a cure for Clusterlung, the disease that has run rampant on the Cluster as a result of the fungal crisis. Maeve is her own character with her own goals, goals that often run counter to Dalia’s motivations. Maeve is helping the people of the Cluster evacuate. Maeve stayed while Dalia left, and so Maeve has devoted herself to caring for the people in her community, no matter what. Throughout Ambrosia Sky, players will learn about and track Maeve’s journey, discovering all of the ways in which Maeve was trying to make life better on the Cluster, and using her position as Hale’s right hand to do so.[/p][p][/p][p][/p][p][/p][p]And when Dalia arrives at the Cluster, Maeve doesn’t change anything to meet her estranged friend. Maeve doesn’t want Dalia’s help and resents her coming back now, only when things are at their worst. She stays focused on her goal: to cure Clusterlung. No matter the cost. And as Dalia will discover throughout Ambrosia Sky, that cost might be higher than she ever could’ve imagined.[/p][p][/p][p][/p][h3]Hale, the controlling stepmother[/h3][p][/p][p]With the people Dalia unquestionably loves introduced, let’s talk about the person Dalia has the most complicated feelings about: her stepmother, Hale.[/p][p][/p][p]Hale Volkova is the de facto leader of the Cluster. A second-generation Clusterite, Hale came into power via her family name: Hale’s father, Doctor Volkov, was one of the founders of the Cluster. And as such, Hale has inherited power here. Hale loves the Cluster deeply. Not because she loves the people there like Maeve, but rather that she loves the power it affords her. She loves her status and her perception of herself above all else.[/p][p][/p][p][/p][p]Ambrosia Sky needed a villain. With the main threats to Dalia’s physical safety being hostile fungus and creatures, we were feeling the lack of an emotional threat to Dalia. Since this story is about Dalia’s homecoming, what is the full range of that emotional landscape like? If Maeve is the reason for Dalia to stay, who is the reason for Dalia constantly wanting to leave? Her stepmother is perfect. Perfect because folklore was a huge inspiration for the worldbuilding of Ambrosia Sky, and the evil stepmother is a well-known trope from that type of storytelling, and playing with that trope sounded like so much fun to explore in a sci-fi setting. Perfect because it meant I got to write a trope I love.[/p][p][/p][p]Nobody else in the Cluster really likes Hale. To borrow a phrase, a lot of the agricultural residents on the Cluster believe she’s “all hat, no cattle”, meaning she avoids getting her hands dirty doing the real, hard labour of working the fields. She’s also ruthless and believes she’s larger than life because of her family name and position. She’s, frankly, insufferable, and I love that about her. Nobody believes in her importance the way Hale believes in her importance.[/p][p][/p][p][/p][p][/p][p]And it’s not that Hale’s is without complexity. There’s a reason she believes she’s right, and that’s because she’s trying to run the colony in the best way that she can. She loves the Cluster, in part because it bestows power on her, but also because she was raised believing in the mythos of the Cluster. Her father was heroic, being one of the first pioneers to leave Earth to start building an agricultural colony to feed humanity’s expansion into space. Hale was raised believing the Cluster matters–because it does. And protecting the Cluster, therefore, matters just as much. Despite the Cluster’s fall from grace as humanity settled farther and farther from Earth, Hale still believes in its mythos, and she will lie to protect it because she believes it’s necessary. In fact, she believes it’s her job to lie to protect people. Hale believes fundamentally that the Cluster should survive at all costs. But as the crisis worsens and threatens life on the Cluster, Hale realizes that Dalia may be the only one who can help her save the Cluster. Which complicates things for Hale, who is the person that Dalia learned how to handle her emotions from.[/p][p][/p][p][/p][p][/p][p]Hale’s a lot of fun to write. She’s emotionally ruthless while also being self-aggrandizing. If writing Dalia and Maeve is tapping into complex emotional landscapes of battling self-need with what we owe each other, Hale is the opposite: she’s a person who unquestionably believes she’s right. It’s a pure, indulgent villain voice to write, and that’s what the game needed to balance the heaviness of the other themes. She’s not cartoonish, but she does provide a space to vent some of the heaviness of grief and survivor’s guilt into just pure, indulgent anger.[/p][p][/p][p][/p][p][/p][p]If you want to know more about the development of Ambrosia Sky, take a look at our prior dev logs that cover our main character Dalia, the role of a Scarab, the art & audio direction of the game, a look at the tech & design behind our cleaning mechanics, and an overview of what Ambrosia Sky is.[/p][p][/p][p]You can also download the demo from Steam to step right into Dalia’s shoes and see the crisis firsthand. In our next devlog, we’ll begin to talk about the cast of characters that surround and support Dalia on this journey.[/p]

Developing Dalia, our protagonist

[p][/p][p]Kaitlin Tremblay is the narrative director at Soft Rains. As a writer and narrative designer, they’ve worked on games such as Grindstone (CAPY Game), Watch Dogs Legion (Ubisoft), A Mortician’s Tale, and others. They are the author of two non-fiction books on video games: Ain’t No Place for a Hero: Borderlands (ECW Press, 2017) and Collaborative Worldbuilding for Video Games (CRC Press, 2023).[/p][p][/p][p][/p][p][/p][p]For this month’s devlog, we wanted to take the opportunity to introduce everyone to Dalia, our playable character of Ambrosia Sky! The story of Ambrosia Sky follows Dalia as she returns to her home in the Cluster after a 15-year absence, only to discover that the crisis is far worse than she expected — and that everyone she ever knew may or may not still be alive.[/p][p][/p][p]The Cluster is an agricultural colony established in the rings of Saturn, and it was one of humanity’s first-ever outposts in outer space. It was chosen as such because of naturally occurring alien fungus found in the asteroids and rocks there, providing an answer to one of humanity’s most pressing questions: how could we feed people as they flee a dying Earth to try and find a new home amongst the stars?[/p][p][/p][p]But it’s the people that make the Cluster what it is. It’s a mixture of folks from all walks of life–the descendants of people who were able to leave Earth and establish the agricultural colony. These are people Dalia once knew, the people she grew up with. But Dalia soon discovers that she will have to fulfill the other part of her Scarab duty, and lay her former neighbours to rest.[/p][p][/p][p]The characters of the world of Ambrosia Sky are its heart, grounding the crisis and the worldbuilding in human connections, fear, love, and the lengths we will go to save ourselves and each other. We’ll go deep into the other main characters of Ambrosia Sky in a subsequent devlog, but for now, I want to talk about Dalia Volkova, the protagonist of Ambrosia Sky.[/p][p][/p][p][/p][p][/p][h3]Meet Dalia[/h3][p][/p][p]From the earliest stages of developing the plot and the backstory for Ambrosia Sky, we knew this being a homecoming story would be important for connecting the player’s journey in unravelling the crisis with the stories of people they must lay to rest. We wanted that insider perspective, a person who knows what is typical here and what is unusual, and can call that out to players.[/p][p][/p][p]Enter Dalia.[/p][p][/p][p]Dalia is a brilliant but emotionally unstable Scarab. While Dalia isn’t a true believer of the Scarab’s Ambrosia Project ethos (discussed in our developer log on the Scarabs), she has a strong stomach and is a capable scientist. She left her home to escape the closed, controlling life she had on the Cluster. Her stepmother, Hale, had grand plans for Dalia that Dalia didn’t want for herself. So Dalia left, and in doing so, she didn’t just abandon a controlling mother, but also her best friend and first-ever love, Maeve.[/p][p][/p][p][/p][p][/p][p]Born on the Cluster, Dalia was raised by her stepmother, Hale, the de facto leader of the Cluster colony. Dalia was a weird kid, growing up more interested in xenobiology than botany, but she enjoyed getting her hands dirty either way. Because the Cluster tended to recycle and reuse materials (thanks to a scarcity of new shipments and a lack of non-agricultural infrastructure), Dalia became skilled at tinkering, repairing, and reshaping the mechanical things around her.[/p][p][/p][p]Dalia felt at home among the systems of the Cluster, but began to feel alienated by her stepmother, Hale. Hale pushed Dalia to become something she wasn’t, and Dalia longed to escape her overbearing influence. So when a Scarab got called into the Cluster for a job, Dalia saw her opening. She could handle the more uncomfortable parts of the role, was smart, and asked the Scarab to train her. The Scarab agreed, on the condition that they leave immediately. Dalia left without saying goodbye. To anybody, even Maeve.[/p][p][/p][p]For the past 15 years, Dalia has been training as a Scarab, making a name for herself. She’s good at the job. Her clever mind, strong constitution, and impressive ability to compartmentalize her emotions make her an ideal Scarab (at least in her mind). Soon after, Dalia meets Maaz, a Scarab who becomes her best friend and work partner, and begins to develop a life for herself. She refuses to return to the Cluster, saying it’s because she’s afraid of Hale’s manipulation, but really, she’s scared of confronting the way she hurt Maeve by leaving without so much as a word.[/p][p][/p][p][/p][p]Early concept art for the design of Dalia.[/p][p][/p][p]Then she gets the call that changes everything. A message from Hale, saying a crisis has engulfed the Cluster and a Scarab is needed—an unknown catastrophe, with an unknown death toll. Dalia returns, alone, and despite her experience and tools of the trade, she is unprepared for a homecoming like this. Dalia’s return is anything but heartwarming. Dalia must come to terms with her choices, as well as her survivor’s guilt, as she investigates the crisis that killed almost everybody she knew. Dalia will uncover a universe that is larger and weirder than she ever could’ve imagined.[/p][p][/p][p][/p][p][/p][h3]Developing Dalia[/h3][p][/p][p]Dalia’s perspective is integral to the story of Ambrosia Sky. She isn’t just here to do a job; she’s here to reconcile her own guilt, confront the mistakes she’s made, and learn how to forgive herself.[/p][p][/p][p]For me, Dalia was always our main character of Ambrosia Sky. I knew right from the start that the story of this world would shine if paired with an emotionally complex protagonist, providing an additional layer to the stories of grief and death that players will encounter. Dalia needed to be smart; she’s a scientist, but she’s also not easily grossed out, two strengths that play nicely in contrast to her somewhat emotional immaturity. When things get tough emotionally, Dalia tends to run away. Except this time she can’t. She has to see this through, at first because it’s a job she’s trained to do, but then because she’s invested in trying to save Maeve, and by extension, learning to look at her emotions directly.[/p][p][/p][p][/p][p]But there’s more to Dalia than just her job. The early process of developing Dalia’s character included stacking the story and game objectives for her with references. The biologist from Annihilation was a huge early inspiration for Dalia, somebody who charges directly into unknown waters with a curiosity that can be dangerous to her. Despite her uneven emotions, Dalia doesn’t reveal them. She keeps her secrets close to her chest, and her feelings even closer.[/p][p][/p][p]The voice acting for Dalia really encompasses this range, this clinical detachment mired by extreme emotional tumultuousness. Writing Dalia was really about tapping into the ways in which we are dishonest with ourselves, and a lot of what I brought to Dalia from myself was my ability to overintellectualize my emotions instead of just feeling them. Dalia is a person who spends a lot of time in her head and, as such, struggles to accept the larger emotions that still manage to dominate her, despite her ability to rationalize them (if she even thinks about them at all).[/p][p][/p][p][/p][p]One of the earliest sketches of Dalia.[/p][p][/p][p]Even from our earliest days, Dalia has always been Dalia. There’s parts of her that have shifted and morphed through development, particularly as the plot got solidified, as other characters came into focus, and as the story needs evolved as our game evolved. The core of her has always been there: this clever, emotionally detached woman trying to reconcile her own needs with those of her family and the people she loves.[/p][p][/p][p]As such, I hope players find comfort in Dalia. She’s made mistakes. She’s hurt people. But she’s trying to find a way through those emotions to help the people that she can, and to learn how to forgive herself. What I’ve brought to Dalia, and what I hope others can take from her, is navigating how to be gentle with ourselves while still doing the difficult, necessary work of accepting who we are, flaws and all, in order to show up for ourselves and others.[/p][p][/p][p][/p][p][/p][p]If you want to know more about the development of Ambrosia Sky, take a look at our prior dev logs that cover the role of a Scarab, the art & audio direction of the game, a look at the tech & design behind our cleaning mechanics, and an overview of what Ambrosia Sky is.[/p][p][/p][p]You can also download the demo from Steam to step right into Dalia's shoes and see the crisis firsthand. In our next devlog, we’ll begin to talk about the cast of characters that surround and support Dalia on this journey.[/p]

Symphony for the Dead

[p][/p][p]In this week’s devlog, we speak to Greg Harrison and Michelle Hwu, the composer and audio director for Ambrosia Sky, respectively. They share insights into using sound & music as worldbuilding, discuss the instruments and methods used in composing tracks for the game, and reveal the first full track for the game (demo players will recognize it!): Gerald’s Last Rites.[/p][p] [/p][p][/p][p][/p][p]Can you describe how you approached the music for the Cluster’s different generations? [/p][p][/p][p]Michelle: When I first learned where and when our game takes place, I got really curious about how music and art might have been created and preserved in our futuristic, sci-fi world. Kait outlined the three generations of humans that lived on the Cluster, which helped shape my understanding of how music might have evolved over roughly 200 years. People leaving Earth for Saturn would have brought only specific items and materials, which would impact what could be preserved over time. I wanted my early exploration of the music lore to serve as a foundation for our game’s soundtrack.[/p][p][/p][p]From there, I came up with some loose guidelines for each generation and how that would influence the game’s sound. For example, I imagined that when people first arrived on the Cluster, wood was scarce, large instruments were hard to come by, and they had to make do with whatever they could find, such as metal scraps from ships, mycelium, and beast bones. That got me thinking about how we could incorporate a sense of primitive technology and accessible instruments into the game’s music, using items like bones, jaw harps, ocarinas, and conches. I was introduced to Grej’s music, which felt like a perfect match for our world — he’s well-known for blending organic and electronic sounds in a really compelling way, and I knew he would be able to bring a great sound to our game.[/p][p][/p][p][/p][p][/p][p]What different types of instruments and sounds did you play with?[/p][p][/p][p]Grej: The Cluster was an invitation to think outside the box and explore what kinds of sounds might have existed and evolved over time in a completely different world. I considered what resources would be available, which instruments might have survived the journey from Earth (and which didn’t), and how those instruments might adapt to new contexts. What if bellows were used as percussive tools instead of for breathing air into a reed instrument? What if bowing a cymbal could transform it into something melodic? What if flutes were resonated by springs? These kinds of questions became the blueprint for the score. My intention was to make the Cluster feel alive — and to do that, I knew I had to build things from scratch.[/p][p][/p][p]I began by exploring “found sounds”: scrap metal, bones, springs, pipes and tubes, cymbals, and various synthetic skins. From there, the experimentation really blossomed as I searched for expressive ways to bring these textures to life. One of the main thematic drones you’ll hear is created by playing a jaw harp through a tube and processing it through layers of granular reverb, resulting in an organic, growling sound that feels unique to this world.[/p][p][/p][previewyoutube][/previewyoutube][p][/p][p]Can you describe your process for composing the music that plays during Gerald’s death ritual?[/p][p][/p][p]Grej: I really appreciated the team’s approach to death in the game. While much of the score leans into dark, ominous textures, Gerald’s death ritual felt like a space to shift into something gentler, something beautiful.[/p][p][/p][p]In contrast to all the bespoke, clustery instruments I built for the world of The Cluster, I wanted to introduce a sound that felt pure and transcendent. For me, the piano embodies that feeling. It’s an instrument that doesn’t exist on the Cluster — almost a mythical relic, a distant memory from Earth. Using it in Gerald’s and Kai’s rites became a way to musically connect them to their ancestors as they cross into the beyond.[/p][p][/p][p]The piece itself unfolds like an intimate dirge — not heavy or mournful, but quiet, reflective, and reverent. It’s also one of the only moments in the game where vocals appear, adding a human fragility to the farewell.[/p][p][/p][p]How does the music interact with the level design and gameplay experience? How do you account for player action?[/p][p][/p][p]Michelle: Grej and I wanted each track to evolve in its own way as the player moves through different levels in the game. We have several distinct mission types, and each one calls for a different musical vibe. Some needed to feel more exploratory, while others had to align closely with the narrative. Then there are moments where the level ramps up into full-on, fast-paced action. While working with Grej, we ensured that each section of music had sufficient variation based on the player’s choices — specifically, the path they take, the duration of their stay in an area, and their subsequent actions. We were constantly thinking about the mood of each level and what we wanted the player to feel at every stage.[/p][p][/p][p]Sometimes, the music needed to take center stage — like during the death rites — while other times, it’s more of a background groove for tasks like cleaning fungus off a level or just casually exploring for items. The fact that our main character often wanders through abandoned spaces filled with dead bodies significantly shaped the darker undertones that appear in our soundtrack.[/p][p][/p][previewyoutube][/previewyoutube][p][/p][p]What inspirations did you draw from for the music and sounds of the game?[/p][p]Grej: Michelle gave me a lot of great influences to start with. One of the main themes we focused on was incorporating throat singing and jaw harps — sounds with deep, organic qualities. My goal was to take those traditional elements and push them into really unconventional, unexpected contexts to fit the world of the Cluster.[/p][p][/p][p]Since Michelle and I both have backgrounds in classical and contemporary percussion, we wanted to blend scrap percussion with driving electronic layers. Finding a balance between the raw, natural qualities and the more synthetic, rhythmic elements was key. We aimed to create music that felt fresh, immersive, and approachable, allowing players to emotionally connect with the soundscape while experiencing something new and unique.[/p][p][/p][p]Michelle: Some of my early inspirations came from experimental artists who lean heavily on percussion, like Yosi Horikawa and Steve Reich, along with cinematic soundtracks like Mica Levi’s Under the Skin, Colin Stetson’s Hereditary, and Clint Mansell’s Moon. A big focus for the game’s soundscape was capturing the feeling of being alone in space, while still hinting at the vibrant history that once existed there. The phrase “weird and wonderful” became a guiding idea throughout the process, particularly when illustrating how the fungus took over the Cluster and reshaped the landscape.[/p][p][/p][p]We wanted to create a fresh, unique take on how a sci-fi game can sound, especially since we’re not making a typical space marine-style title. I’ve always loved using “found sounds” — taking whatever materials are around and turning them into organic soundscapes, which is what led me to work with Grej. He explored new ways to play familiar instruments and gave them a fresh twist.[/p][p][/p][p]Do you have a favourite instrument you like to work with, and if it made its way into the game, how?[/p][p][/p][p]Grej: I used a lot of granular synths like the GR-1, Lemondrop, and Omnisphere to turn all these found sounds into playable instruments. One sound I was really excited about was called the “Beast Teeth” — a mix of actual teeth and jawbones (don’t ask) combined with a pitched-down vibraslap. Playing this on a keyboard instrument was incredibly fun![/p][p][/p][p]Michelle: There are a number of standout sounds that Grej designed, but one of my personal favourites is when we hear the DynaCrasher, which appears in some of the later levels. It has a sharp, percussive quality (which we jokingly call the “tsk tsk”) that cuts through the mix with precision, helping to anchor the rhythm during high-intensity sequences. He also created a great sound which we lovingly referred to as the “FZEW FZEW”, which is a combination of analog synth layers with processed metal samples to produce a static-laced, almost electrical texture that gives the soundscape a sense of tension and movement.[/p][p][/p][p]From a team perspective, we were especially excited by the positive reactions to Grej’s use of throat singing sounds. We integrated them across several tracks, using layered harmonic overtones and low-frequency textures to evoke a sense of ritual, which added depth to the game’s darker, more atmospheric moments.[/p][p][/p][p][/p][p][/p][p]How do you score a piece of interactive media compared to something more traditional, like film?[/p][p]Grej: This was my first video game I’ve worked on, and I was super intrigued by how an interactive medium can really influence the compositional process.[/p][p][/p][p]I began to notice parallels with contemporary music styles, particularly in the works of John Cage. Cage’s use of “chance” in many of his later compositions inspired me to approach the score as a living, evolving system rather than a fixed piece. This way, the music could feel alive and responsive, reacting dynamically to the player’s choices and progress throughout the game.[/p][p][/p][p]Michelle: One of the most interesting parts of collaborating with Grej was learning to communicate in different ways–sometimes through more traditional, linear scoring approaches, and then translating that into something that works for interactive media. His fresh approach to composition initially pushed the limits of my Wwise implementation skills, but once we figured it out, it was incredibly rewarding. We ultimately found some unconventional ways to manipulate Wwise to achieve the desired results, which is always a fun challenge. The outcome is a set of music transitions that feel much more organic and seamless as players move through the levels.[/p][p][/p][p][/p][p][/p][p]Gregory Harrison, also known as Grej is a dynamic and multi-faceted musician, composer and producer based in Toronto. Greg’s an East Coast Music Award winner and Dora-nominated composer, with over 50 composition and recording credits spanning concert music, film, and interactive media. His commissioned works include projects for Toronto Dance Theatre, ProArté Danza, Popular Demand Pictures, and Architek Percussion. He has toured internationally with artists such as Jeremy Dutcher, Cirque du Soleil, and The Cybertronic Spree, performing at venues including Massey Hall, NPR’s Tiny Desk, the JUNOs, and The Kennedy Center. Greg’s work explores the intersection of acoustic performance and live electronics through his innovative use of music technology.[/p][p][/p][p]Michelle Hwu is the Audio Director at Soft Rains, with over a decade of experience in both games and post-production for film and TV. Her work in games includes audio roles at Ubisoft Toronto, Beans, and Drag Her!. Originally trained in Percussion Performance at the University of Toronto, Michelle has performed with ensembles such as the Toronto Symphony Orchestra, the YouTube Symphony Orchestra, and the Esprit Orchestra. In post-production, her credits include projects featured at TIFF, Sundance, and the Tribeca Film Festival, along with work for CBC, NBC, and Shudder. Most recently, Michelle was recently nominated for a Canadian Screen Award in Sound Editing for the film In A Violent Nature.[/p][p][/p][p][/p][p][/p][p]To stay up to date on Ambrosia Sky and to support our team, please wishlist the game on Steam, join our community Discord, and follow us on social media.

📸 by Gabriel Packer[/p]

Stylizing a Sci-Fi Frontier

[p][/p][p][/p][p]Adam Volker has worked in games and animation for 13 years. He worked briefly in AAA games at BioWare and Midway as a concept artist. Then, art directed the short film The Fantastic Flying Books of Mr Morris Lessmore, which won an Academy Award in 2012. He was nominated for an Emmy in 2018 for Manifest 99, a narrative VR experience. Now he works at Soft Rains creating narrative and mechanically peculiar games while trying to make them as pretty as possible.[/p][p][/p][p][/p][p][/p][p]Ambrosia Sky is set on colonies built on the back of asteroids nestled in the rings of Saturn. It’s about Dalia, a Scarab. Familiar with death, a scientist enlisted to cure humanity’s mortality on her return journey home. Our Narrative Director, Kait Tremblay, had built this incredible world in their head. I felt like my job was to distill the parts that needed to shine for the player and make them real.[/p][p]When players pick up the controller to play what you’ve made, you have an opportunity to spark their imagination, to show them a world they haven’t thought of, and if you’re lucky, inspire them to make something and pay it forward. Good art is cumulative.[/p][p][/p][p]I strive to create a distinctive style for each project. There are centuries of brilliant 2D art to be found. So many styles to explore that artists before me have expressed in paint (digital or otherwise). What haven’t I tried to translate into 3D yet? Just as importantly, what’s cool looking? What sounds fun to try!? I pick one or two strong references for myself and the 2D team to dissect, understand, and internalize. Then we “method act” our paintings, using the tools taught to us by other painters and render objects from our unique world with those rules. The painting below is me trying to paint the large graphic shapes from our references with details inside, and design a building unique to our colony.[/p][p][/p][p][/p][p][/p][p]You can try, but you can’t erase your own way of painting; it’s a beautiful thing about creating anything. Everyone has a style, whether they paint or not. Even as our concept team tries to emulate the style of the specific references I’ve chosen, we trust the process to produce something wholly unique. It’s a fun exercise to start each project by combining simple, strong references and my own precious biases. (haha)[/p][p]To get us started and to help direct the team towards what I’m aiming for, I made this spectrum and placed our goal on it. The two axes, one for the design of objects and the other for the final rendering style, helped us define what we wanted the word stylized to mean.[/p][p][/p][p][/p][p][/p][p]It’s a pet peeve of mine the way our industry uses the word “stylized” to describe non-realistic visuals. For our Ambrosia Sky, we wrote our own definition. There is so much media out there that is really good, and if you have the appetite, even more after that. It’s 2025 now. We drink from a visual firehose. It means the chance to surprise people when you actually get their attention is special. We only get so many at bat.[/p][p][/p][p]I was looking for painterly detail, rendered inside graphic forms. A stylized world where colour choices weren’t literal, and subverted expectations of what outer space might look like. I feel like every year, our photographs of space bring back new colours, new textures that were there and we didn’t see before. It’s still such a big mystery what’s out there. We had to try to represent visually more than we know now. For instance, we designed our airlock door to spin as a sphere instead of opening on a hinge. Why not?![/p][p][/p][p][/p][p][/p][p]Our game features vast, desolate spaces filled with fungus. Part of our game involved giant, dead space creatures so that we could dip our toes into the realm of fantasy. But at the end of the day, to hold the gravity of our story that is about death and life’s finality, the game needed to be credible. The world needed to make sense and had to have a rich amount of detail. Even if it was stylized. Shared language is crucial when trying to establish a unique style for a game. Despite our sophistication in design, not everyone thinks of the same references in the same way.[/p][p][/p][p][/p][p][/p][p]The visual language of any project should be built alongside the story of the world, reinforce the gameplay and highlight the themes of the idea. Production design involves translating a theme into a visual language, being specific about details, and adhering to a concept throughout the entire production. It’s a question and answer. What designs support Dalia’s journey? How do we make a maximalist game about fungus legible?[/p][p][/p][p]Ysabel painted this; she is one of the most talented painters I’ve worked with. She put mood, design, organized colour, stylized brushstrokes AND story all into this image. This was a milestone painting for articulating the game. When she painted this, we hadn’t started building out our 3D kit for the game yet. This piece was a north star then, and still is one I return to, reminding me how the game should feel.[/p][p][/p][p]Concept art is for iterating, it’s for exploring. A good piece of art inspires the team’s imagination to create the game depicted in the picture, but concept art is a promise. After a few months of painting the building blocks, it was time to translate it into engine. We had some influences, a clear distinction of what we were after, and a huge stockpile of lore, character writing, and themes to draw from. Now we had to climb the mountain.[/p][p][/p][p]We filled in the corners of the world with paintings. Built a design language for the technology, and layered in history for different ages of architecture. Another huge challenge of the project was the life form Dalia encounters when she finally lands on the Cluster. The exo fungus.[/p][p][/p][p][/p][p][/p][p]Malicious space fungus that has overgrown the living spaces, airlocks, and facilities of her hometown. This was not only a set piece of our gross, dead, derelict world, but also the core of the gameplay. To uncover the truth about what happened to her friends and loved ones, Dalia must face a mutating, growing enemy by cleaning it away.[/p][p][/p][p]Each fungus has its own gameplay parameters, behaviour and interaction with the world. As Dalia learns what it does, we as players do too. It needed to be awful and beautiful. Gross and alluring.[/p][p][/p][p][/p][p][/p][p][/p][p][/p][p]We settled on high visual density, but not high detail. Graphic shapes everywhere, simple colours. Players needed to walk into a busy room, find what they were looking for immediately, assess the danger level in a room quickly and plan their route around it. With everything glowing, growing, and fighting for your attention, we chose to make each fungus’s shape design unique, individualize the colours between them, and keep the silhouettes strong so players wouldn’t be overwhelmed by what they saw.[/p][p][/p][p]The final challenge was turning the art we’d painted into an explorable 3D space. The design of the forms was straightforward. Build something big and flat to grow fungus on top of, easy. Making it feel painterly was harder. It took us several iterations and a lot of open-minded experimentation, but we got there. I think the game looks beautiful.[/p][p][/p][p][/p][p][/p][p]Please wishlist the game on Steam, join our community Discord, follow us on social media, and, of course, download the demo to get your first hands-on experience with Ambrosia Sky.[/p]