Designed numerous interactive experiences for companies like Pixar, Meta, Netflix, and Epic Games.
Designed and programmed music-based gameplay and audioreactive visuals for three Fortnite Festival virtual concert events: the Daft Punk Experience, Chapter 2 Remix: The Finale, and Karol G MSB Fortnite.
I directed, produced, designed, and engineered One Hand Clapping, a 2D puzzle platformer where you sing into your microphone to solve musical puzzles and change the world around you. The goal of One Hand Clapping was to help players feel more comfortable and powerful using their voice. It was made with Unity and has about five hours of gameplay, six unique biomes, and a personal story about finding your own voice by listening to yourself and the voices of your friends, family, and lovers.
One Hand Clapping went through many iterations, starting off as a student project in 2016 (team of three), then becoming a larger student project in 2018 (team of 20+). Our student demo went viral as streamers and YouTubers shared their beautiful singing voices online. Following our dreams, we started Bad Dream Games, and after a year of pitching and pre-production, we began full production under the publisher Handy Games. The full version of One Hand Clapping was in development for two years with an amazing team of about 10 people.
I also directed, designed, engineered, and wrote for A Sound Escaped!, a first-person narrative puzzle adventure where you manipulate sounds to change the rules of the world and unravel the mystery of your missing friend. In this audio odyssey, you move and manipulate sounds to alter the behavior of objects and creatures. If it quacks like a duck, it acts like a duck! Systemic interactions allow players to experiment, learn, and find silly, emergent solutions to problems.
I was a technical designer on Saleblazers, an open-world, multiplayer, shopkeeping, survival RPG made with Unity. I worked on numerous aspects of the game such as item crafting, inventory management controls, quest log UI, employee system UI, research tree UI, analytics, economy balancing, progression balancing, cinematics, NPCs that enchanted weapons, and main questline flow.
One of the many features I spearheaded was Shop Policies. I noticed that the shopkeeping aspect of the game had a lot of mechanics that weren’t conveyed clearly enough to the player, so I designed and engineered around 50 shop perks that players could buy using the money they earn from their shop. Not only did these Shop Policies encourage players to engage more consciously with the shopkeeping mechanics, but they also allowed players to improve their shop in ways that best suited their playstyle. Whether a player wanted more productive employees, better behaved customers, or a shop that specialized in certain items, there were Shop Policies to reinforce that playstyle.
Designed and programmed multiple AR/VR experiences with Unity and Unreal for clients including Capital One and the U.S. Department of Defense.
Worked on OnSight, an AR application that lets scientists immerse themselves in a reconstruction of the Mars terrain built from Curiosity rover imagery. Made in Unity for the HoloLens.
Improved a system for streaming large datasets and optimized the rendering pipeline through frustum culling and hierarchical LOD.
At Psyop, I implemented an advanced menu system for the game Camp W, which responded dynamically to gameplay events, facilitated a spell casting mini-game, and interfaced with a custom storywriter application.
I also developed AR applications for mobile and the HoloLens using ARCore/ARKit/ARStudio, Unreal Engine, and Unity.
At Gadget-Bot, I built Kaidro: The Awakening, a VR game for the HTC VIVE and Oculus Rift in Unreal Engine with C++ and Blueprint. I designed and implemented a wide variety of features including locomotion that prevents motion sickness, combat, enemy AI, HUD UI, and a branching dialogue system.