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About the game

Travel with Kal, Tyranel and Mina as they wander the land living the simple life of independent mercenaries.  

Join our trio of characters on an emotional journey you won’t soon forget in this modern take of the JRPG genre.

Sound Design

Combat, Menu, UI, Environment, and Dialogue design for the project.

Dialogue Editing & Mix

Full editorial of approximately 950 lines of VO in Alarial's Blessing.

Audio Implementation

Implementing Sound & Dialogue across combat & story sections through FMOD Studio.

My Work

I was tasked with the planning, implementation and scope of all audio content in Alarial's Blessing.


This included full editorial of dialogue lines from various actors, take selecting, cropping, trimming, using Izotope RX to remove any extraneous noise, and matching the exported line against an Excel document to the corresponding code string call from Unity, or in the case of vocalizations, creating a different implementation scheme for them in FMOD.


I also provided the preliminary sound design for the prototype including combat sounds which featured melee weapon attacks, magic, and some background ambience.


Exploration VS. Turn-Based Combat


It was an important feature for us to sell the highly narrative-driven experience of the game during the exploration segments which differed from how the game would sound during turn-based combat. One way in which this was achieved was to set 3D spatialization speech bubbles above the character's in the world or in combat with a greater sense of space and reverb mix, but with the dialogue much more centered in 2D and less 'wet' in the critical story-delivering moments.

Combined image.jpg

Creative Snapshots


At one section in our narrative, our heroes find themselves coming into contact with mushroom spores in Gerwynn forest that have psychedelic properties to them, so there was a fun opportunity to warp the background music track and also the character voice by telling FMOD to instantiate a mixer snapshot.

This drives effects like flanger and re-pitching, as pictured (see left). One thing that's very important to me in terms of snapshot smoothness is that they are fixed with the appropriate enveloping, attack and decay times so they are introduced as gently as they fade away. 

VO Implementation 


After the appropriate lines have been selected, cleaned, edited and normalized, I wanted the implementation of all 'non-contextual' that is 2D voicelines to have the simplest implementation pipeline possible that will be scalable as a project continues to grow.

So its for that reason I decided to implement them all inside of a single event as a programmer instrument, with the correct reverb send settings. The way it works is that the referenced event and audio table in FMOD will be targeted by Unity with the correct string info to get the desired voiceline at the relevant time during gameplay, this proved to be the most elegant solution to handle our problem perfectly.


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