Meet the Team

House on Fire Team

From top left: Anders, Elvar, Peter and Thomas
From bottom left: André, Morten, Linda and Uni

Have you ever wondered who made The Silent Age? Maybe you imagined a huge corporate company with a reception desk, a water dispenser and cake on Wednesdays. Or maybe you just pictured a small group of passionate nerds sitting in a cheap office in a shady part of town. The latter is actually true. For now at least.

The core team consists of Uni, Linda, Thomas and Anders, but we’re surrounded by a passionate crowd of talented people who are putting as much heart into this as we do. Here’s who we are and what we do:

Anders Petersen is the main author on The Silent Age. He’s responsible for the clever dialogue in the game as well as the story, which he wrote together with Thomas.

Elvar Örn Unnþórsson is our tireless Icelandic programmer. He worked a lot on The Silent Age Episode Two, and has proven to be an invaluable asset time and time again.

Peter Thomasen is our talented animator, famous for making snapping crocodiles and dying professors.

Thomas Ryder is the game designer, graphics designer and musician on The Silent Age. He drew the one houndred-and-something backgrounds and is the one responsible for you getting stuck in the bloody handkerchief puzzle.

André Taono works on other projects at House on Fire, and was a tester on The Silent Age Episode One.

Morten Mygind is our sound designer. He made the all the cracking, spinning, whooshing and plinging sounds in Episode Two.

Linda Randazzo is the lead programmer. All bugs you don’t see is because she fixed ‘em. She’s also taking care of much of the fan contact, so if you wrote us there’s a good chance she was the one replying.

Uni Dahl is the CEO at House on Fire. He takes care of company management, business stuff, PR and occasionally assists with programming tasks and object animations. If the rocking boat makes you sea-sick, blame Uni.

David Chen (Not in the photo) is the editor on The Silent Age. He’s the one assisting Anders with dialogue and interaction comments in Episode Two.

Linda and Elvar

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Episode Two Released!

The Silent Age Episode Two has finally been released! Go get the full game for your favourite iOSAndroid or Amazon device!

Episode Two is included in the current available app. If you already have the game installed, simply update the app, and Episode will be unlockable as an in-app purchase.

We’d like to thank all you great fans out there, who have supported our little dream project. It’s been quite a bumpy ride for all of us here at House on Fire, and your enthusiasm for the game has motivated us to work hard and do our very best. Hope you enjoy the final chapter.

Attention donors: We’re experiencing problems with the automatic unlock. If you experience problems unlocking, please forward us the email receipt you received from Apple or Google to, and we’ll send you an unlock code.

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One Day To Go

Archon Archives 03Comments and feedback on Facebook

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Two Days To Go

Archon Archives 02

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Three Days To Go

Archon Archives 01

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Testing Testing Testing

Scene with bug

No one saw it coming.  It was Tuesday and everyone was quietly buzzing behind their screens as they would any other day of the week. To a stranger this might look just like another day at the office. But something was different. The office was remarkably silent on this Tuesday. As if it was haunted. By ghosts.

Linda finally broke the silence: “I think I just fixed the last bug“, she said.

The LAST bug?“, Uni said. The room went even more silent for a second.  “That means… the game is… complete?“.

That’s right. It was Tuesday afternoon and The Silent Age Episode Two was done. The game that had dictated our lives for almost four years – the game that had given us countless sleepless nights – was finally done.

Or so we thought.

It was the external testers who brutally crushed our little moment. They came by one Friday afternoon and tested Episode Two in return for candy and beer. They found spelling mistakes, a drawer inside a tree and the reflection of a moon that wasn’t there (see picture above).

The testing session spawned a total of around 50 new bugs which we’ve been methodically rooting out ever since. We’ve also done lots of testing ourselves. I’ve personally tested what happens when you use a lava lamp on a starburst clock and when you use a disco ball on a hat. Yep, that’s been my dayjob for the past week.

Once we’re done testing we’ll release the game. Which is – pretty soon.


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The Final Stretch


Hello folks!

Just wanted to let you know that we are very close to finishing the game now that all the locations are drawn. All the texts and puzzles are being tweaked right now, and we are polishing the game to make it an awesome playing experience for you guys.

We’re currently adding particles to all the scenes (those tiny little thingies that make the game look more alive, like rain, dust and smoke).

Morten Mygind, our talented sound designer, has been adding sound to the game, and apart from having a quick run through to assure everything sounds just right, he’s also done with his part.

We have been playing the game over and over again and found a number of bugs which needs to be adjusted before we can call the game done. It is mainly just some small errors that we need to fix in order to make The Silent Age Episode Two feel right.

And we are crunching, really crunching. Working 7 days a week without any breaks. But it will be worth it, because I know you guys are impatient to start playing the game. And believe me, we are even more impatient to hand the game over to you guys and hope you will love it as much as we love making it.



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The Final Location

flooded_lab cropped

Yesterday I made the final game location for The Silent Age. Coincidentally, it’s also location number 100, since I made 45 locations for Episode One and 55 for Episode Two. That’s right. There are 100 locations in The Silent Age.

house_entry_hall_past croppedThere are a few notable differences between the Episode One and Two locations. In Episode Two I have tried to work with a very limited and consistent color palette for each chapter. This makes the chapters more easy to distinguish from each other and also strengthens the look and feel for each individual chapter.

The new locations also have a lot more detail than the Episode One locations. We wanted the world to seem more realistic to strengthen the atmosphere and suspension of disbelief. This created quite a challenge however, as adding more detail automatically created more visual noise. I tried to solve it by using color, light and shadows to emphasize which game elements are important and which are not.

Here’s the first location I made for the game.  It was never used since we decided to change the story drastically. It’s very minimalistic, but even at this early stage you can clearly tell that it’s a scene from The Silent Age.



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A wild Editor appears!


One late night, while I was hard at work finishing up one of the final drafts of the story, there was a knock on our proverbial door*. I opened it to see who it was, and outside stood a mysterious stranger. Eyes shrouded by the shade of a ballcap, the man presented himself as David Chen, Editor Extraordinaire. With a slight hint of a Bay Area accent, he told me he’d heard we did interesting work here. Said he’d dabbled in the dark arts of triple-A game editing of the Kojimaerian variety and then offered his humble services. I accepted without pause.

* In actuality, David just wrote us an email, but I have a penchant for over-dramatization. The rest of it is true, however: David is a bit of a seasoned veteran. He’s been in the industry for almost a decade and a half, with many of those years spent serving Konami, acting as the lead editor on the Metal Gear Solid series among other titles. Having worked on more than 30 games and recently hot off his involvement with Camouflaj’s République, he contacted us several months ago offering his assistance, and he’s been my editor for the past couple of months now, helping me tighten up the dialogue and exposition. I’ve never had an editor before, so obviously I’m very excited to be working with David as we’re racing towards the finish line to get the game out to the patient lot of you. Please give him a warm welcome.

Oh, and I promised to plug the other game David is currently working on, Narcosis, which I’m following closely myself. It practically oozes atmosphere and dread. (Atmosfear?)

- Anders Petersen (writer, story & dialogue)

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Reflections of a Coder

mirror reflection shader

Hello Folks,
I thought you might be curious to know the progress on the programming side of the game, so here I am.

Lately I have been working on some very cool features, some of which I cannot tell you (or it would be a spoiler), and some of which I can. I have worked on a new mirror shader, so that the hero’s reflection looks really awesome, and works with the new animation system.

The new Joe is going to have a lot more animations, and much smoother movements. It is gonna be Joe HD :-)

The mirror shader also means we can do some special effects, like the hero reflecting on pieces of broken glass, as you can see in the screenshot.

My coder buddy Elvar has been working on creating a complex animation blending system. It all might sound like techy buzz words, but what it means in practice is that Joe can do more… stuff, e.g. combine and mix different movements and such.

Progress update?

On the coders’ side we are fixing bugs, adding particles, animating background objects, and doing magic. On the graphics side we have already drawn scenes for all of the chapters, and most of them are complete. We are also ready to add sound effects to the game now, so our sound wizard is going to produce all sounds for chapter 2 this month.

Well, that is it for now, enjoy the screenshot. Can you find the place where we have already posted this location? It may or may not be in the same… time. Hint: look at our blog posts for 2014.

Have an awesome weekend,

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