Hi, I'm Sarah! I love writing music and crying about anime.
I compose for games and visual novels. You can hear my music in games like Please Be Happy, Heart of the Woods, Supplice, and more.
I'm a developer at Impact Soundworks, working on virtual instrument projects such as Tokyo Scoring Drum Kits.
In my spare time, I'm the leader of the ongoing BTSX series of Doom II fangames, to which I've contributed music, artwork, and level design. I've also recorded several albums of electronic music under the Esselfortium moniker, such as Future Human and PC LOVE LETTER.
If you'd like to get in touch about commissioning music or just want to say hi, you can contact me at music at esselfortium dot net.
Sarah has been a joy to work with in every sense of the word. Always reliable, endlessly patient, and shockingly versatile, working with her is both a treat and a pleasure. She's an excellent addition to any team or project.
Josh Kaplan, Studio Élan
Sarah Mancuso is, without a doubt, the best composer I’ve ever hired for a project. She is not just a highly engaged, participative member of the team — something you would be very fortunate to be gifted with from the start — she cares incredibly deeply about ensuring her contributions to the project fit with the creative vision, and furthering that vision any way she can. She proactively investigates your ideas and inspirations; she checks in several times during the production process with endless revisions of her work. Best of all, Sarah so consistently went above and beyond her duties as a composer, and worked diligently with kindness and competence, that I must confess: I can ask for no better in a composer, team member, or human being.
Matilde Park, Aether Interactive
I’ve been working with Sarah for the past several months on my latest project. Her portfolio and familiarity with multiple genres is impressive, and the quality of her work more than speaks for itself. However, her most glowing attribute would be her timeliness and work ethic. Her respect for the development schedule, and her willingness to communicate, removes a lot of stress from the process. There have been numerous examples of her perfecting a track to my liking, and every time, she approaches it with an energy and efficiency I don’t often see in game development.
Syon Santeria, Studio Coattails
Selected Credits
Here’s an abridged selection of projects I’ve contributed music to. For released music, see my page on BandCamp.
| Title | Developer | Year |
| Supplice | Mekworx | 2023 |
| MyHouse | Veddge | 2023 |
| Please Be Happy | Studio Élan | 2022 |
| Summer at the Edge of the Universe | Studio Élan | TBA |
| Lock & Key | Studio Élan | TBA |
| National Park Girls | Studio Coattails | 2019 |
| Heart of the Woods | Studio Élan | 2019 |
| Sol Hemochroma | Aether Interactive | 2018 |
| Subserial Network | Aether Interactive | 2018 |
| The Incredible Baron | FlatRedBall | 2015 |