Elden: Path of the Forgotten Announcement Trailer

posted Mar 27, 2019, 4:26 PM by Matt Schenkel   [ updated Mar 27, 2019, 4:29 PM ]

Į̴̨͔̻͇̗̥͖͕̈́̊̀͊̅̊̌̆́͜t̷̛̻̣̐̈́͛̊̉̏̑̑̀'̸̡͇̪͇̯̗͗̀̅̃̕͝s̵̡̨͔͎̳̞̰̠̲͂̀͌͗̏͑͐͂́̕ ̷̻̩̲̂́͘̕̕c̷̗͔̯̳̳̞̅͑̆̄̑͑̈́͑́o̴̡͚̪̼͌͛m̷̢̩̦̮͖̱̓̏͆̐͋̈́̍͊̔î̷̢͚͙̠͚̳̫̬͗n̶̥͙̻̮̟͇̖̂̊̆g̷̤͚̜̠͙͆̒̽͂͆͗̾͝͝ͅ!̶̡͈̯͙̦̪̋̍̐̈́̓̽́̀̚͝

Elden: Path of the Forgotten has just been officially announced! Through publisher Another Indie, it will be releasing later this year on Nintendo Switch, PS4, and Xbox.

We had the pleasure of mixing the announcement trailer and adding some sonic touches to make it just the right amount of unsettling.

Elden: PotF is being shown at PAX East this weekend, alongside the other awesome games being published by Another Indie. If you're in Boston for this huge gaming event, make sure you swing by Booth #21117 to play it!

Check out some of the nice press from PC Gamer, Nintendo Life, and Noisy Pixel.

Sub-Zero Sound Showreel 2019

posted Mar 17, 2019, 3:36 PM by Matt Schenkel   [ updated Mar 27, 2019, 4:30 AM ]

We have worked on some awesome projects that we're really happy with over the last few months. It's about time we had a showreel to introduce you to our work.

In this reel you can see content from the following projects:


Huge thanks to Trave Dunkinson of Atomizer Games for stitching this showreel together!

GDC 2019

posted Mar 8, 2019, 8:42 PM by Sub-Zero Sound   [ updated Mar 8, 2019, 8:45 PM ]

This year Matt will be travelling to San Francisco once again to represent Sub-Zero Sound and the Victorian games industry abroad.

GDC (Game Developers Conference) is the world's largest professional game industry event. 
For Australians flying over, there's a lot to take in. Our biggest local equivalent is GCAP (Game Connect Asia Pacific), which takes place during Melbourne International Games Week.

This opportunity was made possible to us thanks to Film Victoria, who are sending a contingent of talented Melbourne-based game creators to the international conference.

We'd love to chat with you about game audio, and how we can make your game or other project sound more immersive and dynamic. 
If you're interested in meeting with Sub-Zero Sound at GDC, please feel free to get in touch.

Otherwise, stay tuned for updates!
- Matt, SZS


posted Mar 5, 2019, 4:53 AM by Sub-Zero Sound   [ updated Mar 8, 2019, 8:25 PM ]

I had the pleasure of working with Emily Coop (@microrockets) on her much anticipated animation, Andromeda.
Andromeda is a product of passion for Emily, so I was honoured to be given the opportunity to bring it to life with sound and music.

Andromeda follows a young protagonist who wakes up to find their world changed. 

My first thought when I saw this animation was that it looked like a throwback to the classic monster movie genre. I immediately started playing with retro-inspired sounds and synths. In terms of music, I wanted it to start and end softly, and take a bit of a darker turn at the climax.

The sound design needed to support the heavy atmosphere of the story. You will see that the world is very recently destroyed as the animation opens on the character waking up alone and confused. There are feelings of loneliness and mystery that are carried throughout the animation, and supported by layered atmospheric elements in the soundtrack. I love playing with subtle winds and natural elements in a mix.

I'd say that I did dialogue as well, if you would call it that. Andromeda features some vocalizations from the characters.

Something important this project reminded me concerning performance, is just how critical the delivery is, even if you're just making small noises to give a character a sense of life, as I was. I performed a couple of rough takes in my studio where I was being fairly quiet so as not to disturb anyone. It took a lot of editing and manipulation to get these recordings sounding in the ballpark of how I wanted, but I just wasn't happy with the results.

I got a MUCH better result from performing this in my car where I could be as loud as I wanted.
As I always say, "you got a car, you got a recording booth"

Emily is an awesome artist. I'd encourage you to check out her work on Twitter.

This is an unlisted video and has been posted here with permission.

Beneath The Ships

posted Mar 2, 2019, 11:56 PM by Sub-Zero Sound   [ updated Mar 11, 2019, 6:36 PM by Matt Schenkel ]

Late last year we jumped into the studio to record vocals for this track by Teh Splatt.

Metal is one of my favourite genres, so it was a lot of fun working with Luka to record, edit, and mix his intense vocals on this.

Karl Fee of Kkama Sound assisted us with the recording session and giving us a rough mix at Sing Sing East in Box Hill on the day.

This was a really nice studio, and had some cool equipment. We used a Shure SM7B, which Luka was really keen to use for this track. We set one up, as well as a really nice sounding Neumann U 87 ribbon mic. This mic sounded so good, I ended up mainly using that track in the final mix.

I would love to use this Neumann mic again. It had such a nice character. I didn't expect it to really work with Luka's harsh vocals so I was surprised that when did.

Luka's a multi-talented musician and artist. I'd encourage you to check out some of the 3D modelling videos on his channel.

This is an unlisted video and has been posted here with permission.

Global Game Jam 2019

posted Feb 27, 2019, 7:03 PM by Sub-Zero Sound   [ updated Mar 28, 2019, 4:08 AM by Matt Schenkel ]

Hi all! As we began the new year, of course we were anticipating another Global Game Jam (GGJ)! 

Late in January, the jam weekend rolled around, and several hundred Melbourne-based game developers flocked to AIE to make some games. I was lucky enough to join them again this year. GGJ was so much fun last time, this was not an event I wanted to miss.

GGJ19 Melbourne by Sandra Gibson
Melbourne GGJ art by Sandra Gibson

Melbourne has such a unique indie gamedev scene. There is such a strong sense of community in this city, and that is no more evident than at our game jams.

Last year I spent the weekend in the audio room, working freelance on several games. I wrote about it in this post here.
This year I took a different approach. This GGJ I joined up with a team to work intimately on one game. (I still helped out a few friends, but I was MOSTLY dedicated to one game!)


The team I am proud to have worked with is Team EggplantThis was a very wholesome collaboration consisting of 2 artists, 2 programmers, a producer/designer, and a soundie (that's me!) - You can download it from the GGJ page here.

"Tend to your terrarium! This relaxed garden sim gives you the ability to explore what home means to you by making this natural space your own."

After watching the keynote, we spent some time as a team brainstorming ideas and working out what we all wanted to do with the theme: "What Home Means To You". We discovered that all of us find the act of gardening therapeutic, and making a space truly yours is what makes a place a home. Running with these ideas in mind, we started working on a game with the goal of creating your own terrarium.

With Meditation Games at the front of my mind, my vision(?) for the audio was soft, relaxing, down-tempo, and of course, meditative.


I actually had to leave the site for a few hours on the Friday night, but when I came back there was a cool early version of the pillar. With only this visual reference to go off, I began with what I knew we'd need, and started making some atmos for the several weather modes in the game.

Once I saw some of Alison's 2D art, I made some more interactive sounds for picking up items, plants, and for cleaning up the debris in the first part of the game. I had a lot of fun playing with the sound for picking up items and dropping them down, as well as when they grow after being watered. I wanted these actions to sound very wholesome, as so my inspiration for a lot of these was Animal Crossing.

The game presents scale in an interesting way. There's the entire playable world of the game as well as the small objects inside it all on the screen. I wanted to make audio that reflected this juxtaposition of size.

A lot of the item sound design is intentionally very small and fragile, almost like they were toys. In contrast to this, I wanted the drawers and the dome to sound very large.

My favourite sound in this game is for the key pickup. It sounds shimmery, bright, and a bit like collecting a gem in Croc: Legend of the Gobbos.

Once the key is revealed, picking it up triggers a whole bunch of things to happen. The drawers open, and the Act 2 music starts. It's a pretty short sound that is mainly there to reinforce that you've literally unlocked the second part of the game.

Team Eggplant


I didn't touch music last year at GGJ, so I was keen to be doing both sound and music for Terrarium.
There are two parts to the game, cleaning up in Act 1, and gardening in Act 2.

Looking at the barren look of the game when you first load it up, it actually reminded me of a level from Pokemon Mystery Dungeon: Red & Blue Rescue Teamwhich I've actually been craving to play again for some time now. That was my favourite game when I was younger, and it probably still is. 

The music that was playing in my head was the Great Canyon music as well as parts from another track. I didn't necessarily want to use the same instruments, but I wanted to capture the same feeling that that music gives me.

I didn't bring my guitar, which I'm kicking myself over, so I began playing with a sampled nylon string guitar. Depending on how you play the game, this part can last for as little as a few seconds, so after getting it to a point where it felt good, I moved on to some more critical SFX and the music for the second act.

The Act 2 music is similar to Act 1, but has a more calm/rich feeling to it. Using instruments such as piano, violin, and harp, my goal was to make it feel like you were gardening in some sort of royal garden/courtyard. I wanted playing this part of the game to feel like you can forget time, and just create your garden at your leisure. I think that came across pretty well.

It's been a while since I've created any music outside of my metal band, so I was really happy to have the opportunity to make some calm tracks for this game.

Terrarium spent quite a bit of time on the jam feed. It was awesome describing the game I was working on and hearing that people recognized it and thought it looked cool.

By Team Home Home (how cheeky!)
Created by members of Toybox Games Studios, as well as some other really cool Melbourne folk.

"Untitled Birb Game developed by Home Home is game were you play as Wedge Tail Eagle, Australia's largest bird of prey. Take flight, as you explore the vast outback in search of food and materials to build your nest."

I was super happy to be helping out the Toybox crew again after doing sound effects for their Coffee Road game last year. Coffee Road was actually picked up and played by a super popular Korean streamer in April. We were all surprised to find footage of it on YouTube with over 200k views. You can watch it here if you're interested.

This year, Toybox Games, or for the sake of GGJ, Team Home Home, were making a game about a Wedge Tail Eagle, cheekily names Untitled Birb Game. I think every Australian loves to see their country's outback in a video game. I imagine it's the same feeling people from the US get when playing games that are set in their city. The early environmental art I saw on Saturday looked awesome, and very Australian.

I started with what I knew. There would be wing flaps and a dive mechanic. With the Wedge Tail Eagle being on screen the whole game, there would be flapping all throughout gameplay, so it was important to me that that didn't sound annoying and had some variation.

The Wedge Tail Eagle has a cool dive mechanic. I wanted this to sound really cool and cut through the regular atmos. I took inspiration from the Batman games and also the new Spiderman game, and made something a bit like a harsh wind sound, but with a lot more beefiness to it. it sounded very powerful, and really fitted with the visuals when you initiated a dive down to Earth.

To make this game sound the way it looks, it needed to sound like there was a chorus of cicadas were hiding on every tree and shrub. As soon as you load up the game, you hear that instantly recognisable sound. I'm really happy with how it came out. 
Of course, you can also hear the awesome music by Abby Phillips (abbysinthe) who has used some native Australian instruments for this score. It gives the game an incredibly powerful and authentic vibe. I urge you to play it and have a listen.

As I expected, Global Game Jam was a lot of fun. There were so many fun games that came out of it. I'm glad I got to try some at the play party that was held a few weeks later. 

I'm glad I took a different approach to it this year, but I did miss the energy and dynamic of the audio room. 
You can definitely catch me at GGJ next year.

Matt, SZS

1/2 of Team Eggplant
Above: 2/3 of Team Eggplant right in the thick of it. Photo by Issy Pattison.

Crossing Short Film

posted Dec 1, 2018, 5:02 PM by Sub-Zero Sound   [ updated Mar 8, 2019, 8:30 PM ]

Hey all! Matt here. 
It's been some time since I've worked on something aside from games, so I had a lot of fun working with comedy filmmaker Pitters on his latest project, Crossing!

You can watch it below. If you like it, check out some of the other videos on his channel.

Chroma Shift on Steam!

posted Sep 27, 2018, 4:51 PM by Sub-Zero Sound   [ updated Oct 18, 2018, 8:58 PM ]

Chroma Shift

Here's some exciting news!
DevOrDie Studios' debut puzzle platformer game Chroma Shift, is now available on Steam!

We have been working hard with DevOrDie Studios to bring this game to life with expressive sound design and a dense atmosphere.
Having been on board since pretty early in development, we have watched people play demos at the last 2 PAX Aus expos. It's safe to say that we're chuffed about the release!

You can check it out on Steam here, and watch the fresh new gameplay trailer that's on there!

Warm Analogue Threads Available Now!

posted Jul 30, 2018, 5:51 AM by Sub-Zero Sound   [ updated Sep 27, 2018, 4:57 PM ]

One of the most common questions we receive is regarding our very fashionable, and very warm hoodies. "You're always wearing those hoodies! Where can I get one?" 
It's due to this popular demand that we've decided to make a limited run of them available through False Idol Apparel!

These will be available for pre-order only for a short time, and we will be shipping them out in August!

If you're interested in grabbing one, or anything else from the site (including our shirts), check out False Idol Apparel.
Like the shirts, money made from these hoodies directly supports us and our good friends at False Idol.

From overseas and don't see your country in the shipping options? Get in touch with us and we can organize it for you!

Global Game Jam 2018

posted Feb 4, 2018, 4:03 AM by Sub-Zero Sound   [ updated Feb 26, 2019, 2:54 AM ]

Last weekend, I (Matt) participated in Melbourne's 2018 Global Game Jam.

If you're unfamiliar with Global Game Jam, developers from all over the world get together in hundreds of locations, and spend their weekend creating something that didn't exist before.

This was my first game jam. I'm so glad I got to experience it in Melbourne of all places. It completely reaffirmed for me what I love about the indie game-dev community in this city.
Melbourne GGJ art by Georgie Zuzek
Melbourne GGJ art by Georgie Zuzek

As most teams that formed (there were 90+ this year in Melb!) don't have a dedicated sound person, many of the audio folk band together in one space where developers can approach us and let us know what they need. 
Joining the audio crew in this way, I got the opportunity to contribute to several great games.

I love working in a physical space with game developers. It truly knocks working remotely out of the park in terms of the experience and how easy communication is. Although I was in a crowded room and therefore in headphone-city all weekend, being able to chat to the teams in person and see what they're up to is invaluable to me, and I find it incredibly motivating.

All the games that were created this weekend have their own unique personality and charm!
I'll link the games I was in some way involved with here, and reflect on my processes for them a little.

Coffee Road
Coffee Road by Toybox Games Studios

"Coffee Road is a game about a Game Jam Cup. With a quest to transmit energy to your jammer through coffee, while making sure that yours and other jammers don’t find out you’re a sentient coffee cup."

Coffee Road was the first game I begun working on, as this team was one of the first to swing by the audio room, only an hour or so after beginning the jam on Friday night.

I took on the responsibility of SFX, and Corey Taylor & David Weaver the music.
Because they came in so soon, I was able to record some Foley for the SFX. A luxury I wouldn't have for every game that came through, as time became more of a pressing factor on the second and third day of the jam.

The SFX list I received made sense. Noises for the mug moving around, coffee machine sounds, and some human reactions for when you're spotted.
In order to get an authentic GGJ mug sound, I went straight to the source, and recorded my mug. This included a bunch of different handling noises and dropping it (gently!) in a few different ways.

Due to the nature of the jam, it was difficult to record audio without background noise until quite late when most jammers were asleep. All of the recording for this was done late Friday night/early Saturday morning. One sound that I'm glad I got was from the coffee machine downstairs. There's an absolutely filthy sound from the steam wand that you can hear in the game. 

I recall there being some quiet moments at the Degani cafe downstairs on the Saturday morning. Next time I'm in an empty and quiet cafe, I'm definitely going to make the most of it and record my coffee being made. That's one for the sample library.

Indie dev, coffee, and Crossy Road references. This one screams "Made in Melbourne".
Also, there's a neat little nod to Cowterpault in the form of a toy cow. References to other GGJ games, I think that's pretty cool!


Created by Gabriel Morgan, Eleanor McMurty, & James Smith. You can download it from itch.io here.

"Competitive disease spreading, just like Medieval times! Aim for the houses; whoever accumulates the most hits wins!"

The SFX were again, quite small in number for this one. 
The medieval and comically light mood set by Caitlin Hopwood's score worked perfectly with the gross splat of cow-on-wall impacts.

There's some fun little musical stingers for when the game changes whose turn it is. These were fun to create, and was a nice change of pace for the weekend as I didn't do any other music production.

The highlight of production on this game was definitely going around AIE's 2nd floor with a boom mic and capturing moos from different people. Most of the cow's moos were performed by the dev team, but there's a few from other jammers in there and a few from myself.

Cowterpault spent a lot of time streaming on the AIE projectors, Everyone was pretty much getting live updates on it's progress all weekend. I actually finished up my work on this at an ungodly time of the morning, and could see on the stream that someone was still working on it, so swung by and delivered the sounds then.

Pitch Perfect Pickles
Pitch Perfect Pickles

Created by Scott Beca & Leonie Yue of Mighty GamesYou can see more info and download it from the GGJ page here.

"The yodeling pickle rhythm game. Are you worthy of your yodeling pickle family?"

Well I can't say I've done this before.

This team were creating a yodeling game, where you have to match what your opponent on the other hilltop yodels. For that they needed some authentic yodeling. Who better to give a performance than Matt Brown, a composer/vocalist from the audio room!

We recorded Matt's yodel performance, and then I cut up the takes and edited them. For one of the games I spent the least amount of time on at the jam, it's certainly unique!

In line with Mighty Games' work, Pitch Perfect Pickles is easy to pick up and visually charming. 


Created by David Thompson, Ethan Moffatt, Daniel Armstrong, & Paul Bowers, who are currently creating the C&C3 Mod "Tiberian Sun Rising". 

"A game where you transmit yourself to new hosts to survive. Press V to exit Creatures and enter new ones."

This team was located on the other side of my desk, so communicating with them and seeing where the game and art was up to was incredibly easy.

The music was done by David Weaver before I got around to starting on this, so getting an idea of the mood was pretty simple. I just had to listen to what the music was doing and use that as a starting point. The music, as the game's background hints at, is industrious in tone. Abby Phillips helped out with some SFX towards the end as well, which was fantastic!

Being a platformer, creature movement and obstacle sounds were important for me to get right. There's 3 types of playable critters, and all of them move in a different way. One slides, one jumps, and one rolls around and up walls with suction cup feet.
Like the cow splat in Cowterpault, I wanted these creatures to sound disgusting and wet. Like they really come from another, moister planet. Using some recordings I had that involved tipping out a can of diced tomatoes, I found some pretty gross samples that fit perfectly with what I imagined the creatures sounding like in this game.

Working on this game made me realize that I need more destructible recordings in my library that fit between small and huge. It may be time to spend another day in the shed breaking stuff (sorry dad).

bird qwop

Created by Cameron Starkey & James Albert. You can download it from the GGJ page here.


This was a strange one. 
For some unknown reason at this jam, there were several games coming out featuring birds. (Transmit = Bird Flu?) I know some of the other audio crew were working on some bird-related SFX at some point, so when this team approached us for some "large bird calls", I immediately asked if anyone else had anything. Large birds are a whole different kettle of fish than small birds however, so we were at a bit of a loss here.

Their requirements were pretty small, as they were one of the teams who approached us towards the end of the jam. They needed some large bird calls and wing flapping. Ed Hund had already handled the music, so the sounds needed were pretty quick and easy, as I had some pre-recorded stuff I thought I could use.

It turned out that I too didn't have much in the way of large birds. I did however, have a few recordings of small to medium sized birds making noise. This was an ambience recording so there was a lot of background noise and birds all calling at the same time, but I managed to find a few calls that could be isolated, manipulated and turned into SFX.

Wing flaps were in truth, jacket flaps. Sound is deceptive.

Phone Home
phone home

Created by Peter Armstrong. You can download it from the GGJ page here.

"From your space station on the edge of the solar system, launch symbols back to earth to send a complete message in the least time. Short 1 to 4 players arcade style game."

If anyone knows Peter from the IGDA Meetups or from around Melbourne game-dev, you'll know how nice he is, and for someone who's doing game dev as more of a hobby, he's really good. Peter's got some great ideas, and if you catch him at one of the IGDA meets, I highly recommend you chat to him and check out his game. He's usually got a build on his phone (that he would have updated on the train in!)

Peter was working solo on this game, and needed some SFX. I was super keen to be involved with this one. Peter actually approached me quite early on in the weekend, but I only got a chance to really think about it sometime on Sunday morning.

The sounds required were fairly simple. Some space-y UI sort of sounds for when each player shoots their transmission, and some "success" or "fail" sounds, depending on if they reach Earth or hit another planet along the way.

Space-y SFX are always fun. I love media set in space. It was fun spending some time creating some bleeps and bloops and then just drowning them in reverb, and then pulling back a bit because no one wants UI sounds that last close to 10 seconds.

One of the effects Peter was after for when a transmission failed to reach Earth was a person replying "huh?" over a radio.
Corey Taylor, who I worked on Coffee Road with, supplied some nasally-sounding dialogue which I used for this. It worked perfectly with a bit of a radio-filter applied.

This is one of the games I'll be keen to see at the Play Party this Feb.

Echo Command
echo command

Echo Command was created by a team of 5, consisting of Jeremy Little, Aaron Smit, Emilee Ashe, Jarrod Sevior, & Gene Collis.
You can check it out and download it from the GGJ page here.

"Plan out your moves to get to the terminal by passing instructions from robot to robot."

This was one that I jumped on really late. Again, this was part of the Sunday morning rush where I was spending time at my laptop pumping out sounds and then running around AIE delivering them via USB. When I popped by the team to figure out what they needed in terms of sound, there was already music in the game by Jordan Dines.

Jeremy had already told me what sounds they needed. There wasn't many at all. A sort of "cartoony" electricity loop, and some Win/Lose sounds.

The electricity loop I already had and just required a little processing. For the Win/Lose sounds, I played around with some synths while listening to the music in the game. This helped me get the tone right and make sure what I was making wasn't out of key and creating a dissonant sort of sound when the player was meant to be feeling rewarded.

I didn't do much stuff with soft-synths at all this weekend. I hardly got to use my Midi keyboard. That's why for the short amount of time I spend on Echo Command, I had quite a bit of fun.

I love the arpeggiator on my little Akai keyboard. It's so simple to use. 
My process for these 2 level-ending sounds was to load up a synth patch, turn on the arpeggiator on the keyboard and then mess around with the variables until I found a sound I really liked.

I've rekindled my love for UI sounds, after not touching them for so long. I really want to play with making some UI samples for a range of different games. That's on the list for expanding my sample library.

Kindness Game
kindness game

Kindness was created by Edward Whitehead, Emily Branagan, & Raphael Peel-Fowler. You can check it out and download it from the GGJ page here.

"A game about spreading kindness and love through a digital world."

Ed taught my Introduction to C# Programming class back in uni, so I was really excited to contribute to his game at GGJ.

Kindness is a story-driven game, where you talk to people through their social media accounts, learn about their troubles and try to help them. As you help people and make them happier, your player gets sadder. 
Corey Taylor did the music for this one. He created a few different versions of the track, ranging from happy to depressing. This is a very basic example of dynamic audio, and it was cool to see it implemented in one of the GGJ games.

That's one of my goals for the next Jam I participate in. I really want to create some dynamic audio systems that change according to factors in the game.

Like the last few games I've talked about, the sounds they required were minimal, and I was able to get to them on Sunday morning sometime. They required some UI sort of pops for the social media buttons.
My process for these was similar as my approach to Echo Command's SFX. Using soft-synths and a very tight envelope on them, I messed around with different sorts of instruments until I found some tones I really liked.

As I mentioned in the Echo Command part, UI is something I haven't touched in ages, and I'm excited to play around with more of it in the near future.

The Golden Tulip
The Golden Tulip

The Golden Tulip was (is being) created by Nicholas McDonnell & Dan Draper of Samurai PunkYou can check it out and download it from the GGJ page here.

"A Cold War Immersive Sim. Welcome to Beirut, Lebanon. Intelligence has indicated a mission critical target at ‘The Golden Tulip’ hotel. You have been stationed in an opposing building. Find and eliminate the threat, failure could mean all out nuclear war."

I didn't actually create any new sounds for The Golden Tulip.

The game takes place in a hotel room, where your objective is to spy on the opposite building and discover who your target is.

Nick came around on Sunday morning looking for music to add to the radio in the game, that the player can tune in to and hear snippets. As the game is set during the Cold War, some older style tunes fit perfectly. It happened that I had some old phonograph recordings floating around, which seemed like they would fit really well.

I really like the look of this game. I'm stoked to see that Nick and Dan have been continuing work on it.


If you read all that, I'm stunned.

I really wanted to kind of debrief and reflect on last weekend's jam, and talking about the games I was involved with seemed like the perfect way to do so.

As I mentioned before, there were some amazing games to come out the jam this year. The experience has been incredibly motivating for me, and connected me to more people in this community that I love.

To the left you can see me looking very tired sometime on Saturday or Sunday. Thanks for the photo David Ma! (@frostickle)

If there's anything I can elaborate on or you'd like to know anything else, feel free to get in touch!

Matt, SZS

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