This project is an audio design exercise based on the game "Astro Bot", including sound design, background music creation, character voice performance and the overall architecture of Wwise audio structure. Although this project is an overhead simulation project and is not connected to the actual game project, I still strictly follow the standards of the complete project, from sound style setting to Wwise event naming, layered organization and logical decomposition, and the whole process is produced and conceived with the principles of "portability", "maintainability" and "unified style".

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In terms of sound design, I use a lot of materials in the sound effect library, and take "cute, light, and cartoon" as the core tone, and re-edit and mix through various processing tools of Logic Pro (such as Flex Time, EQ, Space Designer, etc.) to ensure that every sound is not lost in details and fits the overall atmosphere of the game. In order to ensure the naturalness of the interactive rhythm, I designed multiple groups of Random Containers for footsteps, UI feedback, jet actions, etc. to achieve changes and naturalness in hearing.

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The background music was composed by me, which combines electronic synthesizers, light percussion and cartoon-like melodic instruments. It supports seamless looping. The overall style is neither too dramatic nor too present. I deliberately avoided large jumps, large dynamics and complex rhythms in the arrangement and mixing to ensure comfort and style consistency after long-term listening.

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In terms of character voice, I reprocessed the "elf" sound effects and built a "humming" system that conforms to the robot's physical design. These non-verbal expressions take on the functions of emotional expression and character anthropomorphism, and also make the entire character more warm.

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The Wwise part is mainly responsible for audio structure construction and event control. Although there is no actual game logic, I still fully built the Actor-Mixer Hierarchy with two major branches of Music and SFX, and managed random containers for footsteps, voices, etc. For sound effects such as Jet jets that require logical control, I used the start_jet / jetting / end_jet split method for trigger planning to keep the logic simple and the structure clear. The entire project is based on the real development process, with the goal of building a complete audio system framework that can theoretically be directly connected to the game engine.

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This project is not only a complete exercise in my audio design process, but also allows me to have a deeper understanding of the role of sound in game narrative, feedback and emotional regulation. Although there is no real scene joint debugging, the whole process has simulated the production logic, aesthetic judgment and collaborative expectations in the actual project as much as possible, which is a complete presentation of my sound design method.