Bureaucracy as percussion.
The Sound Library
Every sound in the game, free to listen to and free to reuse.
There are no audio files here. Each sound is built from a few lines of numbers the moment you press the button — a rubber stamp is two layers of maths, a phone is three. Nothing was sampled, nothing was recorded, and nothing needs clearing. The whole library is a few kilobytes of JSON.
The office is the orchestra
The score is played on the apparatus of the workplace it satirises. Rubber stamps keep the beat you are asked to answer; a typewriter answers it; a jammed key is a miss. Desk phones interrupt, pneumatic tubes strain, and a punch clock rings you out at the end of the day. The machinery that enforces the working day supplies the rhythm the player is resisting, which makes the soundtrack part of the argument rather than decoration over it.
Each episode draws its instrumentation from its own setting, so a different workplace sounds different without anyone writing new code.
What you are hearing
The room, tightening
Underneath everything sits a bed that follows the drama. Drag the slider from rest to crisis: the hum climbs, the air-conditioning thickens, and the room closes in. In play this is driven by the episode's own dramatic curve.
Management, present
Management is audible throughout rather than only when they interrupt: a low grumble that thickens as the working day advances, whatever the player is doing. It follows the same dramatic curve as the room, because the clock is Management's weapon rather than the player's performance.
Management moves on the same curve as the room, so the dramatic-intensity control above drives this too. Start both and drag it to hear them thicken together.
The structure, under load
The bed answers the player rather than the clock. A structure under stress does not hum: it emits discrete bursts whose rate and loudness both climb as it nears failure, so this is a train of creaks rather than a held tone, silent while the duvet is held and quickening as ground is lost. The spacing is deliberately uneven, because stick-slip does not arrive on a beat. Underneath them sits a quiet sustained groan in the same register: transients separated by silence are heard as separate events, so without it the creaks read as a series of squeaks rather than as one structure being worked.
The whole score
Hear the compiled rhythm of : the count-in, the pulse underneath, and the sided demands that accent it — left and right differ in pitch as well as position, so the two can be told apart on any speaker.
Every cue
Named by sound, with the moment it belongs to underneath.
Take it and use it
The library is licensed CC BY-SA 4.0, like the rest of the game's content. Because a sound is its parameters rather than a recording, reusing one means copying a small block of JSON — and changing one means editing a number and reloading. There is no digital audio workstation, no render step and no licensing to check.
If you want to build a campaign, the contribution guide is the place to start, and the audio grammar is documented in the repository's episode grammar reference.