Hello everyone and welcome to this last devblog before the holidays! We will all be taking a well deserved break as we’re entering the final lap of the development of Dead in Antares.
Starting in January, our devlog will be released at a faster pace, as we still have some very cool things to show you before you can put your hands on this game 😊
Today’s blogpost is very special. For those who already tried the demo of Dead in Antares (and if you haven’t, you definitely should!), you may have noticed that the music in the game is very special.
For this game, we’re working with our dear collaborator Antoine BOUCHERIKHA. Antoine has been working with us for more than 3 years, and he’s basically been our sound magician. He not only created amazing sound effects for several of our games, but he also composed the OST of Dead in Antares.
First of all, can you introduce yourself and tell players what’s your role on Dead in Antares?
My name is Antoine Boucherikha, I’m a composer and sound designer, and I worked on the original music and sound design for Dead in Antares. My role was to create the sound identity of the game and make sure the soundtrack supports both the atmosphere of Antares Prime and the player’s moment-to-moment decisions.
What were your biggest inspirations for the music of Dead in Antares?
I was inspired by a mix of science-fiction soundtracks (Outer Wilds, Subnautica), experimental electronic music (Oneohtrix Point Never, Autechre), and ambient composers (Brian Eno or Sigur Rós). I also took a lot of inspiration from nature sounds and ecological systems, even if Antares Prime is fictional. The idea was to blend something alien and unknown with something organic and emotionally grounded.
What are the main instruments players will be able to hear while managing their characters in Dead in Antares?
Players will mainly hear acoustic and electric guitars, synthesizers, modular textures, evolving pads, and processed organic sounds. There are also subtle percussive elements and drones, often created from heavily transformed acoustic sources rather than traditional instruments.
You did “modular music” on Dead in Antares, can you explain what this means exactly?
Modular music means the soundtrack is built from multiple musical layers that can be combined, removed, or transformed in real time. Instead of playing a fixed track from start to finish, the music adapts dynamically to what’s happening in the game and to the player’s actions.
Why choose modular music over traditional music?
Because Dead in Antares is a game about survival, tension, and decision-making. Modular music allows the soundtrack to react instantly to changes in gameplay, creating a more immersive and less repetitive experience. It helps the music feel alive, just like the planet itself.
Antares Prime is a completely fictional planet, with creatures that are nothing like what we see on earth. Can you explain what happens between you being presented a concept art and the moment the final sound is included in the game?
It usually starts with observing the concept art and discussing intentions with the team: mood, scale, danger, mystery. Then I experiment a lot, recording sounds, designing textures, and testing ideas in Fmod. The final step is iteration: adjusting the sound or music until it feels coherent with gameplay and visual feedback.
How do you imagine what a creature is supposed to sound like?
I try not to imagine it as a “monster sound” right away. Instead, I think in terms of behavior, size, environment, and function in the ecosystem. I often start from real animal or natural sounds and transform them until they feel unfamiliar but still believable.
Dead in Antares is the first creation by Ishtar Games set in space. What were your biggest challenges when being asked to create a science fiction atmosphere?
The biggest challenge was avoiding clichés. Space and science fiction come with strong musical stereotypes. The goal was to create something that feels sci-fi but still unique to Dead in Antares, something that belongs specifically to Antares Prime.
Do you have a fun anecdote or moment from the development of the OST to share with the players?
One fun moment came from working with our narrative designer, Christophe, who is also passionate about sound and music. While we were looking for intriguing sonic textures for the Atlantes, he suggested recording his handpan. It was extremely fun to record and integrate into the soundtrack, and the result works really well in the game. It also perfectly illustrates how enjoyable and creatively rich development can be when interdisciplinarity is allowed to truly express itself.
If you could use a word to describe the original soundtrack of the game, what would it be?
Soothing.
Before we go, we have a nice present for you 😉 The holiday season is perfect for long evenings with some hot chocolate, reading your favourite book (and not on a faraway planet trying to survive with pieces of a broken spaceship).
And to come with this hot chocolate and book, we’re very happy to unveil the very first song from the Original Soundtrack of Dead in Antares: Aster.
Enjoy!