Sound in games often means music, effects, and voice acting. But silence — or near-silence — can be just as evocative. Australian developers have quietly led the way in using auditory restraint to create atmosphere, tension, and emotional resonance.
Consider Stalker: Shadow of Oblivion, a narrative walking sim developed in rural Victoria. Much of the game’s emotional weight comes not from what’s heard, but what isn’t. Players explore abandoned mines and bushland where every footstep echoes against a void of silence, amplifying the feeling of isolation.
Similarly, Wayward Echoes, a survival game set in a fictional Australian outback, uses sparse soundscapes to heighten dread. Long stretches of quiet are punctuated by natural ambiance — wind, distant birds, or shifting sand — creating a feeling of waiting, of vulnerability.
This approach draws from Australian cinematic traditions, particularly films like Picnic at Hanging Rock, where ambient absence becomes narrative tension. The influence on game sound design is unmistakable: silence becomes a space where the player fills in fear, nostalgia, or loneliness.
Moreover, silence pairs well with minimalist game mechanics. With fewer distractions, players become attuned to tiny audio cues — a flickering light, a rustling bush — creating immersive awareness.
Australian case studies remind us: sound design isn’t just about what you hear. It’s about what you don’t — and how silence can shape the player’s emotional landscape.