HUNT: SHOWDOWN 1896 (2021)
Senior Audio Designer (Crytek)
Hunt: Showdown 1896 is a first person PVPVE extraction shooter. It blends horror and slow-paced, meticulous gunplay to deliver an intense and satisfying gameplay experience. Sound plays an essential role, with players crouching slowly through the swamps and forests, listening out for enemy footsteps and gunshots while trying to avoid giving away their own position. Having an opportunity to work on a game that is so driven by its audio is incredibly rewarding and I’m extremely proud of the work the team has contributed to it.
I have worked closely on the title since starting at Crytek, and have owned multiple large features over the past few years.
I’ve worked on a huge number of new weapons, from hunting bows to shotguns, from silenced pistols to supernatural explosives. Hunt’s weapon sounds are a key part of the experience, so working to strike a balance between satisfying gun-feel and readability is always a fun challenge.
I’ve worked on new AI and creatures, with Rotjaw being my largest contribution to date. Rotjaw is the first “Wild Target” enemy in Hunt, meaning some new mechanics for tracking her down needed to be considered for the audio design. She also spends a lot of time underwater which led to some interesting design challenges - how do you ensure the encounter and her attack patterns are readable when she is underwater? The answer, of course, is audio!
There were various new mechanics for Rotjaw that we were able to make work with audio support - for example we very subtly reduce the volume and add a slight low pass to the map ambience as players approach Rotjaw, creating a subconscious paranoia while you try to find her. Rotjaw also knocks players down with her charge attack, so we set a “player underwater” state to muffle the game world when this happens.
I worked on the UI overhaul, completely redesigning all the assets for our menu. This was a huge undertaking with over 200 unique new sounds designed, but it was a lot of fun to design something as abstract as UI sounds, which need to be efficient, readable, not irritating, and also need to fit the overall aesthetic of the game. It makes UI one of the trickiest tasks for a sound designer’s, but is ultimately one that allows for great creativity when it is approached with care and planning.
As a horror buff with a real love for Southern Gothic films, books, music, and aesthetics, working on Hunt has been an incredibly satisfying experience thus far, and I can’t wait to continue bringing the cursed bayou to horrifying new places.
CRYSIS 4 (TBA)
Audio Designer (Crytek)
The next installment of the legendary Crysis franchise is in development, and I am honoured to be playing a part in creating the soundscape on what is sure to be an incredible experience.
I have primarily been working on weapons, one of my favourite things to design, but I can’t go into detail about it just yet.
Stay tuned…
BIG BROTHER: THE GAME (2020)
Sound Designer / Audio Producer (9th Impact)
Big Brother: The Game is a Unity game developed by Galway-based studio 9th Impact, scheduled for release in 2020.
I was brought on to the project in May 2020 to redefine the stylistic direction of the games audio. I designed a completely new suite of sounds for UI, in-game SFX, ambiences, and original music.
I worked closely with lead developers, providing consistent testing and regular feedback during the development process, and delivering creative solutions to resolve audio bugs and issues. I oversaw the mix to ensure a polished and satisfying audio experience that aligned with the games overall aesthetic, tone and themes.
NATURAL BALANCE: CHRONICLES (2021)
Sound Designer (Tocino Games)
Natural Balance: Chronicles is an isometric Action RPG currently being developed by Tocino Games. It is being designed as a four-part mini-series, with each release allowing you to experience two stories that revolve around a pair of natural enemies.
I was hired as a freelance sound designer during the early stages of development to work on various audio elements, including ambiences and character action sounds.
The game is currently still in development, but thus far it has given me an excellent opportunity to work with the game director and developers to outline the requirements for individual sounds. As it is set in a fantasy world with all sorts of creatures and interesting environments, it has been a great way to flex some creativity in my designs.
A playable demo is currently in the works.