Music Reel
Other Projects
Seeing Music: Daydreams | Director, Composer
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“Seeing Music: Daydreams” is a project centered around the creation of images based on music. The composer, Isaac Schutz, has created five original works of music for the artists to internalize and create art that reflects what they heard. “Seeing Music: Daydreams” will feature the five artists -- Aleta Pérez, Devin Yang, Amari Low Yun, Jade Chiu-Lin, and Fox Zarow -- who have each created three pieces of art to accompany the music. “Seeing Music: Daydreams” is an opportunity to share how composers and visual artists separately and collaboratively create worlds and ideas through their individual mediums and styles.
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Games
Bond Breaker (2019) | Voice Casting Director/Sound Engineer
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On this project I hired, recorded, and edited voice lines for the game Bond Breaker. This project was created by the team at CaSTL (funded by the National Science Foundation), and developed by Test Tube Games.
https://testtubegames.com/bondbreaker3.html |
Deadboy (2019) | Composer, Sound Designer
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Deadboy is a 2D puzzle-platformer that follows the story of Deadboy — a terminally ill 15-year-old — as he traverses through “The Middle,” a nonsensical place that transcends life and only reveals itself in death. Featuring a diverse cast of characters with their own unique abilities that they gained through their tragic deaths, Deadboy guides its players through a series of unique, topsy-turvy lands and puzzles that defy reality and subvert the familiar. In either single player mode or local co-op mode, join Deadboy and his friends as they work together to combine their powers and wit to escape The Middle and discover what lies beyond the world of the living.
www.deadboygame.com Deadboy Music |
Global Game Jam (2019) | Composer, Sound Designer
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Save The Munbax (2018) | Composer/Arranger, Sound Designer
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Save the Munbax is an immersive theatre/escape room experience that took place in the Eustis Estate in Milton, MA.
Designed by Kellian Adams Pletcher and Lizzie Stark, featuring the art of sculptor Hillary Scott. https://www.hatherlyphipps.com/ |
TinySea (2018) | Composer, SFX, Producer
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TinySea is an educational game and tool designed to simulate sustainable ocean farming, or aquaculture, and ecosystem management in an era of progressive climate change. Players manage a multi-trophic aquaculture farm while accounting for relationships between biotic and abiotic factors such as organismal thermal sensitivity, trophic distribution, and seawater temperature.
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The Beauty of Poppies (2018) | Composer, SFX
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The Beauty of Poppies follows “The Corporal,” a Marine stationed in Camp Leatherneck, Afghanistan. His choices decide whether the camp runoff will help Aysiir, who assists a poppy farmer, or Vera, a private military commander guarding a girls’ school.
I created the music and worked with a friend, Miles Ragan to create the sound assets. |
A Day In Court (2018) | Voice Actor Coordinating, Recording, and Editing. SFX
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A Day In Court is a simulation game of a court case covering all the various parts of a legal case. This game is designed to teach children and young adults the process and procedure of a court case, and some terminology. My role was to create sound assets as well as hire and record voice actors.
http://courts.mi.gov/education/learning-center/Pages/DayInCourt.aspx |
Inequality Inc (2018) | Composer, SFX
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Play as a newly hired HR representative and attempt to clean up office culture at your new company. This game is designed to focus on gender discrimination, and sexual harassment in the workplace especially in the tech industry. I contributed music and sound assets to the game, as well as dialogue for several characters.
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Global Game Jam (2018) | Composer, SFX
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I made music and sound assets for 4 games in 48 hours!
SFX Music Game Trailers and Downloads: Resist & Transmit (Music and SFX) Return (Music and SFX) House of Mirrors (Music) Pigeon Hold (SFX) |
Mixed Reality (2018) | Composer, SFX
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Terra Inc. is a fictional geotechnical engineering company that is part of the larger GeoExplorer Mixed Reality and Mobile (MR&M) project. This is an NSF funded project that includes the development of a game aimed at improving the learning experience of geotechnical engineering undergraduate students. It incorporates a mix of classroom sessions where the students learn about the Cone Penetration Test (CPT) and play the game simulating this field test. They make decisions in the game based on their engineering judgement and submit a report based on the data collected at virtual field sites.
Game: https://www.northeastern.edu/terra/ |
StudyCrafter (2018) | Composer, SFX
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StudyCrafter is a playful platform where user can participate and create social experiments to advance our understanding of human behavior. In StudyCrafter players are immersed into situations where they need to make a decision that involves taking an action or responding to a conversation. The platform is set within a light-hearted take on the mad scientist theme, where we conceive of a “mad scientist” as someone who is intrinsically curious and makes use of inventive and playful ways to explore human behavior. Players are provided with science fiction scientific machinery that allows them to create any kind of scenario, from ethical dilemmas to political conflicts to goofy situations, and then study people within that social context.
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Forested (2017) | Composer
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Forested is a 2D platformer developed by Bumpy Ghost Studios where you play as a ghost that is running from a rainstorm. You use your ghostly abilities to solve puzzles and help animals, all the while discovering your past. Forested also won the award for Best Art at the Northeastern University Games Showcase 2017.
I composed the music from Forested by mentally placing myself in the area that I was attempting to emulate. Forested is split up into various biomes that each have their own theme, but still remain firmly within the overall world. This project taught me a lot about creating continuity between songs. As this was a slightly larger scale project as opposed to a simple game with one or two tracks, the music had to flow from one track to another. This was achieved by using similar instruments and harmonies as well as overall maintaining a slow tempo to match the pace of the game. |