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Game Music Reel
Composer | Audio Director | Technical Music Designer
Wioleta Wnorowska
(VOLA default)
Emotional and immersive adaptive music and audio
Portfolio
METAL EDEN
Reikon Games · March 2019 – January 2026
METAL EDEN | In-Game Music Examples
METAL EDEN | Official Trailer
Metal Eden is a high-speed sci-fi FPS by Reikon Games, set inside MOEBIUS, an orbital city turned deadly trap, where Hyper Unit ASKA fights through cybernetic warfare to uncover Project Eden.
My Role on Metal Eden
Composer
- Composed and produced the original adaptive score
- Directed Sonic Mayhem’s collaboration, guiding creative needs and delivery of 8 additional tracks
- Coordinated music decisions with directors, gameplay, programming and audio teams
- Translated the musical vision into concrete in-game solutions through recording, mixing, implementation and testing
- Worked with mastering engineers and maintained quality control across final music assets
Technical Music Designer
- Implemented the full adaptive music system in Wwise and Unreal Engine 5
- Built mission-based hierarchy, states, RTPCs, transition logic and in-engine music mixing
- Integrated, reworked and mixed both my score and Sonic Mayhem’s tracks for gameplay use
- Designed music behavior for exploration, combat, boss encounters and narrative moments
- Continuously tested and debugged transitions directly in-game
Audio Director
- Led the overall artistic vision for Metal Eden’s audio language
- Defined emotional pillars, documentation structure, naming standards and implementation rules
- Organized in-person studio playthroughs to review audio, identify issues and align the team around gameplay context
- Assigned tasks, gave feedback to sound designers and maintained quality control across the audio team
- Supervised voice recording quality control and reviewed narrative dialogue assets
- Organized audio optimization work and made creative/production decisions to keep music, sound design, voices and implementation coherent
Sound Designer
- Created distinct vocal identities, designed and post-produced all main narrative character voices: Nexus, Aśka, Operator, Architect, Overseer and OS
- Supported the sound design team by taking over selected gameplay audio tasks when needed
- Designed selected UI/UX, alarms, signal sounds and gameplay feedback audio
- Maintained sonic consistency between voices, music and the dystopian world
Official Soundtrack
The Metal Eden Original Soundtrack album features 22 tracks: 14 by Wioleta Wnorowska (VOLA default) and 8 by Sascha Dikiciyan (Sonic Mayhem).
I coordinated the collaboration with Sonic Mayhem (Sascha Dikiciyan, known for titles such as Quake II, Quake III Arena, Mass Effect 2 and 3, Deus Ex: Mankind Divided, and many more) from creative alignment to final asset delivery, ensuring the licensed tracks supported the game’s cohesive audio vision. I prepared assets, directed music placement, created hierarchy and RTPC structures, implemented the material in Wwise, and mixed it in-game.
Composing: Main Theme
The main menu theme for Metal Eden had to immediately communicate a world on the brink of collapse: cold cyberpunk architecture wrapped around fragile human emotion.
I built it around three pillars:
- Energy buildup that primes players for the adventure ahead.
- Constant rising tension with eerie undertones.
- The last traces of humanity inside a mechanized society.
Sonically, the track contrasts organic vocal melody with processed analog synths, granular textures, and distorted bass. Key tools/instruments included Moog Subsequent 37, Korg Minilogue XD, choir layers, Kontakt libraries, and my own voice. The main motif functions as a leitmotif, reappearing in narrative cues and gameplay states to connect key story beats with the overarching theme of survival.
The process included close collaboration with the game director and creative directors, mixing and collaboration with the mastering engineer, and Wwise implementation.
Breakdown Video
Audio Direction
I led the overall artistic vision for Metal Eden’s audio language, combining creative authorship with production structure.
My role covered end-to-end music direction and implementation, emotional pillars, implementation rules, naming and documentation standards, and alignment between audio, gameplay and narrative beats.
I also led the collaboration with Sonic Mayhem, supervised creative feedback, expanded into voice design, and acted as a bridge between sound design, production, art and gameplay teams to keep the whole experience coherent.
Audio Team
Sonic Mayhem
Composer
Jasper Yang
Lead Sound Designer
Marcin Sobczak
Senior Sound Designer
Piotr Malinowski
Senior Sound Designer
Filip Krzyżykowski
Sound Designer
Filip Mozoluk
Sound Designer
Dariusz Murawski
Programmer
What the Team Says
“Musically Wioleta is on another level. Her talent shines throughout Metal Eden’s score. If you need a unique score for your game, Wioleta can deliver just that.”
Sonic Mayhem (Composer)
“Her work as an Audio Director and composer on the Metal Eden project was nothing short of outstanding. Her dedication and work ethic consistently elevated the project.”
Marcin Sobczak (Sound Designer)
“From the very beginning I’ve been inspired immensely by the sonic identity she created for the game with her music.”
Filip Krzyżykowski (Sound Designer)
“I can wholeheartedly recommend Wiola as an exceptional Music Composer and Audio Director. She has a remarkable ability to translate ideas, emotions and narratives into powerful musical experiences.”
Michał Konwicki (Audio Producer)
“Wiola delivered an incredible soundtrack that perfectly captured the tone and energy of the game, and led the entire audio direction with clarity, creativity and professionalism.”
Wojciech Rutkowski (Audio Producer)
Music Direction
I was responsible for end-to-end music direction and implementation, while also holding the overall artistic vision for the game’s audio language. My role combined creative authorship with production structure: defining emotional pillars, shaping implementation rules, creating naming/documentation standards, and aligning audio decisions with gameplay and narrative beats. I also acted as the communication bridge between sound designers, second composer, production, art, and gameplay teams to keep the whole experience coherent.
The score for Metal Eden was built around four emotional pillars:
Tension, grief, defiance and momentum. These pillars shaped both the composition and the adaptive music system, balancing relentless arena pressure with controlled emotional release in traversal and narrative spaces.
In Wwise and Unreal Engine 5, I designed a mission-based music hierarchy using horizontal re-sequencing, vertical layering, gameplay/location states, RTPC-driven intensity control and narrative stingers for key story and combat moments.
I composed and produced the core score, implemented all music in-game, created music blueprints, collaborated with programmers on game-state communication, and tested transitions across hundreds of gameplay scenarios so the score would feel alive rather than simply triggered.
Music Direction Gameplay Example
Implementing Adaptive Score
I implemented the Adaptive Score in Wwise and Unreal Engine 5, building a mission-based system that connected gameplay states, locations, combat pressure and narrative beats into one readable music hierarchy.
The system combined Music Playlist Containers, Switch Containers, RTPC-driven intensity control, transition rules, stingers and Unreal Music Notification tags routed through Blueprints. This allowed the score to move between exploration, combat, boss fights and story moments while preserving emotional continuity.
I handled Wwise authoring, created music blueprints, collaborated with programmers on state communication, and used debug workflows to validate whether issues came from Unreal trigger logic or Wwise-side behavior.
Read My Audiokinetic Article on Implementation"A core challenge was sustaining player engagement across endless arenas with constant fast-paced action and tension building up, without ear or motif fatigue - crafting music that constantly builds without tiring or boring, propelling the emotional journey through fast-paced combat and melancholic transitions. For traversal between major arenas, I intentionally created 'breathing spaces' so both player focus and listener fatigue could reset before the next escalation."
Metal Eden — Sound Design
I was responsible for the full voice design of Metal Eden, shaping the sonic identities of Nexus, Aska, Operator, Architect, Overseer and OS. Working in close collaboration with the Art Director and character creator, I translated the original creative vision into sound while proposing my own modern interpretations, ensuring each voice supported both narrative intent and the game’s dystopian aesthetic.
Nexus
Listen to a selection of voice design examples.
03 Nexus — The Only Constant
04 Nexus — It’s The Engineers
06 Nexus — It Is By Design
Aśka
01 Aśka — Shiny Civilization
02 Aśka — Standing On Ruins
03 Aśka — I Remember You
Operator
01 Operator — Nexus Was Not Lying / Next Gen
03 Operator — Don’t Be Afraid
04 Operator — Waiting
Architect
01 Architect — Shining Traveler
02 Architect — Is That You
03 Architect — I Thought You Might
Overseer
01 Overseer — Nexus, Enough
03 Overseer — Come To Your Senses
04 Overseer — I Have Stopped You
OS
01 OS — Hyper Unit Restore
02 OS — Core Ripper
03 OS — Warning
AWARDS
Digital
Dragons
BEST POLISH GAME AUDIO 2025
METAL EDEN
RUINER 2
Reikon Games · July 2023 – July 2024
RUINER 2 is a cyberpunk action game currently in development at Reikon Games.
My Role on RUINER 2
Technical Music Designer
- Implemented music systems and in-game music behavior
- Prepared music logic for gameplay states and transitions
- Tested music response directly in gameplay
Composer
- Composed ambient music and atmospheric layers
- Supported the game’s tone through texture, mood and pacing
- Created material designed for interactive use
Sound Designer
- Worked on VO sound design and processing
- Prepared selected narrative voice assets for in-game use
- Maintained clarity and character identity in voice treatment
STUDIO
My studio is an acoustically treated space designed for professional monitoring, mixing music, sound and in-game audio. During the production of Metal Eden, I hosted in-studio playtest sessions where I worked with the team on mix decisions and how the game should feel in motion.
It is where musical ideas are tested as playable systems: responsive, emotional and ready to support game design.
Selected Studio Tools
- Korg MS2000
- Korg Minilogue XD
- Moog Subsequent 37
- SOMA Pulsar-23
- Elektron Analog Heat +FX
- Behringer TD-3-MO
- Ableton Live
- Push 2
- Native Instruments
- Serum
- Output
- Zebra
- Massive X
- PreSonus FaderPort 16
- FabFilter
- Soundtoys
- Waves
- Focusrite
Studio Process
Short moments from recording combat music and exploring voice textures, synthesis and raw material for game audio.
About
Wioleta Wnorowska is a music producer, composer and sound director from Warsaw, Poland, working as VOLA default.
She has been working in games since 2019, combining composition, technical music design and sound direction. She served as lead composer and Audio Director on Metal Eden at Reikon Games, leading the collaboration with Sonic Mayhem, producing most of the soundtrack, implementing the adaptive score, designing all in-game voices, and hiring and leading the audio team.
Her game audio work also includes RUINER 2, where she works as Technical Music Designer and Sound Designer. She was nominated for the Digital Dragons Award for Best Polish Game Audio 2025 for Metal Eden.
She graduated from the Academy of Fine Arts in Warsaw and the Frederic Chopin University of Music.
Resources
“VOLA's leadership of our audio department brought Metal Eden's world to life in ways we couldn't have imagined. Her ability to handle everything from sound design to music composition while managing the team was exceptional.”
Reikon Games
Contact
If you like my music, sound design or audio direction, hit me up
I can join as a composer, technical music designer, sound designer or audio director.
