I am a sound designer, podcaster, writer, and artist for video games and other media.
Feel free to scroll down to learn more about projects I’ve worked on, check out my About page for a more direct summary of who I am and what I’ve accomplished, or Contact me for any and all other questions.
Here’s a few short compilations of my work, which you can see in more detail below:
Dungeon Defenders: Awakened & Going Rogue
I provided sound design and implementation for Dungeon Defenders: Awakened and Dungeon Defenders: Going Rogue. Below is a cinematic teaser that I worked on for a hero ported to DDGR . Specifically, the creation of (and further cutting/manipulation of) EV’s SFX and the editing of the trailer (the music was by another collaborator on the franchise, though it was a great piece to work with):
While this is one of my favorite pieces I had the chance to produce for the games, it’s more flashy and brief than the bulk of work done behind the scenes. Not that only flashy work has value – on the contrary, some of my most gratifying achievements were borne from problem-solving, countless iterations, and trudging the winding path towards that “perfect” sound with a “perfect” implementation.
If this work has taught me anything, it’s that perfection belongs on the horizon – a heading to aim at, and an ideal to aspire to. But all of my best sounds weren’t instant or flawless – rather the product of experimentation, discovery, and expanding my definition of perfection. Rather than aim for what I conceive to be the “right” choice, I’ve learned to enjoy the exploration of possible paths. And when a designer, engineer, or artist brings me a limitation, I’m never stuck in the cold, pining for that “perfect” answer. Rather, I’m excited for how the whole picture will come together – and my exploration has armed me with a map of where to go next.
Other Character & Defense SFX
One of my favorite aspects of designing sounds for Dungeon Defenders was the challenge of balancing unique hero audio identities with the series’ stylistic through line of cartoonish, fantasy action. Each re-imagined hero required its own design space to flex said character’s power fantasy with minimal overlap with others, yet having them still feel welcome among their peers.
Plasma Defense System
Beyond EV-GR’s ability SFX, her defenses had their own idiosyncrasies – specifically, the Plasma Defense System. The series of SFX that played in sequence needed to overlap enough to allow for the charging sound and firing sound to fully cover their respective animations and VFX, but not so much that concurrency became a massive issue at higher attack rates. Planning safeguards that adjusted for the defense’s attack rate proved to be the lynchpin in solving this unique problem.
Summoner Movement
While the Summoner had fewer overall sounds than other heroes, they proved challenging in their own right. Specifically, in crafting and implementing their non-traditional movement SFX: thrumming, wispy, lich-like hovering propulsion.
Warden Defenses & Abilities
The Warden was a satisfying project to work on. In porting over the hero to DDGR, there was ample opportunity to adjust extant SFX to fit new gameplay needs, create new sounds to fill gaps, and revamp old abilities and defenses to fit her more action-oriented reimagining.
Environmental SFX
Designing sounds for spaces and finding unique solutions in their implementation has been a consistently rewarding challenge for me. There’s something satisfying about weaving the various looping and reactive audio of a digital space to better immerse and involve the player in it.
“The Bazaar” Level SFX
“The Lost Metropolis” Level SFX
Both maps are set in a similar locale: a sun-scorched desert filled with history and culture. But each had enough differences to require some forethought in how to mark the distinctions between them.
While the Bazaar is a setting that can appear lively and vibrant, it’s at odds with the landscape around it. Wind rips though dusty trails, cracked earth, and prickly cacti to serve as one of the few respites from the desert’s sweltering light.
On the flip side, the Lost Metropolis is a gem in that desert. An oasis that’s decorated and lush, the map is a forgotten relic of a society thriving under the beating sun. The reason? Its waters. The pools, waterfall, and waterways add an essence of growth that’s distinctly lacking from the dusty winds of the Bazaar. Accompanying the water are lusher, more plentiful plants and bird calls – signs that life is at home in this grotto.
And yet, both levels exist in a similar space, with shared cultures. To tie that together, I made a note of retaining the wind chime and flag sounds when possible. It’s the craft and artistry of the people of this land that’s stood the test of time – be it in a canyon or an ancient city.
Personal Projects
For years I’ve worked on developing media set in a fictional setting of my own creation:
The Swamplands
It’s cypress swamp metropolis of tiny people wrangling massive bugs and taming them with advanced biotech. I’ve developed a podcast, art, short stories, a web comic, music, various social media, a roleplaying setting, and game concepts to bring this world to life. But my pride and joy set in this world is:
Tales From the Swamplands
A narrative audio drama set in the Swamplands. The offbeat, reclusive radio host presents stories set in the region, such as the comedic noir Neil Silva, Private Eye, or the horror anthology Into the Mire.
“The Whispering Walls of Dunmore House” Teaser
This is a teaser for an installment of Into the Mire. At the far edge of a small town sits a mysterious home. Nobody in town has much to say about the abode, past any rumors and whispers. But when three friends decide to take on its challenge, they discover more about the house, and themselves, than they bargained for.