Abstract: In this chapter, the director recounts the experience of creating Intravene, an immersive experience based solely on auditory storytelling around the opioid epidemic. Coming from the perspective of some with experience in film production, this chapter offers a ground-level look at the production of an audio-only immersive experience. In so doing, it raises question about the role that auditory stimuli play in fostering a sense of immersion in audiences. It also serves as a document of the making of Intravene, as it was written during—and after—the project's production.

Keywords: immersive media production, opioid epidemic, Crackdown, Darkfield

“Episode One: Benzodope”

You put on the headphones and are asked to close your eyes. The signature Darkfield Radio bumper fades in: “Connecting… Please wait for a moment… Connecting… connecting… connecting. Darkfield Radio: no news, no music, no opinion.” There is a loud bang and the sound of water flowing. The dulcet voice of a robotic public address begins:

A weave of documentary voices sets up the theme of the episode. Garth Mullins, the Executive Producer of Crackdown, recalls when he overdosed on a combination of benzodiazepines (benzos) and opioids and had two days of his life wiped from his memory. Dean Wilson, a longtime activist with the Vancouver Area Network of Drug Users (VANDU), talks about the ever more toxic supply of street drugs and insists we should stop calling them overdose deaths, people are dying of “drug poisoning.” Martin Steward, another activist with VANDU adds: “I know more people that have died than are still alive.”