Project / Music & Sound

Player Sounds

I selected some of what I believe are the most interesting sounds tied to the game's player controller. These examples were recorded during gameplay rather than exported as isolated mixdowns, which better demonstrates the grounded character of the audio as the systems work together in Wwise.

Tools: Wwise · FL Studio · Spatial audio

Gunshots

The gunshots were difficult to balance because the game places a deafening event in an otherwise quiet environment. The ringing and temporary loss of hearing afterward help sell the realism, but too much of either can quickly become annoying.

Indoor Gunshots

The indoor variations needed to feel appropriately overwhelming without punishing the player. I worked to keep the shot and its aftermath believable while avoiding an ear-ringing effect that would make someone want to stop playing.

Outdoor Gunshots

The outdoor variations presented the same challenge in a quiet, open setting. Finding a balance between realism and a sound that remains comfortable to hear repeatedly was difficult, but I think these versions come fairly close.

Outdoor Footsteps

The footsteps use a layered system rather than a separate sound for every possible terrain combination. Each step begins with a base footstep, adds the primary surface beneath the player, such as grass, dirt, gravel, or rock, and then adds contextual modifiers when the player steps on sticks or moves through bushes or water. Combining those layers at runtime creates nearly unlimited variation while avoiding a long list of handcrafted edge cases for different terrain types and overlapping conditions.

Outdoor-to-Indoor Transitions

The indoor and outdoor transitions use a similar layering system to create a realistically muffled interior tone while preserving details from the environment outside. Additional layers respond to the current conditions, such as rain hitting the metal roof during a thunderstorm. Wwise states and switches control which layers and effects are active so the mix changes with the player’s location and the current weather.

Deer Call

I wanted the deer call to retain the loud, sharp character of a real call while using a somewhat exaggerated echo because it sounded more dramatic in the game. I think the result captures the realism of the source while still giving the moment a stronger sense of style. The player’s breathing is mixed very close to the listener, almost directly in their ears, which helps the experience feel more immediate and grounded.