I love working on game audio, and have experience in sound design, technical game audio, and audio programming for games contexts, and experience working with Unity, Unreal, FMOD, and Wwise.

Mercantisle (2026)

Soundscape Consultant - Sound Design, Mix, Implementation, Audio Programming
Godot, Reaper

I got brought on in August of 2025 to revamp the game audio for the best damn free-market-economic-colony-giant-bug simulator of all time, Mercantisle, before its 1.0 release in March 2026. As the sole audio person on the team, I was responsible for all aspects of audio, rebuilding the entire soundscape from the ground up (excluding the excellent musical soundtrack composed by Helena Ricci), designing more than 200 new assets, implementing new audio systems, and revamping the mix to ensure a superior, cohesive experience for the player. The game is available on Steam, and you can see some of it in my showreel below. I’d like to do a deep dive on the sound design here at some point, so watch this space if vegetable impulse responses sound interesting to you.

SPIRE – Masters Project (2022)

Sound Design, Mix, Implementation, Audio Programming
Unity, Wwise, Dolby Atmos, Reaper

For my MDes Masters project, I developed a roguelike game from scratch, using Unity and Wwise, to explore the concept of ‘genre sonification’ in games. If you imagine a science-fiction film, you probably imagine a different sort of soundscape than if you imagine a romantic comedy, but different genres of game don’t have the same sonic connotations. As game genre is usually determined by game mechanics, I thought it would be interesting to explore how these mechanical genre indicators could be imagined sonically, and so I built SPIRE. This was my first experience building a game myself, and I had a great time. One of these days I hope to get it released in a more polished form, but in the meantime you can watch a playthrough below.

The final game drew on the roguelike principles of procedural generation and permadeath to create a fresh and unique soundscape for every playthrough, with elements generated on the fly by the computer, and other elements shaped at the beginning of the game for the entirety of the playthrough.