● Successfully coordinated a team of 3 other SFX designers and composers; was the sole Audio Programmer
● Cultivated an eerie and lonely tone by implementing adaptive music and bone-chilling SFX
● Focused on functional spatialized audio to help players with navigation and objectives
● Succeeded in simulating obstruction and occlusion
To the right is the trailer for Wartorn, featuring the main menu theme I composed.
The full version of the game can be found here.
(Please Skip to 50 seconds) The clip on the right demonstrates the occlusion effect on the TV's sound while walking in and out of the player's bedroom. While I know that Unreal and FMOD have procedural calculations of occlusion, I could not get it to work. However, the situation was simple enough for me to create my own effect of occlusion through trigger boxes and an automated filter and volume parameter.
Wartorn was my second capstone project and at the time of writing, my favorite game to work on as a UCI student. I genuinely feel like this process was the smoothest, most fun, and overall most successful game I've worked on, all the way from the visuals down to the audio. I thoroughly enjoyed working as a lead- collaborating with my producers and other leads, delegating compositions and SFX to the rest of my team, and conducting quality meetings to make sure that our sounds had the right feel and narrative weight. While some bugs occurred, I think that everyone was on their A-game and was on the same page. We worked down to the last hour of submission, but the end product was definitely worth it.