Authors: Jenny Tao, Barry Cheung, Caroline Tran, and Lisa Ing
Play our game here!
Initial Decisions
Artist’s statement
Let’s Get the Band Together! is a game about unraveling messy relationship drama with melodramatic high stakes. When you’re only twenty-one, the campus’s Battle of the Bands does feel like your entire world.
If anything, our game development team loves drama, so we quickly settled on having our protagonist uncover the relationship drama of a group. We aimed to replicate the feeling of piecing together a scandalous friend group explosion through clues like text receipts and instagram stories—but through physical locations and objects in the game.
However, we still wanted an upbeat feel-good game. To keep the game comedic, we exaggerated our characters and gave everyone a happy ending. The unserious tone mitigates any suspense around a potential bad ending, but the fun lies in the journey to the end.
Since our focus was on story with simple puzzles, we decided on a robust game engine with several built-in mechanics and assets–RPG Maker. This choice enabled us to tell the complete narrative and focus on the assets we did want to be custom.
We hope that the player grows to love the characters and their messy story as much as we enjoyed crafting them.
Scope of the game (MVP vs. Slice)
After we spent hours deciding the layered backstory of the game’s characters, revealing the whole story to the player became our goal. We didn’t want to leave cliffhangers or have the player end with conclusions based on red herrings. Therefore, we chose to do an MVP over a slice for our game so we would have the complete narrative as opposed to only one or two very polished chapter(s).
To maintain a realistic scope for this project, we structured the MVP into a couple short chapters with more focus on conveying story than clever puzzles. The puzzles were designed after the story was written, as clues and ways into the story. We used these to control the current story information for the player. The player interactions with other characters also reinforced the level of information for all parties involved (see above).
In terms of polish and custom assets for our scope, we focused on aspects that aided the story the most and yielded the most benefit for the entire game rather than one chapter: custom face cards and sprites, thematic music, necessary cut scenes, etc.
Formal Elements
Player Role
Let’s Get the Band Together! Is a single-player game. Although the player character can be named by the player, the character does not operate as a completely one-to-one avatar.
To give the player motive for investigating the game’s storyline, we chose to make the player character the roommate and friend of one of the involved members. However, they are not involved in the drama themselves. This was to ensure that the player and player character have the same level of information at the beginning of the game so unraveling the entire embedded narrative felt natural.
Objectives
The player’s explicit objective, as prescribed by the character’s friend, Kai, is to investigate the other band, but implicitly the goal is ultimately to reunite the band. These main objectives are structured into smaller linear goals that progress the player’s investigation through different spaces and with their respective different characters.
Since the game is a minimal MVP focus on the embedded story, the game does not provide much else for other potential objectives, such as the player character’s own musical ambitions.
Rules
Information is organized through maps and characters in a linear sequence. Unlocking new information is dependent on whether they solve the current puzzle on the map.
To solve puzzles, the order of discovery of the map’s clues is not critical, as long as the player finds all of them. This can include items in the map, which are used in their respective maps only.
Although viewing all pieces of information is required to progress the game, not all information is equally essential to the overarching narrative. Some inform the player of the personalities of the characters and player character. Others are critical to the overarching narrative and controlling the flow of information to the player. These are marked in the player’s notebook.
Procedures
The player progresses through the game by obtaining information within their current map. This is done through walking through spaces, clicking on items to inspect them in more detail, using items to unlock spaces, and talking to non-player characters for more information and stories.
Resources
To track the current information gathered, the player has a notebook that collects clues with the player character’s annotations. New clues are automatically registered.
Next to the notebook in the user interface is the inventory of the player’s current items for the map. Items include coins for bribery and tools for unlocking doors. Obtainment is automatically tracked in the user interface.
Although there is no friendship or romance system between the player character and other characters, the non-player characters drive the player’s current short term objectives and act as sources of information. The embedded narrative surrounds a core group of characters, so their interactions are a valuable resource to the player. The player can go back to NPCs to revisit critical information.
Boundaries
This game heavily relies on a tight sequential control on information, which controls the order of the clues and maps that the player can currently access. In contrast to more open mysteries such as Tiny Room Stories: Town Mystery, in our game, the player cannot freely switch between maps or areas.
Additionally, no matter what order the player finds the clues in, the conclusion and critical piece of information they come to at the end is still the same. This upholds the rigid sequence of the game.
This sequence only has one outcome for the story regardless of how the player chooses to interact with the world–the band reunites and aids the romances of the band members. There is only one end game state.
Aesthetics
By providing maps to explore and discover hidden information embedded into the world, we create a dynamic where the player is constantly investigating. The aesthetic enjoyment lies in the challenge to obtain that information and the discovery of new information–particularly when new connections are forged to pre-existing information.
All of this information revolves around the core cast of NPCs. The map designs build the world but more importantly, imply the characters’ personalities. Dialogue was also written to reflect distinct personas between the NPCs as well. These game aspects inform a dynamic of building familiarity and trust between the player and NPCs, which in turn, aids an aesthetic of fellowship with the NPCs as the player resolves their problems.
The core of this game is its embedded narrative which the player unfurls through several layers of drama, lore, and conflict. The embedded narrative also becomes reactivated by the player into an enacted narrative, as they use their obtained info to resolve its current conflicts. The immersion and participation of this narrative inform an aesthetic of narrative and fantasy, particularly because the player plays as a semi-involved character with their own background.
Although it is not as polished as it would be in a slice, we implemented thematic music throughout the game to evoke emotion and urgency trying to fulfill an aesthetic for sensation.
Model Iteration
We iterated through multiple narratives before landing on our Battle of the Bands storyline. These iterations included the following:
Resident Assistant Role – Move-In or Move-Out Day
The initial iteration centered around an RA-in-training, learning the ropes and familiarizing themselves with their role for the upcoming school year. In order to land the job, they were tasked with challenges like resolving dorm social culture, tracking down a laundry thief, and uncovering stories about the previous residents of the dorm.
Though this was an intriguing narrative with opportunities for lore, it was difficult to create a logic flow that supported the RA character’s motivations using the dorm architecture and dorm residents.
Fraternity vs. Sorority Rivalry – Split College Campus Residences
The second iteration explored a rivalry between a fraternity and a sorority – based on inspiration from the movie, Mean Girls. Our team was especially interested in having a physical and visible split in the game space in addition to the rivalry in the narrative.
Inspired by themes from Wicked, Heartstopper, and Mean Girls, there were a multitude of opportunities for lore in this world as well. However, it was difficult to justify the rivalry between two campus residences in the setting. As the rivalry was the prime instigator of drama and motivation for the player to explore the world, this challenge meant we had to go back to the drawing board!
Battle of the Bands – Let’s Get the Band Together!
Addressing the challenge from our second iteration, we focused on the development of the rivalry more deeply. While brainstorming, we decided that a band that had recently split apart due to personal conflicts would set a strong stage for opportunities to utilize narrative, architecture, setting, and supporting characters to drive forward a visual novel.
Sketches by Jenny Tao detailing a messy breakup, a band split-turned-rivalry, and player interactions with the world through snooping in dorm rooms, recording studios, and speaking to the fans and band members.
As the player character in our game, the PC would take on the role of resolving the conflict as the peacekeeper, mutual friend, and also the detective who pieces together the reason for the split.
Testing and Iteration History
Playtest 1: Section 5B Pitch (May 1, 2025)
For our first playtest, our team was looking for feedback on our narrative and character design.
| Observation | Resolution |
| Initial Concept: Player is an RA who snoops into their resident’s drama. However, the player lacked any personal investment in the conflict so we found it difficult to justify the player’s motive for snooping around. | Brainstormed alternative premises where the player is still exploring new spaces and social settings. We decided on a “Double Agent Between Two Rival Bands” concept. |
Iterating on the Premise and Player’s Motivation
Our team’s game concept initially centered around a nosy college RA who explored various dorm rooms to piece together and resolve a dramatic interpersonal conflict between their residents. We wanted our game’s spatial exploration to be motivated by a personal investment to uncover drama, gossip, and clues to piece together the broader narrative. However, after running through our idea with our section, we realized that the RA character lacked an in-game motivation to be personally invested in piecing together someone else’s personal conflicts.
We went back to the drawing board to brainstorm alternative game premises that centered the player’s personal motivations while narratively pushing them to uncover drama to piece together the full story. Some notable premise ideas included:
- Friend Group Trip Drama: Player is trying to keep their upcoming group trip together amidst messy friendship miscommunication.
- Frat/Sorority Conflict: Player is a newcomer in the middle of Romeo/Juliet-esque tension between a college fraternity and sorority.
- Double Agent Between Two Rival Bands: Player is a college senior who’s caught between two rival bands as their final bandmate for the Battle of the Bands.
We ultimately decided on a “Double Agent Between Two Rival Bands” concept where two rival bands fight over the player character to play with them for the Battle of the Bands, and the player is left to piece together the mystery behind their bitter rivalry. Making the player part of the conflict as a potential bandmate gave them a personal motivation to resolve the conflict and helped us revise our narrative in further playtests.
Playtest 2: Class 6A Demo with Battle of the Bands Storyline
Here are our observations and major points of feedback on our narrative and character design:
| Observation | Resolution |
| Confusion about who the player is and why the player wants to be a musician for both bands. | Reworked player and character personalities and relationships. |
Who is the Player? Who are the Characters?
Once we settled on the Battle of the Bands premise, we ran a demo of the player auditioning for two rival bands as their last chance at participating in Battle of the Bands. While trying to figure out which band they want to join, they snoop on both bands to discover the origin behind their bitter rivalry. Some major points of feedback we received were narratively-focused: it was difficult to distinguish characters apart from each other and there was confusion over how choosing between both bands would affect the player’s choices later on in the game.
In order to simplify the game’s narrative and implementation, we went back to the drawing board to solidify the player’s backstory, the band’s backstory, and outlined a relationship chart between all the characters. In our relationship chart, we’ve written for the two rival bands to initially be one whole band that was broken up due to relationship conflicts between the bassist, Ash, and the guitarist, Derek, about rumors about Derek’s relationship with the vocalist, Lina. Along the band split is Kai, the band’s drummer, who is the player’s roommate and personal connection to the band. Kai, who is a close friend to the player and wants to get the band back together, acts as a personal motivator for the player.
Playtest 3: Section 6B Standup (May 8, 2025)
During section 6B, we presented a standup to propose our final narrative idea.
| Observation | Resolution |
| Why is choosing between two bands so important to the player? | Explored narrative with the player being a double agent under the guise of committing to both bands in order to figure out the inter-band conflicts. |
| Curiosity about how we would use background music in our game. | We noted this while implementing our game later, see Playtest 8. |
Clarifying the Player’s Journey
When pitching our narrative to our section, we had questions about why the player wanted to choose between two bands. We realized that our characters had evolved and didn’t fit that motivation anymore. Alongside expanding the character’s personalities, we also made a narrative change so that the player is acting as a double agent in order to uncover why the band broke up in order to reunite its band members.
Playtest 4: Class 8A Playtest of Concert Gates and Stage
This playtest was the first to be conducted in the RPG Maker environment, transitioning from narrative iteration to iteration in game mechanics.
| Observation | Resolution |
| Confusion about inventory status | Removed distracting, default inventory stats and categories |
| Curiosity about other items in the map and about character backstories, laughter during plot drama | Embedded more hidden items in bedrooms of each band member to further characterize them and their motives (applied later in playtests 9 and final iteration). |
| Lack of drummer character growth | Involved the drummer more in the argument (applied later in playtests 9 and final iteration) |
| Hesitation with making choices because impact of choices were not clear | Adding switches to allow players to revisit the decision when they feel more ready to make a choice |
| Bug: Looped dialogue with no stop condition | Changed to a switch-based trigger that prevents looping but still allows players to revisit NPCs for reminders on information. |
| Bug: PC exploration paths restrict clown movement and blocks game from moving forward | Changed the clown’s movement route to a transfer with screen fades |
In this playtest, playtesters explored the prologue and concert space. The prologue for our game served as a space for players to learn how to interact with the world and learn about the themes of the world. The prologue provided context on player objectives while also acting as an embedded tutorial for skills the player immediately uses as they unlock new spaces.
Inventory Confusion
The built-in, default inventory on RPG Maker MZ includes combat items, weapons, and armor along with combat statistics like HP, MP and TP. Our game does not utilize combat as a mechanic for player interaction, so a change we implemented for our future playtests was removing the extra information centering the inventory on the items found in the game.
Event Bug: Clown Guard’s Movement Path was Blocked
While playtesting, our playtester found a bug that limited player exploration. When the PC is standing to the right of the clown guard, the clown’s route to the vending machine is blocked. The stagnant clown also blocked the entrance to the concert, making it impossible for the PC to access the next map. To resolve this issue, we changed the clown’s movements to be a transition with fading screens rather than a movement route. The fading screens also signaled a clearer change of game state, directly the player’s focus to the now unlocked gates to the concert.
Playtest 5: Section 8B (May 22, 2025)
In section 8B, we tested our new inventory system in the prologue.
| Observation | Resolution |
| Could not differentiate between band members and their personal roles and motives | Added a prologue cutscene for more context about the band. Implemented custom made face cards and sprites for the band members (Implemented playtest 8) |
| Confusion about the unique item names of “Coin Item 1” and “Coin Item 2” Confusion about whether they had a shirt for the trade or not | Added new inventory system where coins are stackable and the shirt is automatically in the beginning inventory (Implemented playtest 8) |
| Feeling that there was too much dialogue at once | Added more exploration elements to break up amount of dialogue at once such as snooping through Lina’s items |
| Bug: Kai’s conversation could not be directly triggered by the player | Fixed by setting to a different trigger |
Not Enough Context for Player or Band
Playtester 1:
Since we only had a brief text explanation about the setting and player character, playtesters were confused about the player character’s relationship to the band members and general information about the band members themselves. It was hard to track traits between the four band members. To clarify information, we added a prologue animatic that establishes the player character, the band members, and their current relationship for the next playtest.
Event Bug: Kai is Passive-Aggressive
This is a video of our second playtester for this session:
When the player attempts to talk with Kai, she responds only when the player tries to leave the room rather than when the player directly speaks with her, which was confusing to the player. We fixed this bug by making Kai’s dialogue trigger upon player input.
Playtest 6: Class 9A (May 27, 2025)
During the 9A class, we tested more complex interactions with supporting characters and a revised prologue.
| Observation | Resolution |
| Playtesters wanted to interact with everything–not just helpful clues | Added new red herrings and items that share more about the characters’ personalities and roles in the game and do not necessarily contribute to the current puzzle (Implemented playtests 8 and 9) |
| Skipped dialogue often, would prefer to have accessible information at all times | Players can now come back to the NPC for a shortened summary/reminder of the longer dialogue, which helps direct the player forward in the story |
| Prologue and NPC dialogue were repetitive | Condensed NPC dialogue from fanboy |
| Players wished the concert scene was longer so players can learn more about the band members, their vibe, and their music | Extended concert scene (Implemented playtest 9) |
| It’s weird that Lina is just pacing back and forth and can’t see the PC through the glass Bug: Player can enter the inner booth room after closing the warning text. | Lina now enters the scene later after the PC has explored and found all hidden items (Implemented playtest 8) |
| Bug: Lina talks before you find the clues | Fixed: Changed triggers to include all clues as switches |
Fanboy Dialogue
Since there was now a prologue animatic, some of the tutorial guide’s dialogue became redundant, so we shortened it to the above text.
Event Bug: Approaching Lina in Studio
At a location on the map, the game warns the player that going past that point means Lina will catch them. However, players can ignore this and continue past that point.
Playtest 7: Class 9B (May 29, 2025)
This playtest took place during Lecture 9B. In this playtest, our team wanted more insight on how players would react to the hidden clues in the recording studio.
| Observation | Resolution |
| Playtester interacted with lots of items in Kai and PC’s room | Embedded more items to characterize Kai and PC (applied in playtest 9 and final) |
| No feedback on whether all items have been found or not | Decided to move away from hand holding dialogue and added map boundaries as gentle nudges |
| Names are hard to remember | Made concert scene longer to give more context, embedded more items to characterize the band members with unique qualities (applied in playtest 9) |
While our playtester had generally positive feedback for our team, there were areas for improvement to address in building narrative through supporting characters and the world.
Our playtest video is split into chapter marking significant moments:
Interaction with Static Items
The playtester showed interest and curiosity for the piles of papers, closets, and furniture used in the bedroom map for Kai and the PC (timestamp 0:04). Since this is the first map following the prologue, the playtester expected more opportunities for interaction with the world. Our game relayed mixed expectations by giving the player plenty of interactions in the Prologue, then only 1-2 interactions in Chapter 1. A change we implemented for playtest 9 was adding more items like laundry baskets, music awards, and vinyl collections in the bedroom shared by Kai and the PC.
Names are Hard to Remember
Our game introduced the band members through the cutscene and the concert fight scene, but both instances lacked player interaction. This observation helped us learn that the best way to introduce the band members is to design direct player-to-world interactions that connect the player to the band members. Similar to our previous change, we embedded more hidden items that reveal hobbies and interests while also creating more events in the narrative for one-on-one conversation.
Playtest 8: Class 10A (June 3, 2025)
Large amount of content implemented
In this playtest, we implemented many new changes and additions to the game. Before this playtest, we had only implemented up to the midpoint of Chapter 2, and therefore the player could not play the entire game all the way through. By this playtest, we added nearly all of Chapter 2 and 3, as well as a bit of Chapter 4, essentially doubling the length of the game.
| Observation | Resolution |
| Flashing the receipt as a hint was too hand-holdy | Stopped receipt from flashing after failed password attempts, implemented notebook feature to document clues |
| Music was too quiet to hear properly | Adjusted volume to be higher, added new BGM (implemented in “Post-Final Playtest”) |
| Playtester understood the narrative very well | Continued rounding out the story with an epilogue animatic and extended scenes (implemented in “Final Independent Playtest” and “Post Final Playtest”) |
Notebook Feature and Player’s Active Memory
Some new puzzles were introduced in this playtest–particularly, the password-protected file in the recording studio. In order for the player to guess the password, they must collect all four ripped pieces of a flower bouquet receipt and discern the password from the numbers on the receipt. During the playtest, we noticed that flashing the receipt on the screen after each failed password attempt took away the fun of problem-solving for players. Instead, we documented the ripped receipt pieces in the player’s notebook for them to reference of their own accord. The Notebook feature, which documents and annotates important clues as the game progresses, helps manage the player’s active memory while giving players an opportunity to problem solve by themselves before seeking guidance.
Background Music
This playtest also implemented background music tracks that change with each room. Before this iteration, we did not have any music at all in our game. We added music that attempted to capture each character’s personality and aligned with their respective musical instruments (electric guitar, bass guitar, keyboard/vocals, and drums) whenever the player visited that character’s room or interacted with them. However, the music was too soft to be heard during the playtest in class, since the volume for each of the tracks was set with a quiet solo play experience in mind. In a future iteration, we amped up the volume on all tracks.
Extended Scenes (For the Drama)
Alongside the notebook and background music, this playtest also included dramatic extended scenes that surprised and shocked the players. For example, when the player is caught snooping in Ash’s room, the player laughs at the suspense of Ash slowly walking into the room (12:00). Thanks to extended scenes like this, the player was able to understand and recount the narrative to us! With this feedback, we incorporated extended scenes at other high-tension moments in the story, such as the band’s breakup, Ash’s outburst in Lina’s room, and Derek reconciling with Ash.
Playtest 9: Independent Playtest (June 5, 2025)
We did one last playtest following the 10A playtest. This was conducted in a group setting where one player played through the whole game while the game was displayed using a projector.
| Observation | Resolution |
| Player’s use of the Notebook | N/A |
| Lots of moments of laughter, shock | N/A |
| Longer concert scene characterized the band members more than before | N/A |
| Scene of Ash and Derek reconciling was short and abrupt | See “Post Final Playtest” |
We did not receive too much novel feedback in this iteration, but nevertheless, we had a good amount of changes that we elaborate on below. This playtest extended for about an hour since it was a group setting and each playtester read out the lines.
Concert Scene
We revamped the visual aesthetic of the first two maps of the game: namely the concert gates and the concert performance itself.
The primary change to this part of the game was the implementation of an entire new set of NPC interactions where previously, the player could not interact with or read the dialogue of any of the other concert goers. Each concertgoer had a humorous or memorable line that helped with world building and introduced the comedic tone of our game (7:12 to 11:13). During this entire section, there were nearly non-stop laughs from the playtesters as they reacted to the dialogue.
Furthermore, after our playtester went through all of the available NPC dialogue, they could watch a whole extended cutscene (11:17 to 17:29) that helped establish the characters and the premise of the game. A previous piece of feedback from playtest 7 was that each character’s name was a bit difficult to remember, so we tried to make this scene dramatic and inject personality into their dialogue, as well as make unique roles and events for them (frontman, being egged on to kiss, storming out, etc.)
Notebook Usage
Lots of moments of laughter and shock
There were several moments during gameplay where our playtesters reeled in laughter and/or shock. They grew very invested in the story, so whenever a dramatic moment occurred, there was a strong audience reaction. Pictured above is the reaction to the epilogue animatic added to this playtest iteration (6:25).
Because the epilogue animatic was included in this iteration, this was the first playtest that the player could see the entire storyline.
You can find the playlist of all playtest recordings from this session here.
Here is the primary playtest recording for this session:
Post Final Playtest
After our final playtest, we further polished the game in response to earlier player feedback. The two major changes are listed below. There were many minor bug fixes and dialogue improvements that we are omitting as changes.
| New Changes |
| Largely expanded upon Chapter 4 (Ash & Derek’s reconciliation) |
| Finalized background music and sound effects |
Expanded upon Derek and Ash’s reconciliation scene
As with the concert, we got feedback that we should expand on the scene in Chapter 4 between Ash & Derek. Before this iteration, the story of Chapter 4 stopped with a very brief scene where the two of them make up in a few lines of dialogue in a placeholder map that was just a long corridor in a completely dark room. We created two whole new maps, each with their own extended cutscenes and in the former case, interactable flavor text. They can be observed below.
Finalized Background Music
In this iteration, we added final background music to all relevant game locations. In particular, Lina’s room, Derek’s room, the two new maps, and the epilogue each got new songs. We also modified the track at the beginning of the game using a low-pass filter so that it would sound muffled (since the gates are outside of the concert itself).
References
Fan, George. “How I Got My Mom to Play Through Plants vs. Zombies.” Game Developers Conference. https://www.youtube.com/watch?v=fbzhHSexzpY
Wodtke, Christina. “The Formal Elements of Game Design.” Medium, Game Design Fundamentals, 5 Apr. 2023, medium.com/game-design-fundamentals/the-formal-elements-of-game-design-28c08ac5f57e.
Character face cards, and sprites were all hand drawn and/or created by Jenny Tao
Prologue drawings by Lisa Ing
Epilogue drawings by Jenny Tao
Background music by Barry Cheung:
- “Darkmoon City – Adapted for in-game use.” Digimon World Dawn and Dusk Original Soundtrack, Bandai Namco Entertainment, 2007. Track 8 (Darkmoon City / Night Claw), 2:37.
- “Digivolve! – Adapted for in-game use.” Digimon World Dawn and Dusk Original Soundtrack, performed by the Digimon World Dawn and Dusk soundtrack, Bandai Namco, 2007. Track from the Nintendo DS video game Digimon World Dawn and Dusk, released 29 Mar. 2007 (Japan), 18 Sept. 2007 (North America).
- Masuda, Junichi, et al. “Castelia City Theme.” Pokémon Black and White, soundtrack, composed by Junichi Masuda, Go Ichinose, Shota Kageyama, Hitomi Sato, and Minako Adachi, The Pokémon Company/Nintendo, 2010.
- “Pink Pony Club (Karaoke Version).” Pink Pony Club (Karaoke Version), produced by Party Tyme Karaoke, YouTube, uploaded 5 Mar. 2025, Party Tyme Karaoke channel.
- Roan, Chappell. “Pink Pony Club.” 2025 GRAMMY Awards, 67th Annual Grammy Awards, Crypto.com Arena, Los Angeles, 2 Feb. 2025. Performance. YouTube, uploaded by The Recording Academy, 2 Feb. 2025.
- “Smile (Instrumental).” Goodbye Lullaby, performance by Avril Lavigne, YouTube, uploaded by Jeffer John Luzuriaga, 2011.
- Swift, Taylor. “Love Story (Taylor’s Version) [Instrumental].” Fearless (Taylor’s Version), Republic Records, 2021.
- ZTMusic. “Digital Uprise.” Pixabay, Pixabay, 20 Oct. 2023, pixabay.com/music/upbeat‑ztmusic‑digital‑uprise‑252280. Accessed 7 June 2025.
Demo mix by Caroline Tran
- Bmangelo. “feedback crescendo (fx)” Freesound, uploaded by Bmangelo, 8 February 2023 freesound.org/people/Bmangelo/sounds/673584/.
- Eelke. “coughing” Freesound, uploaded by Eelke, 15 April 2013, freesound.org/people/Eelke/sounds/184871/.
- georgedyer. “01 Brown Noise.mp3.” Freesound, uploaded by georgedyer, 12 Dec. 2012, freesound.org/people/georgedyer/sounds/171552/.
- husky70. “Sneeze.wav.” Freesound, uploaded by husky70, 4 June 2012, freesound.org/people/husky70/sounds/157297/.
- Rodrigo, Olivia. “bad idea right? (Instrumental).” Instrumental version as uploaded by Instrumental Kingdom, 12 Aug. 2023, www.youtube.com/watch?v=8MaFW9fcWkk
Narrative script, dialogue, character relationship maps, and flow of information was designed and written by Jenny Tao, Barry Cheung, Caroline Tran, and Lisa Ing
