On the game project Ape’s Journey, I worked as composer, sound designer, and audio programmer in the middleware Wwise, together with two classmates. While we did not design or code the game itself, we were fully responsible for everything on the audio side of the production.

Our work focused on 3D audio in a videogame context, and we mixed the project in a Dolby Atmos studio to create an immersive surround experience using Wwise.

To begin, we carried out extensive field recordings with an ambisonics microphone (Røde NT-SF1), capturing ambiences from local forests as well as unique acoustic spaces at Koldinghus castle—including its chapel and dungeon. These recordings were integrated directly into the game to provide authentic spatial environments.

I had a central role in shaping the sound design, foley, music composition, and Wwise implementation:

• Field recording & ambisonics: Recorded natural ambiences and impulse responses in AmbiX format for use in the game.

• Foley & sound design: Performed and designed a wide range of sounds (clothing, stone, potion, sparks, UI elements) with an emphasis on organic, tactile qualities. Many of the spells and magical effects were created using Sound Particles for immersive 3D spatialization, supported by LFE for physical impact.

• Music composition: Composed dynamic, responsive music for combat, death, and endgame sequences. The score drew inspiration from medieval and fantasy traditions, using instruments such as flute, dulcimer, hurdy-gurdy, Gregorian choir, and percussion to create an old Nordic-inspired soundscape. Through Wwise, I built a complex interactive music system with randomized variations, smooth stingers, and seamless tempo-synced transitions.

• Wwise programming & implementation: Structured the audio hierarchy, set up buses, attenuation curves, game parameters, diffraction and occlusion systems, and implemented ambiences and effects with spatial accuracy. For example, lava flows and wind gusts in the cave were dynamically placed using AkAmbient’s Large Mode.

Throughout the project, I explored how sound can define atmosphere, emotion, and narrative in a game that otherwise lacks a detailed backstory. By combining authentic recordings, foley, adaptive music, and advanced 3D audio techniques, we gave Ape’s Journey a sense of weight, presence, and immersion that elevates the gameplay far beyond the visuals alone.

This project gave me extensive hands-on experience with 3D audio production, ambisonics, and Wwise implementation, as well as composing and designing for interactive, responsive game environments.