William's BSc (Hons) degree had a strong focus on game development and its audio implementation. In addition to the audio design and other compositional elements, understanding game engine code and its involvement in the structure of game development is useful for creating audio that cooperates with the capabilities of any game engine. By doing so, this helps audio input and its efficiency by understanding its chronological structure in development and phases. Furthermore, this process helps to distinguish the type of audio asset needed within a game and its role during gameplay. The assignment of diegetic vs non- diegetic audio combined with 2D and 3D audio introduces further audio LFO variation and localised sound for 3D audio. All of the projects within Game Audio have undergone a similar process during their development. All of the audio assets heard in these projects (music, ambience, sound design and dialogue) are completely original. This was achieved through field recording, Foley, composing and processing - all balanced accordingly in post production and mastering. Any further audio automations and balancing were done directly in the game engine code and mixers.