Scorn News

Hey everyone,

As we continue our countdown towards launch, we’re back with another monthly edition of The Pulse! For April, we’re peeling back the layers of the universe of Scorn, sharing some new behind-the-scenes content, and as usual, providing an update on our development progress.
A Macabre Universe of Despair

Game development always comes with its own unique set of challenges, and that’s certainly no different for Scorn. Creating an entire universe to provide context and uniformity to the world in-game can be a daunting task, but this is especially true as things become more abstract from what we find in reality. Creating this unique world of macabre and dread has certainly been an ongoing learning experience.

The team has invested a tremendous amount of time and effort into bringing our vision for Scorn to life. A lot of trial and error, dedication, and passion have created an unsettling organic ecosystem in which players can fully immerse themselves.



This becomes more apparent when we look at the totality of manually created assets representing the building blocks of just the first couple of levels. Each piece is sculpted and textured with great attention to detail. As covered in February’s update, once all the completed assets are placed in a cohesive way, additional effort is spent adding all the finishing touches.

[previewyoutube][/previewyoutube]



For the Spill Your Guts segment this month, we spoke with our Art Director, Lazar Mesaros, about the team's process for building out the universe of Scorn.

Can you tell us a bit about your role within the team?

As the Art Director, I’ve been involved in almost every stage of the creation of Scorn. From exploring unique concepts to supervising production, I lead a team of incredibly creative 3D artists, animators, modellers, and other artistic staff to bring the universe of Scorn to life through the visuals found throughout.

It’s an immensely difficult task that combines game design, world-building, and people skills. Even more so when you consider the fact that there are limited real-world references for anything you might encounter in Scorn. The only field of reference might be found in your worst nightmares.

How would you describe the style presented in the world of Scorn?

It’s not an easy task to describe it precisely or to place it under a certain known category. The style embraces architecture, technology, arts, literature, and even biology. It is a coming together of the Gothic style and modern industrial elements, often impregnated with biological elements.

We believe that we managed to establish a style that is expressive and open to a player’s interpretation. It’s not so much about imposing meaning on it, but about the players, their experience and how they will understand the alienated world they’re exposed to.

What was the creative process like?

Hard. When you create a scene that takes place in the world around you, there are plenty of real-world references: trees, grass, animals, etc. You just need to add a creative element to already existing things and you’re on the right track. In our case, we did a lot of our own research through trial and error. Experimenting with weird combinations in order to ultimately produce a feeling of unease.

For the various structures throughout the game, we spent considerable time studying architecture from different cultures in order to truly understand the technicalities of their art, as well as expand our creative ideas for the final design.

[previewyoutube][/previewyoutube]

Did you have a specific goal in mind while experimenting?

As everybody knows, we’re keeping information about the game’s core content minimal as such a major part of the experience will come from reflecting on the game and its meaning.

There is an obvious bridge between nature and architecture, there is intelligible logic of structures, and there are living (and not so living) creatures. There’s an entirely different element to be considered, however, and that’s the player. Their experiences, thoughts, and feelings are deeply involved in the unfolding of the Scorn adventure. When considering all that, who am I to blabber on about meaning?

Do you have a favourite location in Scorn? If so, what do you like about it?

I think my favourite area in the game is the Field of Decay. With its gigantic glooming buildings peering through the fog, its atmosphere always leaves me with a disturbing feeling of loneliness and death.

[previewyoutube][/previewyoutube]


To wrap up our 5th edition of The Pulse, here’s our latest development update from Ebb Software’s CEO and Creative Director, Ljubomir Peklar:

Not a whole lot of new things to report on this month, but development is progressing well. We are slowly but steadily getting things done and remain on track for hitting our next major milestone. Our VFX artists are currently in the spotlight, enhancing the overall visual experience and breathing life into the CG elements. Once they’ve completed adding the final touches, we’ll begin the fine-tuning for optimization.

Also happy to report our Kickstarter goodies are in production and we are so excited to share the results with you as soon as they come out.

As always, thank you all for taking the time to read through our monthly update. If you’re not already following us on Facebook or Twitter, be sure to check out our social channels for additional updates and behind-the-scenes content.

Hey everyone,

Our March update is finally here, and this month, we're discussing one of the core mechanics found throughout the world of Scorn. For those of you who have been around for any length of time, you'll know we love being cryptic. The mystery of the unknown lends itself well to the horror genre, and it's also a powerful driving force behind the need to explore.



As you struggle through the living labyrinth, isolated and lost, you discover how to interact with the world around you. Understanding how things are connected and learning about the ever-present symbiotic relationships equips you with tools to move forward. In a way, the game itself is one big puzzle waiting to be solved.

With atmospheric horror, it's so crucial that the puzzles are an integral part of the story, not simply added in as an afterthought. Puzzles must enrich the experience. The biomechanical elements can seem puzzle-like, especially as one stumbles through such an unfamiliar world.

Everything has a reason and a purpose. You just need to figure out what that is.



To further explore the role puzzles play within Scorn, we spoke with Dusan Santovac, one of our Game Designers here at Ebb Software.

How does exploration of the unknown tie into Scorn’s core gameplay?

Overcoming discomfort is an innate motivational factor that Scorn injects into its players. Maze-like structures tell their own story, pushing the player to explore the unknown to better understand the grisly world around them. That is precisely what we aimed for when designing the levels.

If Scorn was just a walking simulator, the flow of architecture alone could drive that experience, but it's so much more. It is a world in which player agency is crucial to how one progresses through the game. Grotesque creatures, physical barriers, and an ever-present sense of dread need to be addressed as you explore the world.

Overcoming these challenges will require careful observation and logic, which can be hard to do while experiencing fear or anxiety.

[previewyoutube][/previewyoutube]
Are there things you need to consider when creating puzzles for Scorn?

From a game design perspective, there are many things to consider when trying to include logical puzzles in such an atmospheric environment. For example, puzzles can ruin the atmosphere if they break up the game flow. Another common issue is that complexity can sometimes result in frustration for players trying to progress. Addressing those concerns is a matter of game design. Our job is figuring out how to seamlessly integrate puzzles into the game's natural flow, ultimately enhancing the overall experience.

[previewyoutube][/previewyoutube]
How do you address some of those challenges?

Scorn has a very distinct style woven into every piece of the game, so puzzles need to be a continuation of that experience. While solving puzzles, the player is still exposed to the same environment and risks, keeping them immersed in the world.

We also spend a lot of time carefully considering what logical steps are needed to advance. Special attention is given to where these puzzles are located, as they often control the pacing of the game and provide insight into how the world of Scorn functions. Sometimes this can even give players a chance to consolidate their thoughts while getting ready for the next area.





Here's the latest on our development progress from our game director and Ebb Software's CEO, Ljubomir Peklar:

"I'm happy to report our development is still on track, and we're wrapping up the levels one by one. A lot of time and effort has gone into ensuring the finer details are just how we want them throughout the earlier levels. For these completed areas, optimisation is the next priority. We're still working through several significant elements for the final stages, but are progressing as planned.

We're also getting things ready for rigorous rounds of gameplay testing this summer. We want to ensure the game will run smoothly across all the devices we launch on."

And with that, another edition of The Pulse Monthly comes to a close. Thank you for taking the time to read these each month. Our community is filled with so many passionate fans seeking a truly unique experience, and we can't wait to deliver on that experience in October. Stay tuned over the coming months as we take a look at some of the creatures within the world, explore your arsenal of weapons, and provide more behind-the-scenes content.

Hey everyone,

For our third instalment of The Pulse Monthly, we’re taking a behind-the-scenes look at developing the world of Scorn. We’ll be walking through an interview with one of our environment artists and wrapping up with an update on where we’re at in the development cycle.



Level design has been an exciting challenge. The world itself feels like its own character within the game. A bulk of the story-telling comes from the environment and how the player chooses to interact with it. Creating compelling and immersive environments requires a delicate balance between guiding the player through the levels, telling a story, and invoking uneasy feelings that hang around like the thick stench of decay.



It’s no easy task to create something that seems strangely familiar but similarly disturbing. These elements play an essential role in building feelings of dread and terror as you progress through the labyrinth.



To get you all the juicy details, we spoke with one of our Environment Artists, Lazar Stojanović, about the process of breathing life into the world of Scorn. Lazar’s role focuses on designing and coordinating efforts to create challenging and interesting spaces.

Can you tell us a little about the process for designing the levels?

Since level design and layout are so critical to the game's overall experience, it all starts with our game director, Ljubomir Peklar, who drives the general concepts for Scorn. Our game designers and art coordinators help shape the mechanics within the game, and our environment team strives to support those mechanics.

To start, we focus on taking the vision for the game and laying it out in a simplified way. This process, known as “Grayboxing”, mainly involves arranging simple shapes within Unreal Engine and allows us to focus on adjusting flow and scale before investing time in the finer details. Early on, the process is very much back-and-forth, so we do a lot of iterations.

Concept art makes the overall production of 3D models much more streamlined. After establishing the layout and pacing for the level, the concept artists start refining shapes to give them their organic feel. We then build out 3D models in Unreal Engine using primitives, custom assembly tools and our existing palette of assets. Our environment team also consolidates the architecture and frames important areas using composition, guiding lines, and lighting.

Once we’ve thoroughly tested gameplay, we begin creating sets, custom pieces, and hero assets in Maya (our 3D modelling software) that the modelling department uses as a starting point for more detailed production using ZBrush.

After modelling and texturing everything, they replace the blocks with fully completed assets and ensure everything fits correctly. As the examples show, the level is dressed and lit to finalise the image. This final step takes a lot of time and effort, but the results speak for themselves.



Why did you decide to create the levels in chronological order initially?

The decision was initially born out of necessity. The team was much smaller originally, so we simply didn't have enough people to create things in parallel. Starting from the beginning and building chronologically also gave us a lot of liberty to experiment with different concepts and techniques as the game grew and changed. It's as if the game itself became a living entity.

During earlier iterations, we established an “architectural language of Scorn” that helps us to tell more complex things in the later stages of the game. After the team grew, this language also enabled us to scale the production and do several levels simultaneously.

What’s an essential element to consider when building out the world?

The knowledge of architectural concepts and symbolism is so crucial for developing environments within a game like Scorn. Genuinely understanding the language of created spaces is key to communicating a feeling through someone’s surroundings. Ultimately, the final test of an area is how it makes you feel.

People instinctively respond to and understand specific shapes, primarily based on our culturological backgrounds, without even needing to think about it. You don't need to be an expert to realise that sacral architecture has a specific shape language very different from that of industrial.

Let’s use two different areas within Scorn as an example. This first image has more vertical guiding lines and triangular shapes, inspired by gothic architecture, and gives the space a more sacred feel.



On the other hand, the room below has a more dark and moody asymmetric composition, compressing the space in which the player walks by an overarching crooked ceiling. The area shows that everything is built around the large machines, giving it a more industrial and utilitarian feel.



Was there any aspect of level design that was particularly challenging to create in Scorn? How did you overcome this?

The most challenging part was ensuring the levels were maze-like and not an actual confusing maze. To solve this, we try to simplify as much as possible. It took several iterations on each level to create an experience that aligned well with the central theme while still revealing information necessary to progress in a well-paced manner. We try to tell the story of what that place was and what happened using visual cues.

What is the main thing you want players to feel when they play Scorn?

The main goal is to make the player feel uneasy, but not just because they have seen some gore. We want to invoke the sensation while they stand in a room, listening to the sounds and looking at all those beautifully weird shapes that may feel vaguely familiar but look like nothing they have seen before.



To keep you all up to date on where we’re at in the development process, here’s the latest info from game director and Ebb Software’s CEO, Ljubomir Peklar:

“All teams across Ebb are working at full force. We are currently focusing on environment, iteration, balancing, testing and audio design. The largest workload is currently on the 3D environment design team as they are finalising everything for our next major milestone in June. We have concluded all game and level design planning, so our animation and programming teams are working diligently to implement everything and will continue to tweak and optimise the game until the very end.”

That’s all for our February update. Thanks for reading, and I hope you enjoyed it. We still have lots more to share with you all, so stay tuned for our next edition of The Pulse Monthly!

Hey everyone,

The new year is officially here, and with it, our second edition of The Pulse! This month we’re
dissecting the details of the immersive audio found throughout the game, showing off some
artwork for the vinyl soundtrack, and diving into our development update.



There’s no denying the importance that sound plays in setting the tone for a visceral horror
experience. When done right, it can slowly work its way under your skin to make the hairs on
the back of your neck stand up. Creating a soundscape that builds tension or leaves you
with feelings of dread and anxiety long after you’ve stepped away from the screen is no easy
feat.

[previewyoutube][/previewyoutube]

To create an audio experience that truly captured the essence of Scorn, Ebb Software enlisted the help of two incredibly talented composers. You have already been introduced to Aethek (Adis Kutkut) a Bosnian sound designer, music producer, and DJ, who blurs the lines between sci-fi and reality with his dark and industrial sounds.

We are also very proud to introduce Lustmord (Brian Williams) to the sound team. Lustmord is a Welsh-born industrial musician with decades of experience creating ritualistic primordial sounds you can feel in your core. Credited with being the father of the dark ambient genre, he’s worked on everything from motion picture soundtracks to music collaborations with notable artists like Melvins, and Grammy Award-winners, Tool.



In this month’s edition of Spill Your Guts, we had the opportunity to hear directly from Lustmord about his work surrounding Scorn and the role it plays within the game. We also spoke with Dragoslav Ostojic, Ebb’s Sound Designer, about some of the techniques and challenges around creating sounds for the game.

Lustmord - Composer:
Can you tell us a bit about your role? Are you working alone or with a team?

I work independently outside of Ebb Software, here in my studio based in Los Angeles. Working alone, I regularly interact with Scorn’s director, Ljubomir Peklar, who gives me background on the game’s world and philosophy as needed.


                                          Lustmord's workstation in Los Angeles, California

How did your collaboration with Ebb Software begin?

When I first became aware of the game, I reached out to Ebb as it seemed like something I really should be involved with, and I was pleased to hear that they were familiar with my work. That first contact started a discussion that continues to this day.

Can you speak to the importance of setting the tone through audio or evoking specific emotions using sound?

The visuals tell the story, the sound pulls you further into the experience. For something like Scorn, audio as a whole, as opposed to just the music alone, is essential in creating a sense of place. Elements within the music also serve as an emotional core when required.

What is the central theme surrounding the music and sound layers of Scorn?

The music explores wonder, emptiness and loss, along with a sense of “why?”

Is there anything, in particular, you draw inspiration from?

The answer may seem trite, but I draw inspiration from life in general. I'm known for stepping into the abyss and embracing the darkness. For the world of Scorn, I shine a light into that darkness, and you may not be comfortable with what that light reveals.

Dragoslav - Sound Designer:
Could you walk us through the process of going from concept to in-game audio?

A lot of that process is trial and error. With Scorn, we never wanted to hinder creativity with strict guidelines of what the world sounds like. Instead, we treat it as an ever-evolving, organic process.

There are four primary means of expression through audio: dialogue, music, ambience, and sound effects (all of which are further divided into more specific terms). We had several things to consider while creating sound, but two main categories stand out.

The physical: Things like the size of the location, materials, movable parts and their specific purpose (e.g. is it debris or part of a contraption), usable items and their purpose, character or NPC movement, weight, height, body composition, and lots more.

The emotional: What should be conveyed as the first impression of the room, its general "vibe", how and what the player should feel inside it, and lots of other nuanced bits that are important for setting the mood.

What techniques have you used to create the sounds of Scorn?

The team did a lot of epic recording sessions involving the destruction of all sorts of things. Vegetables, wood, bark, cardboard, chairs, pipes, meat, bones, stones, you name it, they probably obliterated it.

We used condenser microphones for recording in an X-Y setup, which is ideal for close-mic applications. Essentially, we place two cardioid mics at right angles and align the front of the capsules for a clear stereo sound. We also utilise spot microphones and even contact microphones where needed. We recorded nearly everything in the studio, except ambient noises, which mainly were recorded outdoors. We also used Zoom F8 MultiTrack Field Recorder, RME Fireface UC, and Reaper DAW.

After all the captured carnage, recordings were edited and then sorted into various categories, such as organic or mechanical. These were further divided by size, duration, number of variations, sample rate, etc. We built in-game multichannel ambiences from stereo files through editing, layering, and proper export routing.

How do you translate the biomechanical elements of Scorn into audio?

We started by exploring the kind of sounds you’d find with medieval siege weaponry but with a highly sophisticated and organic twist. We imagined complex mechanical contraptions as if powered by hydraulic systems filled with organic fluids, pockets of trapped air, internal lever positions and snapping components, ratchets, hooking systems, tissue strains, muscle contractions, and gravity. All while under immense stress, without anything sounding too precise or smooth.

Was a specific element of Scorn’s sound design more challenging or exciting?

From abstract audio to making sounds for creatures unlike anything you’ve ever experienced before, it all came with its own unique set of challenges and moments of excitement. If I had to choose just one area, I would say sounds for the biomechanical elements were the most fun and challenging.



If you missed out on reserving the vinyl soundtrack during our Kickstarter campaign, I might have some exciting news to share with you soon! In the meantime, check out the incredible cover art below:


                                                                          Outer Cover


                                                                          Inner Cover

I also wanted to share with you another update from Ebb Software’s CEO, Ljubomir Peklar:

“December was filled with a lot of planning and organisation before the end of the year. Our team's planning, scheduling, and organisation is crucial, but that’s especially true for this final 25%. Without proper planning, nothing will line up how it should. Part of that planning, and arguably the most challenging part, is ensuring we maintain the overall vision for Scorn, while carefully considering things like balance and other refinements. We’re aiming to finalise everything by the end of June, and then we’ll move into the final phase of production with optimisations, squashing bugs and adding polish.”

And that’s a wrap for our January update! Be sure to let me know below what topics you’d like to see covered in a future edition of The Pulse.

We recently released a December update for our backers on Kickstarter and wanted to share it with the wider community here as well! Hope you enjoy our first edition of The Pulse Monthly.

Hey Everyone,

First off, allow me to introduce myself. My name’s Megna, and I’ll be joining as Scorn’s community manager. I’ll be your first point of contact for all things Scorn, so if you have any thoughts, questions or feedback for the team, please don’t hesitate to reach out. I’m a long-time horror fan and am really excited to meet all of you! Over the coming months, I’ll be bringing you regular updates and taking you behind the scenes. Today we’ll be covering the release date, an interview with our lead 3D artist, Nikola, and we’re getting up close and personal with the anatomy of a biomechanical contraption.

I’ll continue to bring you the latest news and info about how things are progressing (and mutating) for Scorn. Ultimately, my goal is to communicate more regularly with our Kickstarter community and share glimpses of Scorn’s ongoing development. You’ve been with us from the very beginning, and we’re thrilled to share this journey with you.

[h2]Sweet Release[/h2]

We want to ensure that Scorn is the best game it can be. Mysterious, deliciously dark, and oozing with atmosphere (emphasis on the ooze). With that being said, the game will officially be launching in October 2022. This additional time will allow the team to make sure the vision for Scorn comes to life in all its spine-chilling, nightmarish glory. We know that this means a longer wait, especially for our fantastic Kickstarter community, who have been with us since the very beginning. Still, we’re committed to making Scorn the best experience possible for our players and fans.

We’re also excited to share with you our new release date teaser trailer!!

[previewyoutube][/previewyoutube]
[h2]Spill Your Guts[/h2]

This month we’re talking with Nikola, the lead 3D Artist at Ebb Software, about how the Art Department helped create such a visceral and unique world! Let’s dive right in!

Hey Nikola, thanks for taking the time to answer a few questions. How many people are in the art department, and what are their technical roles?

Currently, we have 15 3D artists in the department, split into three sections: ZBrush sculpting artists, 3D Technical modeling, and texture artists. We have 8 ZBrush artists who sculpt all environment assets, items, weapons, and characters. The two Technical 3D modelers are responsible for all low poly, baking, and importing the assets. Our five texturing artists texture all environment assets, characters, and items. All 15 Artists are skilled in various 3D tools, so they can jump and help out with 3D Technical modeling or texturing if needed. The team’s primary tools are ZBrush, Maya, Substance Designer, Substance Painter, Photoshop, and Unreal Engine 4.

Can you talk about how all those different specialisations come together for someone who might not be familiar with the development process?

There are two ways we approach a task. If the assets are for the environment, first we work closely with our Environment Department, who gives us a blockout (also known as a blockmesh or graybox) of the level. Then with the help of our Concept Artist, we model everything in ZBrush to give our assets their signature look. After that is standard 3D modeling for games workflow - low poly optimisation, texturing, and importing into the game engine. The second way involves working on Characters, Items, and weapons. For this, we work with detailed concept art, game designers, and the Animation Department. These are most difficult to make because more than one team is involved in the production, and they have to be more detailed visually.

Your art style has a great visual appeal that really resonates with the community. Is that something that you expected? How did that make you feel?

At first, we couldn’t believe how well the audience reacted to our work. It was and still is a great motivator that drives us to work harder on our game. Scorn has been such a unique project for us as artists. We often sit and read comments that give us a good insight into our audience’s expectations. Story prediction comments are always fun to read, too!

What inspires you (aside from Giger) when it comes to Scorn’s visuals?

Many different art forms from painting, sculpture, architecture, and music inspire this unique look for our game. Nature and human anatomy have a tremendous influence, and we tend to incorporate as much as possible. Biology is an endless source of ideas when designing our models.

Do you have a specific thing in the game that holds a special place for you without giving too much away? Something you’re proud of or that makes you excited to see the players' reactions?

There is a scene from last year's Microsoft announcement trailer with male and female statues. That area is my favourite, not just because of the artistic freedom we had and the overall look, but also it's meaning. I think players will find more answers about the world we created in that area.

[h2]All The Gory Details[/h2]

I want to take you all behind the scenes and share how certain elements in the game were developed from concept art to in-game assets. This month we’re dissecting one of the biomechanical contraptions.



Players can find these juicy hubs throughout the vast labyrinth. They become an essential part of manipulating the environment around them to progress. Let’s take a closer look at how the concept progressed from storyboard to in-game asset:

[previewyoutube][/previewyoutube]
[h2]Progress Update[/h2]

I also wanted to share with you an update directly from Ebb Software’s CEO, Ljubomir Peklar:

“December has been a pretty huge month for us at Ebb Software. Not only have we been able to share our new release date but we’ve also reached a significant milestone in our development - 75% content completion! I’d just like to give my deepest thanks to our community for your patience and our team here at Ebb who have been working incredibly hard to pull everything together.

As we look ahead at the coming months, we will be focusing on completing the final 25% of the content, followed by bug fixing and getting the game ready for the launch. We’re very excited to get our game in players’ hands and allow them to experience Scorn for themselves.”

[h2]Going Forward[/h2]

I want to keep you informed at every step of the way during this final leg of our journey. These ongoing updates will be filled with a range of content. News, behind-the-scenes interviews with our teams, sneak peeks at some work-in-progress assets, and most importantly, a check-in with development progress overall. Once again, if you have any thoughts, questions, or feedback, please drop them in the comments below.