MARATHON
In 2024, during my time at Bungie, I was brought onto the Marathon audio team to help with getting Marathon finished and shipped. Above is a longform video showcasing a majority of my work for the Release and Season 1 of Marathon. I bounced around to various parts of the project including ambience, equipment, player footsteps & foley, UI, and eventually settled within our activities team. That team worked on any in-game events, hazards, puzzles, quests (known in-game as "contracts"), and other small activities that players would seek out during a run. I continued to work on Marathon post-release until the end of Season 2's development.
My time on Marathon had me taking on the most responsibility of my career so far, including training external partners on our proprietary tools, developing new technical solutions for audio implementation, and leading the creation of new audio palettes within the world of Marathon. I feel extremely proud of my work while on the team and I grew a lot as a sound designer.
Destiny 2
I was hired at Bungie in October 2021 as a Sound Designer on Destiny 2. I mainly worked on Dungeons and Raids for a little over 2 years before moving to the Marathon team. Above is a reel of some of my favorite sounds that I worked on for the time I was on the Destiny 2 team. It was great to learn how to effectively communicate complicated puzzle mechanics with sound design while also maintaining a narrative theme throughout an entire Dungeon or Raid.
On Destiny 2, I working these Dungeons: Duality, Spire of the Watcher, Ghosts of the Deep, and Warlord's Ruin, and these Raids: Root of Nightmares, and Salvation's Edge. I also contributed to some other areas of the game when needed such as when Raid or Dungeons assets where used elsewhere, additional ambience assistance, and activity assistance like the Pantheon and Onslaught activities.
Wwise & Unreal Engine
Implementation Breakdown
This is my Wwise and Unreal Engine 4 audio implementation project! I had a ton of fun designing the scene and creating all the audio for it. Creating sci-fi weapon sounds is one of my favorite things to make so this ended up being a project I could use as an excuse to make more of them!
In the first video I demonstrate what it's like to go through the scene so that you can get a sense for the spooky mood. In the second video I go into detail about some of my favorite parts of working on the audio implementation for the project!
Fallen Angel
Ophanim Vocal Design
Footage: ex DOGE
Archangel Michael Combat Sounds
Footage: Jaba Play
On Fallen Angel I was in charge of creating a majority of combat sound for the bosses of the game, designing vocals for different characters, area ambiances, and a handful of other small assets. The game was a ton of fun to work and it really let me sharpen my sci-fi sound design skills!
In the video on the left, I go through my process of how I tackled the creature vocals of one of my favorite bosses from the game! The video on the right is an explanation of how I created the assets for all of the combat actions for the boss Archangel Michael.
Fallen Angel Cinematic Trailer
I also sound designed the entire cinematic trailer for Fallen Angel! I absolutely loved just being able to let loose and make some cool anime combat sounds for Lucifer in this trailer. It was a refreshing change of pace to be able to work on something linear after finishing up all of my sound assets for the game.
Buddy Simulator 1984
Buddy Simulator 1984 Gameplay
Footage: Joshiball
I had an amazing time working on Buddy Simulator 1984! I helped sound design their combat sections as well as some additional sound effects for other areas of the game. Since the game had a very specific setting and mood, I was able to really focus on making sounds easily readable and effective since the style of bitcrushed, scary sound design was locked in early in the process.
With this project, I was also contracted to work right before release, so I had to find ways to work well within a short time frame. I found ways to really improve my workflow for creating their sound effects such as making custom presets, using similar source material, and even figuring out simpler implementation methods for the programmers. Since I wasn't implementing the sounds directly, I had to make sure that my implementation document was thorough, but not too complicated since we were short on time. In the end, I was able to deliver over 250 assets within about 4 weeks and I'm really happy with how everything came out!
Sashimi Slammers
Sashimi Slammers Gameplay
Sashimi Slammers is an alternative controller fighting game where each player punches an actual rubber fish to control their player. I was in charge of all the audio for Sashimi Slammers and it was an absolute blast to work on! It was a fun challenge to figure out how to tailor the audio to cut through the sound of people punching their fish! I loved the idea of this game right from the start and I've loved being a part of the team as we've shown the game around multiple festivals around the United States and even internationally in Belgium!