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Thank you for making this game! Incredible, heavy, memorable atmosphere. Even though I wanted to know more, I think it was just the right length to keep the player hooked. I'm so interested in learning more about this haunting world. I would absolutely love to see more from you in the future! Again, amazing work!

(Potential spoilers ahead?) The ending seems to have both people and slugs appearing in the Repairs room. I kind of get the impression that by terminating the source of energy for the people they lost a valuable resource, and by freeing the slugs from their conditions the creatures are either more available to contribute to war or post-war tensions or they have a scapegoat for their sufferings at the hands of people, and neither party is happy. In the ending, the fact that both slugs and human figures are invading the player character's personal space, which was formerly a "safe space" of sorts because it was the only space in the game really where creepy stuff doesn't happen, was very unnerving and cool.

When I saw the ending, whether it's really happening or it's just a representation of the situation, it gave me the impression that it's about the pressure on the player's character from both the people and the slugs for setting this irreversible chain of events into motion. In saying "please" the world frees itself of responsibility; from their reasoning, the character didn't have to obey and made their own choices about the situation, and therefore the world is safe to place the blame on the player character because of politeness being a veil for manipulation in this case. That's only one perspective on the ending, and I'm sure there's many more - there's definitely a lot to think about. I'd be really interested to hear your perspective on the ending.

Also, I'm so fascinated by the sound design in this game, which conveys volumes of what low-poly can't. It absolutely stands out as part of the experience. It made me so jumpy. That haunting wailing coming from a door upstairs or the awful groans coming from the machine - how did you do that? Would you be willing to briefly go into your process on recording and processing these sounds? I'm really interested in hearing about how sound designers do what they do, and this game is a great example of effective sound design.

Again, thanks so much for sharing this game! You've got me hooked. Can't wait to see some more!

Hey, thank you for putting in all that thought into a little something I made. It's great to see it generate so much enthusiasm. :-)

About the ending, I hesitate on commenting too much about it. I found that reading players' interpretation of it was very interesting and revealed aspects of the game to even myself. I have a 'canonical' meaning to it (I always have, for all of my projects), but people's point of view about it reveals stuff about my own process and ideas, and I kinda like it. 

I guess the one hint I could give about what I intended to do with the ending is that, yes, it is about the war. I suppose this much was obvious. The protagonist has been part of the war effort happening before the game, which explains in part why they are 'good' at 'repairing' heavy machinery. 

Sound wise, it's a result of a few processes. I am very picky about the sounds I use. Even good sound libraries have sometimes subpar sounds, so it really comes down to being patient and look for the right sound (prioritizing the quality of the recording). If I can't find a quality sound for what I am looking for, I look for alternate sounds that might evoke the original intention (like using a washing machine or creaking wood floor sounds for some of the machines heard in please). I would recommend my personal go-to soundbank Zapsplat for audio work, it's free (they recently changed their free policy for .mp3 files only, which is fine by me. You've heard mostly .mp3 sound files converted to .wav in please and it did a decent job) and they have a good selection.  

Some sounds I can't find online I record on my own. I have an old Zoom H2 recorder at home (a carryover from my radio reporting days) and it is great for recording all sorts of things, in surprisingly high quality. For example, the groaning in the main power machine was recording by myself while laying down in bed under the covers (to muffle the echoes). So yeah, a big part of the creepiness of the groans is my performance, I guess? I really played around with my head, jaw and throat positioning, to get an uneven, surreal voice, to the point where it almost made me sick. I stopped recording voices earlier than I thought because I couldn't go on.

Last thing about sound design : never use the sound as-is. Always modify it / equalize it first. Make it your own. It'll unify the soundscape, give a single personality to the whole project. Add a slight reverb, down/up-pitch it, mix two sounds together (or three! or four sounds!), play with the volume, add a filter to make it sound like it's coming through a wall, etc. For example, my voice performance was tweaked, down-pitched, and mixed with machine loops to the point where it became unintelligible. I wanted players to have a double-take moment where they went 'wait, is that a voice?'. Each time you go back down to the machine it's a new voice sample loop that is used, evolving from just groans to clearer pleas.

I use a mix of Audacity, Sony Soundforge and Ableton Live for sound editing (yeah, Live is a DAW, not an audio editing software, but some of its plugins and its warping capabilities are top-notch).

Some indie creators stick to the low-poly aesthetics in visuals and low-fi slightly-bit-crushed sounds to really go deeper into the 32bit feel. I can appreciate the results, but I believe high-quality audio over the low-poly look fits just as well together and helps with the interpretation of the visual elements. To my personal tastes, immersion starts with the soundscape.