Asbjoern Andersen


Event[0] is an exploration adventure game released last month by French development team, Ocelot Society. As a clear choice for fans of Zork and Portal, the experience is crafted with puzzles, personality and lots of artful, detailed audio. We were able to speak to sound designers Matt Bonneau and Swann Menage about the game’s audio and learn how they sowed character into a ship who’s accepted its speckled solitude.
 
Written by Adriane Kuzminski, image courtesy of Ocelot Society



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Hi Matthieu and Swann, please introduce yourselves:

Hello, we are Event[0]’s two-person sound design team, Matthieu Bonneau and Swann Menage. We both graduated from ENJMIN, the French video games school, about two years ago. The cool thing about ENJMIN is they’ve got a sound for video games program, which means you can study sound design while working in teams that represent the full spectrum of video games-related trades (artists, coders, etc.).

Matt Bonneau (MB): At 35 years old, I’m the team’s resident old man. I went back to school in 2012 after a few years of working both as a sound technician and programmer. I find working on sound for video games to be the best possible mix of both :). I’m currently working full-time at Ubisoft Paris and moonlighting on Event[0].

Swann Menage (SM): I’m 25, and I’ve only worked as a sound engineer. I did some Foley recording for cartoons, French cinema dubbing, TV announcements, podcasts, sound design for games, etc… I’m a freelancer working mainly for a French company called Game Audio Factory, now known as G4F. They’re a sound outsourcing company.

 

Could you tell us a little about Event[0]? What was your role in the production and how did you get involved?

Event[0] started as a student project created in six months with a team of ten: programmers, 3D artists, game designers, one UX designer, and two sound designers.

The original pitch was closely inspired by the first Alien movie. It was about being in a Nostromo-like spaceship and having to speak to Mother (the computer in the movie) as your only means of interaction with your surroundings. For a while it was also supposed to feature a monster in the ship, as well as resources management (oxygen, temperature, etc.), but after a couple of iterations, the game designers decided to strip the experience to its core: natural text interaction with an AI.

We’re both big fans of the Alien franchise — the mood and the atmosphere, its credibility and grittiness — so we were very excited about the project and really wanted to be part of it. It’s funny because people often say there is an “Alien: Isolation mood” to our game, but we started this project before Alien: Isolation was even announced. Of course, we’ve played it since then and loved it. Sound-wise, the people at Creative Assembly really nailed the whole analog technology/hard sci-fi mood!

After completing the first demo of Event[0], we all got internships and eventually got jobs at various studios, but around October 2015 a core team of three people (Léonard Carpentier [our producer], and Emmanuel Corno and Sergey Mohov [our game designers]) left their day jobs and founded Ocelot Society to go on and make Event[0] a full-featured, retail game. Since the game was our baby as well, we were very eager to join the new team, and we have been freelancing on it for a year.

 

With the game’s focus primarily on exploring and speaking to Kaizen, Event[0] has a lot of interactive fiction elements. Was this your first time working on a game like this? What are other titles have you worked on?

SM: I’m currently working on the Call of Cthulhu game developed by Cyanide. I have previously worked on a very diverse range of projects: Tour de France 2016 (a cycling simulation), Hiroba (an Android puzzle game), and even a futuristic naval interface in augmented reality. It’s an eclectic mix and I have really enjoyed the experience! I haven’t really worked on an interactive fiction game of this scale before Event[0]. As a student, I was part of a project building a gamified audio guide for a museum, which was designed as interactive fiction. Those games are all about empathy and are kind of minimalistic in general. Sound can have a lot of impact in those games, and it’s pretty creative; there are no basic templates.

I love working on these type of games because I feel there is still a lot of room to experiment in terms of ways of telling stories

MB: I’ve been working on the Watch Dogs franchise at Ubisoft for a bit more than two years now. Before that, I mostly worked on student projects and game jams, and I guess a couple of them could be considered interactive fiction, like Spotlight, for instance. I love working on these type of games because I feel there is still a lot of room to experiment in terms of ways of telling stories.

 

Since there are very few interactive fiction and exploration games with such detailed audio like yours, how did you approach the sound concept for this game, and what were your influences and inspirations?

There’s a number of interactive fiction and exploration games we admire for their sound design: Dear Esther (or pretty much anything by The Chinese Room, actually), Gone Home, Journey… Although, these shine especially through the way they handle music and/or voice, and we knew we wouldn’t have much of either. Our sound design concept stemmed from two main axes: the narrative context and the gameplay ingredients.

The narrative context of the game came through the hard sci-fi creative direction and the ship’s history and purpose (a “space yacht” built in the ’80s). This translated into a few loose rules for sound design:
• Realistic (or at least believable) sound effects — and above all no sound in space ;)
• An analog feeling about all the ship’s technology (tapes, clunky switches, buzzy neons and CRT screens)
• Very little non-diegetic music (this is also simply because we’re not professional musicians or composers, and we had access to a limited budget for outsourcing)

The terminals are where the players are going to spend the most of their time, so we tried to make it as interesting as we could audio-wise

As far as the gameplay ingredients, the game features only two characters: the player and the AI. All interactions take place within the ship’s terminals. Those two statements made it easy to figure out what to focus on: the terminals and the environment. The terminals are where the players are going to spend the most of their time, so we tried to make it as interesting as we could audio-wise; the AI’s crude voice synthesis, the buzz of the screen, the keyboard typing sounds, and the audio glitches all had to be given special care. The environment represents the AI’s body in a way, so we tried to see it a bit like the Belly of the Whale trope. The ambient sound had to reflect the AI’s current mood and give clear feedback on any action the player initiated through the terminals.

Of course, these were just directions. In many cases, we had to bend the rules or simply put them aside because of time constraints, but we tried to keep them in mind every time we had to make a choice or assess priorities. Additionally, sometimes choosing to break a rule brought an interesting contrast. For instance, we felt that introducing non-diegetic music for the first time after two hours of gameplay gave it that much more impact.

 

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The overall tone of the game’s sound and music is incredibly smooth in terms of style and retro-futurism. Who composed the music, and how were the other musical tracks (such as the turntable songs) chosen?

Even in the sound design we were inspired by music. In pre-production we built an ambient/atmospheric playlist, a sort of audio mood board with specific sounds that we thought could fit the project. It’s not really something you notice in the final game, but it really inspired us.

“Hey Judy”, the main song, took on more and more importance as the development went on

“Hey Judy”, the main song, took on more and more importance as the development went on. Originally, we were looking for a piece that would illustrate floating in space as well as fill the silence that’s associated with it, a bit like how the “Blue Danube” is used in 2001: A Space Odyssey. But we were looking for something less grandiose, something conveying a sense of fragility and loneliness, and at first one of our references was Portishead’s “Deep Water” from their album Third. So Swann contacted his friend Julie Robert (aka Yllogique) who he knew could deliver something in that style, and she sent us a first draft of that song, which seemed to fit perfectly. Then they reworked it with Camille Giraudeau and it took a bit more of a jazzy feeling. It became more than just an illustrative piece when we decided to tie it closer to the story and gameplay: it would be something like Kaizen’s favorite song in that it would broadcast over the radio on the ship, perhaps to lure humans aboard because it feels lonely or to help it complete its mission.

Later on, when it became clear we’d need more music for key moments of the story, it seemed to make sense to build around the song, so we used the stems of the original version and adapted/remixed it ourselves. Swann made the creepy descent-into-madness version that backs the progression towards the bridge of the ship, and Matt made the cheesy epic ’80s edit that you can hear in one of the game’s endings. And of course, Kaizen has its own interpretation of the song :).

For the lobby’s turntable songs we looked for public domain music that matched Kaizen’s moods. At first it’s proud to show off the lobby and sets the mood with some classical music, then it’s just happy to have the player agree to its mission, and that jazzy track matched pretty well!

 

Kaizen definitely “wears its heart on its sleeve” throughout the game, which is a huge draw of the experience. In the load screen of Event[0], it states it is a game about empathy. How were you able to support this idea and Kaizen’s mood swings in your audio design?

Unfortunately, we weren’t able to get as far as we wanted in that direction, but giving Kaizen a voice was a first step. In a way, maybe the technical limitations we hit helped give the AI a vulnerable aspect that makes it likable.

On top of that, we slightly tweaked the voice depending on Kaizen’s mood. It used to be more noticeable, but the game designers felt it would reveal too much about the system if it was too obvious, so we had to make it subtle. There are other elements as well that are supposed to give clues about how Kaizen is feeling: the buzz of the terminals gets louder and more aggressive when it’s angry, for instance.


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You both sound very resilient when it comes to limitations. What were some of the other challenges you faced, and what was the hardest part to design in terms of interactivity and timing?

Event[0] is not an action game, so tight timing was not much of an issue, but we did have timing problems because of general resource issues. Some early technical decisions prevented us from integrating sound directly into animation timelines, and as a result, sometimes a door animation would lag behind and the sound wouldn’t be properly sync’ed.

Luckily enough, the programmers provided us with clean code and plenty of tools, so plugging in audio wasn’t the hellish ordeal it could have been. Our main challenge was mostly related to deadlines, since we were both only working part-time on it. Unfortunately, there’s a lot of placeholder audio content that had to make it into the final build because we didn’t have time to rework it.

 

On top of audio tools, did you do you use any audio middleware? What engine was used to develop the game?

Event[0] was built in Unity 3D and we used Wwise as an audio engine. That helped a lot, but it still left us a lot of programming to do, including Kaizen’s voice synthesis system and a basic audio occlusion/propagation system. The ship is a small but dense environment, so sound going through walls would have been a real problem without it.

Non-diegetic music is always tricky to design, too, because sometimes the player could rush through a sequence or loiter around, which means portions of the music might be skipped or loop for too long. Fortunately, Wwise’s interactive music system is advanced enough to deal with those kind of issues by adding randomness and fine tuning transitions. Hopefully we’ve been able to cover most scenarios, but players are full of surprises!

 

This game must have been quite the experience for both of you, both technically and creatively. What was your favorite part of the game to design?

It was a clear case of throwing all the rules we had previously set for ourselves out the window, and it felt good!

MB: The voice synthesis system was fun to design. We experimented with a lot of different solutions before coming up with this one and it kind of works. Other than that, I loved working on the music and effects of the game’s most mysterious ending (can’t say too much!). It was a clear case of throwing all the rules we had previously set for ourselves out the window, and it felt good! The main menu’s soundscape was a pleasure to work on as well. I loved plugging into abstract visual glitches to drive ambient music, and I feel I could fall asleep listening to the result :).

SM: The Nautilus is a small ship, but every room has a really specific mood! It was such a blast to create all those different atmospheres. For instance, Kaizen is really proud to show the player some rooms, and it’s ashamed of the mess in others. We needed the player to feel that s/he is welcome in the lobby and the living room — Kaizen tries its best to make these rooms as comfy as possible! I also really enjoyed working on the intro scene. We didn’t have a large enough budget to do a full cinematic sequence with animations and stuff to cover the entire back story, so we made this little interactive fiction. It’s basically only text — with the player having to make choices about his backstory — and sound: some is realistic, some is more musical, some really cinematic… It’s pretty cool to make ten minutes of text feel alive!

 

Thank you for giving us a look at this game’s audio development! If people would like to hear more of your work, where can they follow you?

Thanks for having us! We had lots of fun working on the project, so it’s a pleasure sharing it.

MB: I’m on Twitter (@MushroomSound), Soundcloud and Mixcloud.

SM: My Twitter is @Swannounnet, but it’s mainly French tweets, so sorry for that. You can also see what I’m working on at swannmenage.fr.

 

Thank you to Matthieu Bonneau and Swann Menage for sharing their experiences with us! To experience the game’s superb audio and story telling, check out Event[0] on Steam.

 

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    From all 4 earth’s corners, air streamlines the environment and shapes our stories. Discover the cinematic world of rare winds!


    This sound library is the ultimate achievement of a really ambitious project of recording winds from very remote places across the world.

    Included are authentic recordings from the Boreal region (North hemisphere: in Canada and Iceland), from the Austral region (South hemisphere: Tierra del Fuego in Argentina and the Last Hope province in Chile), on Islands in Mediterranean region (Thira in Greece), in the Sahara desert (Marocco), Isle-aux-Grues (Canadian winter), and more (see file list for more details)


    These were recorded either in urban settings, countryside, or complete wilderness.

    Included is a set of useful synthesized, tonal, and designed winds.

    The sounds are categorized into 3 folders: Designed, Indoor & Outdoor.

    WHAT’S INSIDE:

    • 102 stereo files
    • Highly focused and meticulously edited sounds
    • Ready to use Loop
    • Urban area and Wild area
    • Useful Designed & Synthesized Wind Sounds
    • Recordings from the Boreal region (North) in Iceland & Canada
    • Recordings from the Austral region (South) in Argentina & Chile
    • Recordings from Islands in Greece & Canada
    • Recordings from the desert in Marocco
    • Abandonned houses and shelters
    • Marina, lake, forest, car, flags, arctic, metal pole, prairie, street, mountain, grass, …
    50 %
    OFF
    Ends 1574463599
    Add to cart
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    This bundle includes 4 different libraries.

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    The Harbours Of Norway sound library features 25 files with ambients recorded in Myre, Sto and Nyksund, very small towns with direct access to the sea. Most of the sound effects were recorded at night, but since it’s a polar day time of the year, it was very pleasurable to walk and look for convenient places to set up my gear. Everything was recoded with ORTF setup built from two Sennheisers MKH 8040. Inside this library, you’ll find a lot of seagulls, waves crushing on the rocks and plants, windy ambients from the cliff, industrial sound from port in Myre with ship unloading the cargo, walla with steam engine boat and additional sounds from boat engine market and air cooling aggregates from food containers. Every file was recorded in 96kHz, edited (i removed any unintentional bumps, pops and unwanted sounds). I limited EQing to removing harsh frequencies, or enhancing a little bit the good sounding ones. At the end of the chain there is a small compression, for louder sounds.

    The Summer Ambients sound library contains 33 beautiful WAV files recorded with Sound Devices 702, Rode NTG3, two Oktavas MK012 in MS and stereo XY pattern. All sounds were gathered in different and beautiful places like forests, lakes, meadows or swamps. You can expect amazing ambients, textures, different birds, insects, forest during rain, calm and windy days. It’s a perfect library for designing background sounds. Everything was recorded in amazing Masuria in Poland.

    Summer ambients Update – library got 2x bigger and heavier than the original library. 59 additional files, 123 minutes of high quality audio recorded with Sennheiser MKH 8040 ORTF setup, Rode NTG3, Oktava MK012 XY setup plugged into SD702 and Sony PCM-10. It features ambients from the forests, ponds, swamps, meadows, lakes and suburbs recorded is very quiet locations, mostly just before the sunrise, during the day and before sunset far away from the cities.

    Water Flow sound library took me about six months to record, consumed about 15 thermoses of tea and 42 litres of gasoline to get to all locations. It offers 90 BWAV files recorded in different locations. Huge part of this library is based on the recording sessions on the rivers. Two completely different locations, recorded regularly for the last 5 months allowed me to create this unique sound library. Most of the recording sessions took place during winter just before the sun was rising to reduce the amount of unwanted sounds. Almost all recordings are completely clear and only few have birds in background, since it was my intention to record some location ambients with natural backgrounds.

    You can see the metadata and sound list below.

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  • Cars Cars In Motion Play Track 561+ sounds included, 340 mins total $150 $75

    The Cars In Motion sound library gets you exterior sounds of cars driving at different speeds, slow/medium/fast/very fast pass-bys, reverse sounds, accelerations, braking sounds and a lot of additional files. You’ll find different engines, and cars with different character.

    From a small BMW 114i through to a powerful Jeep Grand Cherokee 4.7 V8 with Magna Flow exhaust, up to a fast twin turbo BMW 640D F12. In addition to cars there are also files covering big machines like tractors and excavator.

    The library features 561 WAV files with total length of 340 minutes, recorded in 96kHz and 24 bits with a Sound Devices 702, two Sennheisers MKH 8040, Rode NTG3 and Sony PCM-M10.

    Here are the cars included in this library:

    • Audi A4 Allroad 2.0 TFSI – 73 files – 73 minutes
    • Audi A4 B8 2.0 TDI Avant – 11 files – 10 minutes
    • BMW 114i E87 – 20 files – 10 minutes
    • BMW 530D E60 – 55 files – 21 minutes
    • BMW F12 640D Gran Coupe – 87 files – 49 minutes
    • Excavator MF 860 – 30 files – 20 minutes
    • Jeep Grand Cherokee 4.7 V8 – 62 files – 51 minutes
    • Renault Kangoo 1.6 16V – 71 files – 32 minutes
    • Renault Master II 2.8 dTi – 21 files – 13 minutes
    • Renault Master F3500 dCi135 – 30 files – 12 minutes
    • Tractor Case II CX90 – 15 files – 10 minutes
    • Volkswagen Golf II – 26 files – 13 minutes
    • Other Cars – 60 files – 23 minutes

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Explore the full, unique collection here

Latest sound effects libraries:
 
  • Game Audio Packs & Bundles Dirt & Asphalt Series: Motorbikes Bundle Play Track 365 sounds included, 305 mins total $116.66 $99.17

    Dirt & Asphalt Volume 1 is the first addition of vehicle and transportation recordings from Output Audio. This library contains a selection of recordings from 3 road bikes, with additional bonus content from other road motorbikes. The library also contains acceleration ramps for use in granular playback engines.

    Road bikes included:
    • Yamaha 450cc Thumper
    • Triumph 600cc Dual Fuel Injection
    • Aprillia RST 1000cc Futura
    • A selection of bonus pass-bys and externals from a range of high performance bikes

    Dirt & Asphalt Volume 2 is the second addition of vehicle and transportation recordings from Output Audio. This library contains a selection of recordings from two motocross events and two practise sessions, with additional bonus content provided as race atmospheres.

    Library highlights:

    AMCA Motocross Classes Included:
    MX1/MX2/Experts/Seniors Unlimited classes

    Engine Sizes Included:
    85cc/125cc/250cc/450cc engines

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  • User Interface (UI) Ui Two Play Track 377 sounds included $45 $30

    Ui Two is the sequel to our overwhelming popular Ui One collection, this collection contains 377 original sounds uniquely crafted for creating user interfaces, telemetry, gadgetry and more.

    Empty Sea’s Mark Camperell, carefully crafted these sounds using a variety of beepers, boopers and other sonic tools. A sample of which include synths, samplers, spectral editors and more. Each sound was recorded at 48k/24bit. Planned, processed, mangled and otherwise destroyed, every single tone was tweaked until it was something new, original, and exciting.

    As usual, we meticulously edited, mastered and embedded the files with metadata. This collection is priced to move, so don’t hesitate. If you’re tired of the your same old UI inspiration, Ui Two from The Library by Empty Sea is a great addition to your library.

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  • Cars Hyundai Kona Electric Car Play Track 428 sounds included, 98 mins total $100

    An electric car sound library with a range of FX from the Hyundai SUV, Kona.

    The library includes numerous driving FX on both gravel and asphalt including pass-bys, take offs, corners, approaches and skids.

    It also contains a large range of interior recordings from driving at highway speed all the way to buttons and switches.

    Multiple FX on each track – recorded in Sydney, Australia

  • Cars Car Interiors Play Track 430 sounds included, 14 mins total $69 $38

    car interiors library is a great supplement for all the car engine sounds that you already own. That way the action on the inside of the car is not stale at all. Dashboard buttons, seatbelts, automatic windows, switches, switching gears, brake, clutch and gas pedals, vents, turning signals. They’re all here!

    Got a whole bunch of roaring car engine sounds but then realised that you’re not equipped with all of the boring stuff like:


    car door handles, seatbelts, turn signal, air vents, buttons and switches, seats, storage compartments, horns, windows, pedals (gas, brake, clutch), handbrakes wend

    and all other Car Interior sound effects? Well then.. look no further! This is just the pack for you.
    160 wav files with over 400 single sounds in total. Car Interiors will spice up that car interior scene with real, crisp sounds, recorded from over 6 cars in total!

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  • Destruction & Impact Cinematic Strikes Play Track Up to 4140 sounds included From: $119 From: $95.20

    ENORMOUS SOUNDING PERCUSSIVE HITS

    CINEMATIC STRIKES joins the BOOM Library Cinematic Series – and it focuses on big sounding drums. A whole world of cinematic percussive sound design lies a few clicks away: From devastating cracks and stomps over crisp swells and rolls to epic ensemble hits – you will be sure to find and build just what you are looking for.

    With the ultimate flexibility of different microphone positions, single and ensemble hits, flams and swells using various drums and beaters, you couldn’t be better equipped to design huge blockbuster and trailer hits – or simply place ready-to-use DESIGNED sounds into your timeline and feel the earth shake.

    CINEMATIC STRIKES – CONSTRUCTION KIT:

    FLEXIBLE SOUND DESIGN TOOLKIT

    The Construction Kit offers you one of the most comprehensive drum hit packages ever recorded. Carefully planned to satisfy and complement every spot in the frequency range, you will never run out of low end booms, aggressive cracks, mid-range body impacts, reverberant tails and excellent sweeteners to top it off.

    PERSPECTIVE & RHYTHM

    Not only are you able to produce impressive sounding hits, but also transition into, out of and between peaks. Control the attack and release of each sound, using rolls, flams, double hits and other meticulously performed techniques. Three coherent microphone positions make spatial adjustments a breeze.


    Files: 618 • Sounds: 3708 • Size: 13 GB


    CINEMATIC STRIKES – DESIGNED:

    MAXIMUM PUNCH – AND THEN SOME

    CINEMATIC STRIKES – Designed is what you get when layering and processing Construction Kit sounds BOOM Library style.

    From rumbling low-end BOOMS, soft and natural sounding WHOOSH HITS to aggressive, frontal CRACKS and PUNCHES, the Designed library showcases what’s possible, while saving precious time and budget on a tight schedule.

    This package is particularly useful for filmmakers and trailer sound designers.


    Files: 108 • Sounds: 432 • Size: 1.4 GB

    CINEMATIC STRIKES BUNDLE:

    THE BUNDLE – The best of both worlds at a discounted price.
    The Bundle gives you the full sound design power as it contains both – the DESIGNED and the CONSTRUCTION KIT edition at a discounted price.


    Files: 726 • Sounds: 4140 • Size: 14.6 GB
    Included sounds – keywords:

    BASS DRUM, BOOM, BOX, CAJON, CONCERT TOM, CRACK, CRASH, DAIKO, DOUBLE HIT, ENSEMBLE, FLAM, FOOT, GONG, HARD BEATER, HIT, JAM BLOCK, KICK, KODO, LOG, MALLET, BIN, PUNCH, ROLL, SINGLE, SNARE, SOFT BEATER, SPLASH, STICKS, STOMP, SWEETENER, SWELL, TABLA, TAIKO, TAMBORA, THUNDER SHEET, TOM, WHIP, WHOOSH HIT, WOOD PERCUSSION, WOODBLOCK
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