Prophet is card battler where you challenge rival prophets to gather a following of your own.

In this project I got invaluable experience designing spell sounds, my main intention was to evoke a sense of immense power in the player.

For dialogue, almost all characters in the game were voiced by myself, and I processed these recording to sound like different people (who all wear masks).

The orchestral soundtrack is meant to immerse the player in this fantasy world, and combat tracks with multiple phases that transition in critical moments of tension are there to make the card game much more intense. 

SCHMEKEL is a bullet-heaven-hell where you play as a coin inside an arcade machine, facing waves of geometric enemies.

Between all the arcady SFX and enemy screeches, a sound element I'm particularly proud of is Amy's voice.

I processed VO and used spectral morphing with a synth patch made in Vital to give it that mostly artificial, slightly human feel. The end result is an uncanny machine voice that is still expressive.

Currently in development.

Part of Candivore's

 Candihub talent development program.

Working on this platformer I wanted to bring forward the world building and narrative aspects through the soundscape.​

This is a fantasy, magical world, but it starts out as intimate and personal before the player is thrown into the depths.​​​

I experimented with dynamic mixing using snapshots planted in ambience and music events, to easily shift focus in some key moments between the player and the environment.​​​

My main goal with the music and ambience was to bring a sense of calm and wholesomeness where needed, constrasted by the two chase sequences in the game.

​With Graveyard Shift, my goal was to create a soundscape that felt spooky but silly at the same time.

This meant smoothly navigating the transitions between ridiculous moments that were more calm and funny, into a race against time where at any moment you could lose a lot of progress and the stakes are high.​

A particular audio element which serves that goal is the sound for "picking up" a ghost. The player hears a sharp orchestral hit that rises in pitch according to how many ghosts you already have, followed by ghostly whispers.

The level music reacts to how intense the situation has become.

This project's audio was designed to be comedic, weird, and unexpected. 

I used "awkward silence" to contrast some jarring moments, and prioritized comedic timing.