Remanence

A first-person Souls-like action game built in Unreal Engine and published to Steam. Developed by a team of 20+ members spanning artists, game and sound designers, and programmers, Remanence drew heavy inspiration from the punishing yet rewarding gameplay mechanics found in FromSoftware titles. This game was created for the junior year Game lab requirements of DigiPen. Traditionally, these projects are only two semesters, however, our project was approved an additional semester of time for additional feature implementation, level iterations, and polish.

The game was approved for for Steam under the school’s publishing label. It can be demoed on any systems running Windows 10/11.

My Role

I served as Technical Producer for a team of 15 programmers and designers. In this capacity I led initial conceptualization meetings to define the project’s technical scope across both audio systems and core game mechanics, establishing a clear development roadmap that kept the team aligned from pre-production through to our Steam release.

Audio Spatialization & Wwise Integration

A significant portion of my hands-on work involved implementing audio spatialization for environmental ambiences and NPC audio assets within Unreal Engine 5.2. I tuned attenuation curves and configured plug-in effects to ensure that every sound in the world felt grounded and directionally accurate. On the middleware side, I handled the full pipeline of importing Wwise events, switches, and states into Unreal, bridging the gap between our sound designers’ work in Wwise and the runtime behavior of the game.

Audio Trigger Scripting

I designed and built a custom audio trigger system in Unreal that interpolated between ambient SFX blend containers based on the player’s real-time position inside a trigger volume. Rather than relying on a simple time-based crossfade when crossing a boundary, this approach used spatial interpolation to produce a far more natural, gradient transition between sound environments — for example, smoothly shifting from an open courtyard reverb into a tight stone corridor as the player moved through a doorway.

Combat Audio Feedback System

Working closely with team animators, riggers, and sound designers, I helped architect a non-diegetic audio feedback system tied directly to enemy animation states. This system communicated incoming attack timing and parry windows to the player through carefully designed audio cues, giving them the split-second readability that Souls-like combat demands. Ensuring the cues felt both informative and immersive required tight iteration loops across disciplines and precise synchronization between animation events and Wwise triggers.