wwwill | game audio

 
I've been doing sound design and music for games for about 5 years now, and have been doing both sound design and music in general for much, much longer. Below you can see some of the projects I've worked on in the game audio space. I pride myself on my versatility as a composer and a sound designer, so there's a wide variety of things to see.

I am well-versed in music and audio production, and have been honing my skills for over 10 years now. For my DAW, I primarily use FL Studio, although I have some experience with Logic Pro and Pro Tools. I have used middleware like WWise and FMOD before, but most of my implementation work so far has been done via default engine audio solutions. I have lots of experience with synthesis, recording instrumentals, sound engineering, and engineering voiceover, and also experience with recording voiceover (although I don't have much of a setup right now).

While both the games and music pages of this site contain elements of my game audio work, I wanted to make a separate space here to showcase it in a more focused manner (and also include some other pieces of work).

In addition, while all of my music is representative of my skills as a musician, the stuff on this page is specifically focused towards design for games. If you'd like a more full account of my skills or want to see something specific, please reach out to me! I'm always happy to discuss my work or provide something further.

my work

For my midterm project in my Music & Audio for Video Games class at Northeastern (with Prof. Chel Wong), I took this 30-second clip of gameplay from Strange Scaffold's I Am Your Beast and redid the audio from scratch. Everything you hear in this video, from music to sound effects to dialogue, was designed and created by me in the span of a week or so. This redesign received support from some of the game's developers on Twitter.

This short 3-track EP was another assignment for my game audio class. We were tasked with making an adaptive, dynamic soundtrack featuring 3 versions of the same song that could (theoretically) be seamlessly switched between in gameplay, with each song sharing the same tune and structure. I've tested it in my DAW, and it works!

While there is no actual game (yet) to support this soundtrack, I wrote and produced it based on the idea of a time-hopping spaceship shoot-em-up. The first track, Spaceship Dogfight 19XX, would be an earlier time period, while the second, Spaceship Dogfight 20XX, would be later. The third track, In-Flight Repairs, would play while you are upgrading or repairing your ship, on the fly.

This project was also released as an EP on streaming services. You can listen to it on Spotify or any other platform of your choice. Perhaps I'll turn this idea into a full game someday.

Cover art by Ty Picker.

Apartment 3A was the final project for my Level Design and Architecture class at Northeastern. While I did many things on this short exploration game (design, programming, cameras, lighting), I also did all the sound and music.

All aspects of the game, especially the audio, were designed to create an eerie and unsettling atmosphere. The game itself is a fixed-camera exploration game, featuring a story told (mostly) without words. Since our graphics and animations were so rudimentary, I knew sound would have to do some of the heavy lifting.

The background music is slow and contemplative, and meant to sound somber, eerie, and somewhat sorrowful. The vinyl crackle effect over the entire song helps enhance the feel of the level, but it also complements the camera warping/film grain effects (which I also designed). In addition, the song is in 5/8 (with elements that play in 7/8, or a 7 against 5 polyrhythm), and the whole thing is pitched down 50 cents. These are small changes and effects that help reinforce the theme and the narrative without calling too much attention to themselves.

There are lots of bespoke sound effects that I both created and implemented. The water dripping into the bucket (synced with the water droplet particle effect), the smoke alarm battery (synced with the light), and the voices as you approach the door are my favorite ones. I also had to cheat with the volumes of sound effects due to the way that our fixed-camera system worked (also designed by me). Most individual camera angles have specific volume levels for all sound effects (radiators, voices, ambience, individual one-shots).

I wrote a song called id Tech (technically started in 2021, but finished in May 2025) that pays homage to and mimicks the style of Mick Gordon's soundtracks for DOOM/DOOM Eternal and Wolfenstein.

This song is available on streaming platforms. I am currently working on a "music video" using DOOM/Wolfenstein gameplay to better showcase how the song fits the intended tone.

Thundersong is a song that pays homage to Risk of Rain 2's soundtrack by Chris Christodolou. It took about 8 months to finish, although lots of that time was spent waiting for the right keys solo to coalesce. I also recorded live drums for this, which is something I wish I had the gear to do more of.

This song is available on all streaming platforms.

This song draws from a lot of inspirations outside of Valve's Half-Life 2, including more modern rock groups like Nine Inch Nails and Squid. I knew that I wanted to pay homage to HL2's (and HL: Alyx's) unique sound of industrial rock, although it was only pointed out to me after the song was almost finished that the intro sounds like a bunch of physics objects being tossed around in the titular Source Engine.

This song is available on streaming platforms. I am currently working on a "music video" using Risk of Rain 2's gameplay to better showcase how the song fits the intended tone.

Move/Shoot is a game I worked on for the Ludum Dare Game Jam in October 2023. I composed all the music and did all of the sound design, as well as doing some of the programming. This whole game was made in 2 days by a team of 5 people.

The song was written to loop perfectly (as game audio does). It's about 2 minutes and 30 seconds long, which means this video is too short to play the looping part. Oops! I also wish the menu music was played for longer, it's a jam.

While this was not my first foray into sound design by any means, it was my first time messing around with implementation in the Unity engine. My favorite part is the ping-ponging tinkly sound effects of the bullets ricocheting off walls. I wish we had better words in the English language to describe sound than "tinkly."