About Edis Adilovic
Game Developer • Lifelong Gamer • Accessibility Champion
Hi, I’m Edis Adilovic—a blind gamer and game developer from Denmark. My relationship with gaming has been a lifelong journey of discovery, adaptation, and pure passion. From listening to my brother play Diablo 2 as a kid, to fighting my way through Diablo 4 on PS5 today, games have always been a huge part of my life.
Now, I’m building Dreamsound Games—a studio dedicated to audio-first gaming. Battle Field Marshal is just the beginning.
The Beginning: A Kid Who Loved Games
I grew up in the late ’90s and early 2000s, when gaming was exploding but accessibility wasn’t even a thought in most developers’ minds. As a blind kid, I couldn’t play most games myself—but that didn’t stop me from being completely obsessed with them.
I have vivid memories of sitting beside my brother while he played Diablo 2 on our family PC. I’d listen to everything—the clash of swords, the crackling of spells, the satisfying “ding” of a level up, the growls of monsters echoing through dungeons.
I couldn’t see the screen, but I could hear the adventure. Those sounds painted pictures in my mind. I’d imagine the Rogue navigating the catacombs, the Barbarian smashing through hordes of demons, treasure chests bursting open with gold and magical items.
That’s when I realized something important: sound is powerful. Audio can create entire worlds.
Finding My Way: The Games I Could Play
As I got older, I started finding games I could actually play myself—not just watch others enjoy.
Text-Based Adventures
I discovered Sryth, the browser-based fantasy RPG, and fell in love with the genre. Here was a game where the story unfolded through text, where choices mattered, where imagination filled in the gaps. I spent countless hours exploring that world.
I dove into MUD games (Multi-User Dungeons)—text-based multiplayer worlds where everything happened through typed commands and descriptions. These games proved that you didn’t need graphics to create immersive, social, competitive experiences. The communities were incredible, the gameplay was deep, and I could hold my own against sighted players.
Fighting Games on PlayStation 2
Then came Tekken and wrestling games on PlayStation 2.
These were revelation moments. Fighting games have audio cues, predictable patterns, muscle memory. I learned the sound of different moves, the rhythm of combos, the timing of counters. My friends and I would spend hours battling it out, and I could compete—really compete—on even ground.
It taught me that with the right design (even if accidentally), accessibility and great gameplay could coexist.
Columbia University: Building Accessible Games
My passion for accessible gaming took an academic turn when I studied at Columbia University in New York. There, I had the opportunity to work with Brian A. Smith, a PhD candidate in Computer Science at Columbia Engineering, on an incredible project called RAD (Racing Auditory Display).
RAD was a breakthrough system that let blind gamers play racing games without seeing the screen. Instead of relying on visuals, the audio output tells players when they’re getting closer to track edges and even enables them to cut corners in tight turns. The system was truly amazing—it proved that with thoughtful audio design, even fast-paced, visually-dependent genres could be made fully accessible.
Read about RAD on TechCrunch →
Working on RAD showed me that audio-first design isn’t a limitation—it’s an opportunity. That experience planted the seeds for what would eventually become Dreamsound Games.
Gaming Today: Still in the Fight
Fast forward to today, and I’m playing games that would have seemed impossible for a blind player just a few years ago.
I’m currently fighting my way through Diablo 4 on PS5—yes, the sequel to the game I could only listen to as a kid. Thanks to improved audio design, accessibility features, and years of gaming experience, I can actually play it myself. It’s surreal. It’s incredible. It’s everything that 10-year-old me dreamed about.
I’ve also been experiencing The Last of Us—a game praised for its narrative and immersion. Modern games are getting better at audio design, even if they’re not always designed with blind players in mind.
But here’s the thing: I’m still adapting to games, rather than games adapting to me.
The Turning Point: Why Not Create My Own?
About 20 years after sitting next to my brother listening to Diablo 2, I had a realization:
I’m good at coding. I understand game design from a player’s perspective. I’ve worked on accessible gaming research at Columbia. I know what works and what doesn’t for audio-based gameplay.
Why not create the games I’ve always wanted to play?
Not games that are “accessible as an afterthought.” Not games that are “for blind people only.”
Games where audio-first design is the primary experience. Games where blind, sighted, and visually impaired players can all compete on the same battlefield. Games with real depth, real strategy, real stakes.
That’s how Dreamsound Games was born—and Battle Field Marshal is my first release.
Battle Field Marshal: The First Chapter
Battle Field Marshal is where the Dreamsound Games journey begins. It’s my tribute to:
- Those childhood memories listening to Diablo 2
- The text-based adventures that showed me games could be about imagination
- The MUD communities that proved multiplayer depth doesn’t require graphics
- The Tekken matches that taught me accessible games can be competitive
- The RAD project that showed me how powerful audio-first design can be
- Every modern game that’s getting closer but isn’t quite there yet
My First Release Features:
🎙️ Fully Self-Voiced
No screen reader needed. The game speaks to you with voice acting done by real humans.
🧠 Tactical Depth
Master six battlefield maneuvers, manage morale and organization in strategic combat.
⚖️ Equal Playing Field
Blind, sighted, and visually impaired players compete on the same battlefield.
📈 Long-Term Progression
Rise from Sergeant to Field Marshal through hundreds of tactical battles.
🎵 Audio-First Immersion
Voice acting done by real humans, dynamic soundscapes, and spatial audio create immersive experiences.
🎮 For Everyone
This isn’t a “blind accessible game”—it’s a game that happens to be accessible to everyone.
Life in Odense
When I’m not developing games or playing them, you’ll find me enjoying life in Odense with my girlfriend Mathilde.
I love:
- Running with my buddy Simone through the streets of Odense
- Swimming at the local pool
- Singing in the choir
I also run EA Consulting, where I help organizations make their digital products more accessible. And I’m a bit of a 3D printing nerd—I create everything from tactile materials to miniatures.
In June 2026, Mathilde and I are expecting our first child. I can’t wait to share my love of gaming with my child!
The Vision: Building a Catalog of Audio-First Games
Battle Field Marshal is just the beginning. I’m building Dreamsound Games to be a studio that pushes the boundaries of what audio-first gaming can be.
I believe we’re at the start of a revolution. Accessible gaming doesn’t have to mean “simpler” or “lesser.” Audio-first experiences can compete with traditional games not despite their focus on sound, but because of it.
What’s Next?
After Battle Field Marshal launches, I have a vision for exploring different genres:
- Action adventures where sound tells the story
- Puzzle games that challenge your ears, not your eyes
- Multiplayer experiences where everyone plays on equal ground
- Narrative-driven games where audio creates worlds as vivid as any visual
Each game will prove that audio-first design can work in different genres. Each game will be accessible to everyone from day one. Each game will be something I’d want to play myself.
The Mission
Dreamsound Games exists to show the industry—and the world—that:
- Gaming is for everyone
- Audio-first design creates unique, compelling experiences
- Accessibility doesn’t mean compromise
- The future of gaming is more inclusive than its past
Whether you’re blind, sighted, visually impaired, a casual player, or a hardcore strategist—you’re my audience.