This showreel presents my work in sound design and audio implementation for commercial games Darkflow, Mortal Void, and a game developed during the Melbourne Global Game Jam.

I implemented audio within Unreal Engine 5, utilizing a combination of Wwise and MetaSounds. All sound design was crafted in Nuendo, blending sounds from various libraries with original creations - such as the underwater audio layers, which I synthesized using a Virus synthesizer.

This showreel isn’t just about technical systems - it’s about how sound shapes a world. Every ambient sound, movement cue, and gameplay interaction was carefully designed by me to enhance immersion, ensuring that players don’t just hear the game - they feel it.

Featured Audio Systems

A Hoverboard That Feels Real

Riding a futuristic hoverboard isn’t just about speed - it’s about sensation. This fully interactive soundscape reacts dynamically to speed, height, and terrain, ensuring the hoverboard feels just as powerful as it looks:

• Engine layers seamlessly transition between idle, 3 movement speeds, and turbo mode.

• A turbo mode sound designed the Shepard Effect to create the illusion of infinite acceleration.

• A terrain response layer compresses other sounds upon impact, making each bump and rough landing audible and tactile.

• Built entirely within a single MetaSound Source, with an expanded Blueprint system feeding real-time parameters for smooth integration.

Weapons That Sound Unique Every Time 

Gunfire should never feel repetitive. In Darkflow and Mortal Void, I designed a modular weapon system where every shot is slightly different:

• Each audio layer is randomly selected from multiple wave variations, making every gunshot unique.

• A single MetaSound system can dynamically handle single-shot, automatic fire, fire rate changes, and ammo depletion in real time.

• Custom attenuation and reverb tails ensure gunfire remains sharp and powerful up close, while naturally fading into the environment at a distance.

Sound That Reacts to the World

In these games, the environment isn’t just seen - it’s heard.

• In Darkflow I designed helmet occlusion and robotic voice filtering dynamically adjusted based on in-game conditions, immersing the player in different audio spaces.

• Spaceships and moving objects feature Doppler-based pitch shifts, creating realistic movement effects as they pass.

• In Mortal Void, approaching a waterfall doesn’t just make it louder - the sound itself gains detail, layering in additional frequencies for a richer, more textured experience.

A Living World Through Soundscape

To make the world feel alive without overloading the CPU, I used Soundscape to dynamically generate ambient sound layers:

• A tram station filled with alien voices, footsteps, and background chatter that shifts as the player moves.

• The rustling of unseen creatures and shifting rocks, suggesting movement just outside the player’s view.

Dialogue That Listens to the Player

Characters don’t just speak - they react. The dialogue system adapts to the player’s actions, changing based on gameplay achievements, mission progress, and combat states, making interactions feel more natural and responsive.