The CEO Must Go.
A Physics-Based First Person Combo Game, Office anger simulator where everything can be your weapon. Make sure to cause as much destruction as possible and get your revenge on the CEO.
The player can grab and throw almost every object he can find, in order to increase the destruction value. Make sure enemies get stuck on bigger office objects to create a chain reaction of destruction values.
My Roles
Audio Designer
Lead Game Designer
Generalist
Team Size
10
Time Frame
Play the game:
Systems Designer
Composer
Tools
Work Process
1
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Understanding sound and the world
Understanding the game’s setting, theme, and pacing is essential for creating both sound and music. While researching fast‑paced titles, I worked closely with our level designer and used his moodboard as a foundation to better connect the audio to the world.
Collaborating this way gave me a clear sense of each level’s flow and energy.
Since the game is designed to be played at a high tempo, I chose a jazz‑influenced direction with swing elements. To stay true to my own style, I blended in electronic textures, giving the tracks a distinct identity.
When it comes to SFX I decided to give the game a more satirical and quircky tone. That led me to recording multiple diffrent hit reactions, voicelines and sound effects that got the pitched up and down by +3 - -3 semitones, which led to having different character voices without having to use the same asset model. This means the character will always look the same but sound unique.
2
MetaSound Setup in Engine
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After completing my research, I moved into Unreal Engine and began setting up the core audio infrastructure for the project. I prepared essential systems such as Concurrency, Attenuation, Submixes, and Effects to establish a solid foundation for later audio balancing.
Since for this project I wanted to work with MetaSounds, I focused on creating an organized, scalable workflow from the start, ensuring that all necessary tools and structures were in place before building more complex audio components.
3
Patchers help automate randomization of Volume and Pitch, preventing repetition and speeding up the work process. This makes our voicelines feel more unique and quirkier within the game world and helps me as a sound designer setup otherwise mundane MetaSounds way faster.
Creating Patchers
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4
Creating SFX
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I wanted our game to feel both mundane and quirky. An office environment on the surface, but full of energetic, playful chaos once objects start flying and NPCs react. To support that tone, I designed a soundscape where the ambience stays grounded and familiar, while interactions, explosions, and character voicelines inject personality and momentum.
A big focus for me was making object interactions feel rewarding and impactful. I sourced raw material from Soundly, then shaped and polished it in REAPER so it matched the fast paced, strategic rhythm of our gameplay.
One example is the combo bar feedback system. I created three short SFX variations in FL Studio that trigger whenever an enemy is hit by an object. These sounds were then placed in a randomizer and given slight pitch modulation. The result is a set of cues that feel fresh, punchy, and expressive. Guiding the player through the rising combo while keeping the action lively and satisfying.
For destructable surfaces like windows, I mixed various Window Break SFX in FL Studio. By using Audio Patchers, I could create endless variations from just two base sounds within Unreal Engine.
5
Footsteps
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I developed a dynamic Footstep system by creating Physical Materials for every surface, connecting them to walk animations with Notifies, and using a Blueprint to trigger correct audio mapping.
6
To enrich the outdoor environment, I implemented randomized bird calls. Using precise attenuation settings, the calls become clearer as players approach specific trees, creating a more immersive and believable soundscape.
Random Bird Calls
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7
Composing Music
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For this project, I composed 6 original tracks, each tailored specifically to the game’s theme, pacing, and level design.
Every section was built to support the gameplay experience, ensuring the music feels integrated rather than layered on top.
Because my background is in electronic music production, I incorporated electronic elements throughout the soundtrack carefully balancing them so they enhance the atmosphere without ever feeling out of place.
Lobby music was new territory for me, but after researching genre conventions, I developed a direction that fit our project and delivered a result I’m proud of. The biggest challenge, however, was the boss fight track: it needed to maintain tension, keep players engaged, and never break immersion. To achieve that, I created an energetic, Undertale‑inspired battle theme designed to push the player forward and elevate the encounter.
8
When it comes to optimization of audio, I focused on keeping a clean workflow and a timeframe of atleast 2 hours per day to test and check my audio settings. Which was cruicial to keeping a consistent volume level and making sure SFX really fit into the game.
Optimizing Audio
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9
Balancing Weapons
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When it comes to system design, my task was to create data tables for every weapon and balance them as much as possible. Changing the combo value, throw range, explosion radius where some of the most common values I had to tweak. Making sure the gameplay feels fun to the player was my number one priority when testing and balancing. That is why the explosions in the game have not only a very high strengh value but also a massive radius. Due to positiv feedback on all the chaos and objects flying around, I continued with adding different objects to the game with different stats.
