Complex: There are a lot of interesting visual effects going on in the games and movie, like the transition into Otherworld. What was it like translating those effects into the house?

Braillard: It's a constant challenge, as well as one of our favorite things to do. We have to envision the game—game designers—and I don't want to speak for Tomm—but game designers have the wonderful thing of being able to place the camera in a location and hide things that they don't want you to see until the time that it's ready to go. We're also in the same game, in the respect that we're able to hide things until we let you see the, but also you can't stop somebody in our maze from turning around. So we have to create a full, 360-degree immersive environment.

And one of the great things that we got to do is go into Otherworld, using the siren, using the change of light, using a change of atmosphere in the score, using a different piece of the set, and being able to blend those two pieces together. So as you walk through from the beginning of the house to the end of the house, you literally do go through one or two different transitions back and forth between the two worlds, and it's amazing when you actually walk through as an individual, because you actually, you get to see it in a way that you don't get to see it in the game.