Our first encounter with The Callisto Protocol was back in June, when its creator Glen Schofield shared an exclusive look at the horrors that would await PS5 players on the surface of Jupiter’s moon. The Striking Distance Studios CEO took us on a tour emphasizing the tech powering this return to the sci-fi horror space: the subtle strength of Horror Engineering that’d perfect each shock and scare, the near-future weaponry that gives Jacob Lee a fighting chance against the mutated Biophage, and how 3D Audio and haptic feedback would pull us deeper into the danger-filled corridors of Black Iron Prison.
Today at Gamescom, he returned to dig deeper into how the game’s combat will work and share new gameplay. Prior to that reveal, we sat down to talk about the journey towards the game’s launch on December 2, its soundscape, story, and more about his team’s techniques to craft a horror story you’ll be unable to forget.

PlayStation Blog: While the game’s still a few months out from release, that will mark (just under) two years since it was originally announced. Have you had much chance to come up for air and reflect on that journey thus far, or do you keep your focus solely on those pre-launch milestones?
Glen Schofield: The last few years have been a blur. We’ve built a new studio, created a new game based on a new IP, with a new team, on a new engine, for a new generation of consoles … during the pandemic. What a ride! The team at Striking Distance Studios can’t wait to finally share The Callisto Protocol with the world!
The support that we’ve received from players—and especially the PlayStation community—has been one of the things that has inspired us to finish so strong. The feedback has been incredible, and it means the world to me and the team. This game is a labor of love.
What’s left between now and going gold?
We’ve reached what we call “content lock,” which means that basically everything is in the game at this point. Levels, creatures, visual effects, cutscenes—it’s all in there. Right now, we’re making all those last little tweaks. Changing the timing on a sound here, brightening up a light there, tuning the difficulty, stuff like that. And of course, we’re optimizing performance and squashing bugs every day.
This last phase of development is a lot of work, but it’s when the game really starts to shine. It’s very satisfying to see the light at the end of the tunnel.
Can you go into more detail as to your approach to the game’s score? Is it primarily diegetic, backed with cues from The Apprehension Engine?
I can’t overstate how important audio is to a horror game. It’s half the experience. In fact, I consider audio to be a feature, like combat or anything else. It’s that critical.
What’s interesting about audio for a horror game is that you have a ton of room to experiment and do some really wild stuff.
Let’s say you have a machine off in the corner of the room. We think about how we can make that machine scary. How do you turn people’s expectations for what an industrial machine sounds like, and just tweak it a little bit, so it sounds foreign and intimidating? We want the world to feel familiar but threatening and a little off.
These diegetic elements really help immerse the player in the world, but keep them off balance.
Music and other non-die