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Dude, the artifacts in your games' covers are out of touch. If you didn't even bother to clean those out, why would anyone, including me, even bother to  look inside? It's not about my field, it's about generative AI low-effort slop in general, vibe-coded scripts as well. "Availability" – again, there are HUNDREDS of people DAILY in all possible "looking for team" threads in all platforms. "Scope", "fit"  – who you think the AI learned from to generate your "perfect fit"? As long as you defend your ignorance using such poor excuses, not a single talented person would team up.

Sorry, but the only case I don't mind AI is using it as an advicing/debugging tool for coders – and I'm totally against it for the Art & Assets generation instead of human artists & sound engineers. Not only ethically, but also those things look & sound just legit bad in most cases and instantly give away the amateur low quality product which I don't want to be part of. It's only ok to use those just for short testing purposes while coding game basics before the actual assets are made. There are both a ton of free asset libraries, – and a ton of top professional artists & sounddesigners out there, willing, like me, to work unpaid for their portfolios. So I don't understand what your Pro-AI-Guys actual problem is, just reach them damn out. Sorry if it sounds rude, but I'm pretty annoyed with this tendency among the creative industries.

🎻 Hey! Professional composer here, looking for a team for the LD60 and other upcoming jams to top up my portfolio & earn some project credits at my high school.

A couple of demos: viostral

I'm actively studying the industry right now, digging into FMOD, know a bit of Godot, and planning to learn Unity & Unreal.

Sci-fi, steampunk, tribal, Celtic, Nordic vibes – are absolutely my thing.

I write emotional, cinematic melodies (leitmotifs) to add a narrative layer to your world and characters. Flexible with arrangements: from full orchestra and ambient drones to gritty industrial.

I record live acoustic or shred e-violin (guitar-like) and mix it with synths and high-quality libraries. And gradually learning to set up adaptive audio layers and integrate them directly into engines.

Disclaimer: I focus specifically on music and its interactive adaptation. For general SFX & mixing the whole project, you'll need a dedicated sound designer. I'd only take that on for pay.

And yes, as a professional procrastinator who has sometimes wrapped up semester projects overnight, I can deliver a quality OST in under 48 hours. Heiress is an example of what I throw together in an evening.

Let's Jam! 🤘🏻🎸