Walter Woods on art, fear, and building Dark and Deep Alone
Some projects feel hand-carved. Dark and Deep is one of them — an indie horror built largely by one person, drawing on Gustave Doré, myth, and the kind of slow-burn tension that lets your imagination do the damage. We sat down with creator Walter Woods to talk about working solo, turning 19th-century art into modern dread, and why sound design is everything when your monsters are invisible.
Gameplay Video
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Q: What drew you to Gustave Doré’s artwork for the visual design of Dark and Deep?
The themes he was working with in The Divine Comedy, Paradise Lost, and The Bible were closely aligned with the story I wrote for Dark and Deep. I had previously worked with an artist on a smaller experimental project with a similar style, so it was irresistible to apply and expand those methods with a master of his time. Working with such an established and legendary artist’s work is a big opportunity and also a big responsibility. I tried to understand the work before I used it. I wanted his art to be more than set dressing.
Q: What have been some significant highs and lows during the game’s creation?
The best thing about the production of Dark and Deep is also its worst thing: working alone. It gets a little lonely when your artist is dead. I have loved the control over my process and schedule it affords me. I get to tell a story that is personal to me. But I have been lucky to have some help from some really talented people along the way, and some of my favorite moments were when their work shined in the game, I think I will work more with people in the future.
19th-century art in a modern setting
Q: How is 19th-century art adapted for a modern horror game setting?
The old and ancient art/sculpture I use stands as a strong contrast to the modern imagery of computers, servers, offices, etc. The art points to the universal nature of these themes. Humanity’s fight against the darkness. Temptation. Evil. Redemption.
Q: How do puzzles, mythology, and horror blend together in your game design?
Repetition is the enemy of horror. I try to keep the challenges and pacing varied throughout the game so there is always a new situation to deal with.
Sound, tension, and the invisible
Q: How do you use sound to enhance the horror atmosphere in Dark and Deep?
Since the enemies are invisible, sound is crucial for both atmosphere and gameplay. I gave each major element of the game its own unique sound signature, usually defined by an instrument or similar. Violins for one enemy… a didgeridoo for another. I found that this not only serves to be an identifier but also creates a sort of abstract dynamic soundtrack for the game at times.
Trailer
Q: Are there aspects of the game that mirror your own life experiences or beliefs?
All good art shares that quality. Write what you know, they say.
Q: How have player reactions shaped the development of the game?
I am very feedback based. A lot of the features I have added lately, like story mode, came from watching how people play the game. Games are art, but they are design too. The product has to work, and be engaging for as many people as possible without watering down the vision.
Q: Players often feel a sense of déjà vu when playing Dark and Deep. What influences might be causing this sensation?
In many ways, Dark and Deep is about looking at something from another perspective. Your life, your decisions, how you have affected others, and how others perceive you. I intentionally designed the game’s environments to make you do a double take, and to loop back on themselves. Looking at the same thing with a new perspective is a powerful thing.
Q: What kinds of projects do you envision tackling after Dark and Deep?
I have a few ideas… but for now, I’m just excited to have Dark and Deep in the world and plan on doing quality of life updates for the foreseeable future. It is also coming to consoles later this year.
Q: For those hesitant about the game’s scare factor, how do you balance terror with enjoyment?
I prefer more rising dread than jump scares. I would say there are no real jump scares in the game. It’s a slow burn. There are some chase scenes, and some pretty overwhelming moments, but hey… it’s horror. One thing that I hesitate to mention… Dark and Deep may have more of a sense of hope and humanity than many horror games you have played. I think that makes it more tolerable to non horror fans, but don’t worry… it will still keep you on the edge of your seat.
Q: What activities or hobbies do you enjoy when you’re not developing games?
I am a musician. I actually wrote all the themes for the game, so I guess I’m incapable of having hobbies that don’t become game dev. But it is fun, having so much of the game with my fingerprint on it.
If you’re creative, you have a responsibility to put into the world the art that only you can produce. Go do it!
If strong art direction is your thing, read our interview on Anima Flux’s art style.
Closing thoughts
Indie horror thrives on restraint — on letting the mind fill the quiet. That’s the space Dark and Deep lives in, and it’s why Walter’s approach stands out: invisible enemies mapped by sound, classical art rubbing against server rooms and office cubicles, and a design ethos that refuses to repeat the same scare twice. It’s personal work, and you can feel it in every decision.
If you missed the original run-up to launch, you can still explore Dark and Deep today — and keep an eye on Walter’s channels for what’s next. Buy Dark and Deep on Steam (August 13 release) and follow Walter on Twitter/X @walterwoodsdev.
Written by Ronny Fiksdahl, Founder & Editor of Fix Gaming Channel.
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