Game Audio
Gustav has a passion for showing what music can do in games. He believes that composing music for video games is not simply a matter of writing a few loops — understanding how to implement interactive music is essential for taking game projects to the next level.
His approach is rooted in the relationship between sound and player experience, where music responds dynamically to gameplay rather than playing passively in the background.
Gustav has experience with:
MAX MSP
Wwise
Unreal Engine
MetaSound
Each of these tools reflects a different dimension of interactive audio — from visual programming and real-time sound design to full game engine integration.
Below you can see projects that Gustav has been a part of or created himself.
(N)TER
BLANK
This is a solo dev project where Gustav focused on music — exploring a more 1-to-1 approach to music composition that reacts to gameplay.
The game can be categorized as a rhythm 3D platformer where the player can only run by keeping the rhythm. The player must run and jump their way through various challenges to reach the MCU (main computing unit) by maintaining the rhythm over longer periods to unlock the different abilities.
Blank is an atmospheric platformer set in a realm made entirely of paper. You play as a Blank sheet, new to this place. By finding company in other paper creatures, you learn to fold and move like them.
Discover the joy of movement as you roll, jump, glide, and reshape yourself to navigate the fragile landscape on your journey toward the Great Paper Tree
This was a graduation game from Daddio, where Gustav served as composer and also contributed to sound design. The game was built in Unity, and Gustav used Wwise to implement the music. Wwise allowed him to create a seamless and responsive audio experience that adapted naturally to the player's journey through the game. With the music, Gustav aimed to craft an atmospheric and relaxing environment that complemented the beautiful visual aesthetic.
In collaboration with sound designer Frode Sørensen, Gustav and Frode recorded several thousand paper sounds, which were used throughout the game. The process was entirely hands-on — every rustle, fold, and tear captured with intention. This became a foundation for both the music and the sound design in the game.
BOUND
Bond is a short vertical slice. Here Gustav served as composer.