The sound design reel consist of different elements, each trying to showcase a different type of sound design:

• Dark Souls : Creature sound design, use of elephant screams and my own false chord screams for the creature screams. The movement is a combination of several low impact sounds with metal scraping sounds to make the creature feel heavy. The mace uses a synthesized impact resonant sound combined with Arctic Chorus to give it the shimmery movement.

• Tainted Grail: All the magic SFX are made with PhasePlant, trying to challenge myself within certain limits. Combining these with realistic foley samples to blend and worldize everything together.

• Yu-Gi-Oh!: Using a more realistic palette to replace the original, quite busy digital style. The gameplay audio has also been refined to be less intrusive, giving players more space to focus on in-game decisions instead of becoming overwhelmed by an overload of sound. 

• Space Marine 2: Bringing together a variety of elements: voice lines, gunshots, electricity, and heavy foley to create a cohesive soundscape. The overall goal of the sound design is to make the player feel powerful and impactful. I mainly use strong, punchy impacts combined with crisp, high end textures on the VFX parts. 

A sound design project I worked on in collaboration with final-year animation students at Digital Arts & Entertainment Kortrijk. The goal was to create a soundscape that feels both sci-fi and magical, bringing the world to life and surrounding the player with a sense of swirling energy. It was a very enjoyable project, and my first experience designing sound for someone else while helping bring their vision to life. 

I’m currently working on the sound design for a Darkest Dungeon mod (Part 1, still in development). I collaborate with voice actors and create SFX based on the project lead’s direction, refining everything through feedback while trying to stay true to the original game’s sound. 

A breakdown video of how I tackled some elements of my Space Marine 2 sound redesign. I go over the reasoning behind the footsteps, voicelines and gunshots and how they were built up.