Breakpoint is a twin-stick slasher where your weapons explode.

The project began as a game jam game, and was well enough received that we decided to expand on it and follow it through to full release.

For this project, I handled the sound design as well as the audio implementation.

More info on the project, and the link to the store page can be found here: Studio Aesthesia: Breakpoint

Look forward to additional updates in the near future!


Pyramidion is a roguelike deckbuilding game that features "time" as a primary mechanical resource.

The project is a work-in-progress collaboration between my good friends Jack Guo & Kenrick Tse, and myself, for their Capstone project at NYU.

The trailer here includes a mixture of designed linear audio and game-capture, and was presented alongside an alpha demo of the game this past May.

More info on the project, and the latest playable demo can be found via the following link: Pyramidion Alpha Presentation

Unity . Wwise

The Explorer is a Unity 3D game kit provided by the Unity Content Team.

For this project, I integrated Audiokinetic's Wwise middleware into Unity in place of the stock audio engine.

For the audio replacement, I constructed dynamic ambience and music systems that respond to biome proximity and target events, tied character and creature sounds to animations with interuptability, and designed a soundscape with the intent of immersing the player in the wonderous atmosphere of an unexplored world.


This first person shooter demo is built from Epic Games' 2014 Shooter Game community resource project.

The audio replacement in this instance, was constructed using a hybridization of the stock Unreal Engine 4 audio engine, as well as integration of Firelight's FMOD.

In part, this project was an experiment of mine in setting a more ominous, contemplative tone and slowing down the pace of an otherwise bombastic, high-energy arena shooter experience. To that end, I pushed accoustic detail towards abstract or weighty elements such as musical or atmospheric layers, the crunch and rattle of the player's gear and weapons, and the reflections and reverberations of the various arenas.


Sound Replacement

For my first foray into sound designing to picture, I was presented the challenge of redesigning and reimagining the audio for clips from five different games or game trailers.

The first two clips are captured from gameplay footage of Limbo and Unravel, while the third is a deeper sci-fi reimagining of part of the E3 announcement trailer for Halo 3. The fourth is an intimate combative encounter from the E3 2016 trailer for For Honor, and the final is some menu navigation on the Pip Boy from Fallout 4.

Most of these clips are heavily reliant on recordings from foley work and in particular, the clip from For Honor is composed almost entirely of audio captured from foley recording sessions.


Experimental Projects

The audio links above are musical experiements and segment showcases of some of the work that went into my audio redesigns of Unity's The Explorer and UE4's FPS demo projects.

The first two segments are linear audio sketches that I used as tonal references for two of the arena maps in the UE4 FPS demo. Both segments are binaural mixes and as such, I highly recommend listening to them in headphones.

The following three segments are musical selections from the courtyard section of Unity's The Explorer demo. The first segment is passive, almost ambient exploration music, while the second adds in rhythmic ideas to encourage the player to press forward. The third segment juxtaposes the other two, and is tied to the boss encounter at the end of the courtyard section.

Each segment is designed to transition to either of the others from any point.