South of Midnight is shaping up to be a unique experience that explores ideas not often seen in video games. Part of that comes from its incredibly compelling story, but it all works in tandem with the art style and gameplay. Channelling the third-person action-adventure games of the late ’90s and early 2000s, the game blends deep storytelling, platforming, and exploration with a striking stop-motion-inspired aesthetic to create something unlike most games released in the past decade. Compulsion Games has taken a fantastic approach to the experience—one that is hard to put down once you get your hands on it.
At an event in New York City, CGMagazine had the opportunity to speak with Art Director Whitney Clayton and Gameplay Director Jasmin Roy from Compulsion Games to discuss South of Midnight and what went into building this captivating Southern Gothic adventure. Diving into the process of crafting the art style, the challenges of designing the world, and how it all comes together in gameplay, the team at Compulsion Games provided insight into what it took to bring this new Xbox-published title to life—and what they hope players take away from the experience when they play it later this year.
In your presentation for South of Midnight, you discussed bringing forward the stop-motion look to the game. What were some challenges in achieving that, and how did you overcome them to achieve the final result we saw in the game?
Whitney Clayton: One of the biggest challenges was making it feel deliberate—ensuring the style comes through as an intentional artistic choice that conveys the idea that you’re in this carefully crafted world. Well, I’d say one challenge—though a good one—was that the artists had to figure out what it meant for them to make something feel crafted. We needed a direction that allowed flexibility so they could bring their own artistic interpretation and have fun with it.
We established rules together that provided structure, but the goal wasn’t for everything to look exactly the same. The direction encouraged an organic feel, where different artists could approach things in their own way. As long as the work stayed within certain parameters, the final product would come together cohesively. That was a rewarding challenge.
Another challenge was fine-tuning the in-game visuals to ensure the world felt deliberately crafted without being distracting. There were moments when we had to tone certain effects down—like during combat—while enhancing them in other areas, such as with little animals running around or the way foliage moves.
Hazel also has a slight treatment applied to her, but we had to experiment with different settings to strike the right balance. The goal was to create a cohesive world that felt handcrafted without being jarring or causing discomfort. It took a lot of fine-tuning, and reactions have been mixed—some people really like it, while others don’t. That’s okay! If someone finds it overwhelming or nauseating, they have the option to turn it off.
You mentioned making it feel deliberate. Was that a challenge, and how did you get around it if it was?
Whitney Clayton: Do you have to exaggerate things? Absolutely. It has to look exaggerated. It’s a combination of all the modelling and craftsmanship coming together to create a cohesive, global feel. Plus, the lighting plays a crucial role. We have an amazing lighting artist, and their work is essential in selling the look.
You do have to exaggerate elements to make them stand out. I can’t really speak for the animation side of things since I’m not the animation director, but I believe they have their own techniques to achieve that distinct style. At times, it was challenging, but it was also incredibly fun. The entire team really enjoyed the creative process behind tackling this challenge.
While playing South of Midnight, I noticed how it feels similar to the dark platformer experiences we used to see in the late ’90s and early 2000s—a style that has largely faded in recent years. What led to the decision to embrace this type of gameplay?
Jasmin Roy: The way we worked on the project, and this will probably touch on what you mean, is that when I joined the team, we had an old drawing on the wall. We started developing a folktale—without the tale, so to speak.
From the beginning, we knew the story would have strong momentum. Hazel is searching for her mother, who disappeared in the hurricane’s storm. Everything in South of Midnight takes place over the course of a single day in Hazel’s life. We aimed for a condensed experience of about 10 to 12 hours. Initially, our target was a bit shorter, but as we refined the story and went through different iterations, we realized this length best suited the narrative we wanted to tell.
The core idea was for players to pick up, play, and finish South of Midnight in a satisfying way. Beyond the story, another key element was Hazel’s connection to objects inspired by traditional weaving techniques. For example, her staff and the hooks typically used in fabric weaving, as well as spindles that hold fabric, all played a role in the game’s design. The goal was to create a modern folktale infused with magic, where Hazel would wield these enchanted objects.
We explored different ideas, particularly focusing on predating strands—almost like a magical lasso that could manipulate objects. This led to the concept of moving things around dynamically. One of the spells we created, the “weave spell,” allowed fabric to form temporarily for a few seconds, stacking new mechanics on top of each other.
As we refined these ideas, we started considering movement and traversal. The platforms evolved based on sound, and we thought it would be interesting to allow players to jump on and move around them. At the same time, we were developing the traversal system, which initially felt much more hyper—allowing players to zoom through levels at high speed. However, we quickly realized we needed to find a balance. We didn’t want to lose the world’s depth, South of Midnight’s atmosphere, or Hazel’s character in the process.
South of Midnight went through various iterations before we settled on a third-person action experience. We knew from the start that we wanted Hazel as our main character, and we wanted the game to focus on her abilities. We also aimed to create a traversal system that complemented her powers, allowing players to navigate the world in a fluid and engaging way.
Everything came together organically, and by the end of development, within the 12-hour gameplay experience, we took a step back to assess the abilities we had designed. If the game feels reminiscent of that era, it’s because it comes from a time and style we genuinely appreciate. And honestly, we don’t see that as a bad thing.
At that point, we kept revisiting the vision behind South of Midnight and refining the ideas that shaped it. We focused on breaking everything down into a structured format, ensuring a clear beginning, middle, and end while guiding players through different pacing elements.
When designing the levels and maps, we structured both narrative and gameplay beats. We started with a simple framework—cue cards placed everywhere to mark key events, choices, and transitions. From there, we gradually layered in elements of art, game design, and level design. The entire process evolved organically, leading to a format that felt like the logical conclusion of our vision.
Whitney Clayton: We also loved the idea of creating a dark folktale. Both the team and I were drawn to the blend of magic and storytelling that immerses players while guiding them through the experience. If that aesthetic feels reminiscent of the late ’90s or early 2000s, then that’s simply a reflection of our creative influences.
During the presentation, you showed the map detailing how everything unfolds in South of Midnight. Is the experience as fluid as it appears? I imagine there are chapter breaks, but does the map function as a continuous space? Does it feel like you naturally progress from one area to the next, physically moving along a connected path within this universe you’ve created?
Whitney Clayton: Yeah, we refer to it as a “wide linear” game. The story drives you forward from location to location, but within each chapter, there are events and areas to explore. As you saw in the chapter you played, each location has its own unique elements to discover. While the overall structure remains consistent, each chapter varies slightly, offering different experiences.
Jasmin Roy: The world isn’t physically connected in a fully seamless way—it’s not an uninterrupted experience. Each chapter takes place in a different location, and at times, you are transported from one place to another. The chapters also reflect changes in the time of day, which impacts the visuals and atmosphere. While you move through different environments, we paid special attention to landmarks to ensure continuity and a strong sense of place.
Whitney Clayton: So, you don’t feel like you’re just jumping from one place to another.
Jasmin Roy: Exactly.
Whitney Clayton: The changes in time of day are designed to feel natural.
Jasmin Roy: Yes, it should feel that way, even though there are chapter breaks. In some regions, as you move through different chapters, you might find yourself standing in a place where you can see landmarks on the horizon.
While the regions aren’t fully interconnected, we made sure to include visual continuity to help players orient themselves. For example, in the demo, when you climb the tree, you can see some of the landmarks you’ll encounter later in South of Midnight. You might not immediately recognize their significance, but once you progress, you’ll realize how they fit together. Since you sometimes climb to high vantage points, we wanted to ensure those details were there for players who pay close attention.
Whitney Clayton: We also use storybooks as an important tool to bridge the gaps between chapters.
Jasmin Roy: Yes, South of Midnight features individual maps rather than one continuous world, but we worked to make them feel naturally connected. Some chapters act as transitions between different environments, so if you’re paying attention, you’ll notice those moments.
Regarding creature design in South of Midnight—what are they supposed to represent? How did you come up with their concepts? In the demo, I believe we saw three different creatures. Will there be more throughout the full game?
Whitney Clayton: There are a variety of creatures in South of Midnight. Some are based on real Southern folktales, while others were created specifically for the game, though they still draw inspiration from traditional myths and legends. Many of these creatures play a significant narrative role, with deep histories tied to them. Discovering their stories is a key part of South of Midnight.
While your journey is focused on finding your mother, along the way, you encounter different characters, creatures, and people, each with their own backstory to uncover. In addition to these creatures, we have the Haints, which are the ones you battle. There are many variations of Haints in Southern folklore—these are evil spirits that haunt locations where something tragic or significant occurred.
They are deeply connected to the history of the world and its characters. We also have larger, more powerful creatures—almost like rulers of their domains. While they aren’t literal kings, they hold great significance within their regions, adding depth to South of Midnight’s world.
One last question—you mentioned the journey into magical realism within South of Midnight. Is it really happening, or is it more of an allegory for Hazel’s personal struggles?
Jasmin Roy: That’s something we’re leaving open to interpretation. But I think when you experience South of Midnight, you’ll find your answer. There is an answer. It’s not ambiguous in a way that leaves everything up in the air.
Whitney Clayton: Yes, but there are elements that people may interpret differently. Players will likely have their own perspectives on certain aspects of the story.
Jasmin Roy: Exactly. The question of whether it’s truly happening or if it’s more about perception evolves throughout South of Midnight. But you’ll see as you play—it’s not a “she wakes up, and it was all a dream” kind of story.
Whitney Clayton: Right. It’s more grounded than that. But as Hazel steps into this folkloric world, the lines between reality and myth begin to blur.
Jasmin Roy: That’s where we explore allegory. Hazel accepts these experiences as real, even though they’re deeply fantastical and rooted in folklore. Are they symbols of something else? That’s up for players to consider. But I think when you play South of Midnight, you’ll understand how it all comes together.
Thank you for your time, I can’t wait to jump back into South of Midnight when it finally releases later this year.
