“Wonder Woman is a single-player action-adventure game set in a dynamic open-world. This third person experience will allow players to become Diana of Themyscira and introduce an original story set in the DC Universe, while also featuring the Nemesis System.”
Responsibilities as Audio Director:
Setting the vision for audio and reviewing content
Management and mentorship of the audio team
Sound design across various game systems, concepts and prototypes
Setting and maintaining music vision, working closely with an external composer
Music implementation
Creating new pipelines for dialogue, cinematic audio, and haptics implementation in Wwise
Setting tech priorities and forming roadmaps with our audio programmer
Mixing the announce trailer (below)
The game was canceled in Feb 2025 so unfortunately I’m not able to share any game content. I do however, plan to recreate some of the recording and sound design processes and post more videos here soon.
Shadow of War was the followup to Shadow of Mordor. Being a sequel, our audio goals with this game were simple: make everything bigger and more epic! The enemies were bigger, the world was bigger, and we had large-scale battles with the Fort Assault missions.
From an audio perspective we wanted to build on the existing audio systems to create a more engaging and polished presentation across the board. Shadow of War is a game of layered systems that interact unpredictably, which made it a blast to play, but also made it challenging to mix and test. We had to find the sweet spot between sonic clarity and overwhelming cacauphony. We needed the player to be able to hear the most important elements clearly, but didn’t want to lose the gritty, visceral essence of Mordor.
Responsibilities as Senior Sound Designer:
Sound design and implementation
Character movement, character Foley, content layering and sharing
Presentation SFX tuning for enemy “showdown” moments
Ambience and world objects
Dialogue systems and voice processing
Owner of dialogue tools scripting pipeline for the Nemesis System
Mixed in-game, non-cinematic dialogue throughout the game
Voice FX processing design, both baked and runtime
Owning the pipeline for all non verbal vocalizations\efforts from start to finish
Mixing
Final mix with Director of Audio
Dynamic mixing for combat, states/side-chaining
Dynamic listener position, RTPC driven
Reverb and Obstruction\Occlusion tuning across the game
Shadow of Mordor was a big pivot from Monolith’s previous games. It was our first 3rd person action game and was an amazing opportunity to explore a new perspective. We consciously wanted to bring some of that 1st person shooter intimacy to the title and I think we achieved it.
The Nemesis System was a particularly interesting feature for this game where players could have multiple encounters with orcs, allowing them to build their own story arcs and personal relationships over time. With our audio work we wanted to support this system as much as possible. By fine tuning the in-your-face orc taunt dialogue and adding conditional SFX and music we were able to bolster the narrative continuity and generally make interactions with enemies as memorable as possible.
Responsibilities as Senior Sound Designer:
Dialogue systems and voice processing
Working with the audio programmer to develop, and test new dialogue scripting system from scratch
Voice FX processing and mastering
Editing and implementing all non-verbal vocalizations\efforts
Creating new combat dialogue “hook” system to make it easier to tune playback frequency and repetition
