Aurora is a single-player, first-person, mystery adventure game set in a town remaining from the Gold Rush-era. The year is 1904. You play Matthew Holden, a man who travels to the town of Aurora in search of his missing brother. Discover a world of intrigue and mystique, uncover clues involving an esoteric group, and resolve memories of the past in this narrative-driven adventure.
On the development of this vertical slice demo, I served as Project Lead, Game Designer, and Producer, among various additional tasks. I was responsible for the creation of product pitch decks, recruitment and management of a global team of 20 developers, planning of the production schedule sprints in Trello, creation of game design and narrative documentation, prototyping, blueprint scripting in the UE4 engine, dialogue writing, asset implementation, and numerous other tasks. As of 2020, a 10-minute vertical slice demo of the game is playable on PC.
Additional team credits for work in the screenshots includes: Cage Claypool, Stephen Ytuarte, Andy O’Neal, Andy Mash, Miray Hepguler, Geoff Price, Licheng Mai, Felix Gallo, & John Kim
Reveal Teaser: Here
Game Design Document & Pitch Decks are available upon request.
"Just as there is no formal difference between play and ritual, so the consecrated spot cannot be formally distinguished from the play-ground. The arena, the card table, the magic circle... all are in form and function playgrounds, i.e. forbidden spots, isolated, hedged round, hallowed, within which special rules obtain. All are temporary worlds within the ordinary world, dedicated to the performance of an act apart."
- Johan Huizinga
Ritual: The Card Game has players take on the role of initiates in a mysterious 1970s era cult. Collect 9 ritual items to complete your dark agenda and become the Master of Two Worlds!
Ritual is a 2 player competitive strategy game. Players must collect 3 cards of each Ritual type: Relics, Resources, and Knowledge. The first player to collect these 9 Ritual cards wins the game. In addition to Ritual cards, there are also Supernatural Aid cards and Obstruction cards. Supernatural Aid cards allow players to perform certain advantageous actions, such as viewing the top 3 cards in the deck and selecting one. On the other hand, Obstruction cards hinder the player’s progress in some way, such as forcing them to return a Ritual card to the discard pile.
This card game was a solo project that I designed the core mechanics and fiction to. The game features a mix of chance, skill, and mystery. It was designed with the specific intent of encouraging a state of flow, a psychological concept described by Mihaly Csikszentmihalyi. The paper prototype was created using Paperize.io.
Instruction Booklet PDF: Download
Cards Print & Play PDF: Download
Game Design Document PDF: Download
Monster Generations is a 2-player, competitive, turn-based card game set in a world of competitive monster breeding. Players must pair together outlandish creatures and pass on ideal traits to future generations. It’s a race to complete your monster family tree before your opponents!
Based on an initial pitch from game designer Jordan Mann, Monster Generations was redesigned by myself and co-designer Miray Hepguler into a game aimed at younger audiences (ages 7+). The game components include 54 Monster cards, 24 Trait cards, and 24 Mutation cards.
Game Design Document: here
As part of the 2K publishing gameplay capture team, I was responsible for capturing gameplay footage and still screenshots to required specifications for the development of media assets (trailers, dev diaries, b-roll, social media, etc.) on Sid Meier's Civilization VI.
I coordinated with teammates to compose shots that demonstrated specific actions, key features, and visuals and then integrated feedback from A/V Production and the Art Director with a focus on composition, camera movement, action, light, and color.
Examples of my work were used in some of the videos and screenshots here: YouTube & Facebook
As part of 2K publishing’s video capture team on XCOM 2, I was responsible for capturing gameplay footage and screenshots to required specifications for the development of media assets (including trailers, dev diaries, b-roll, social media, etc.).
I coordinated with teammates to compose shots that demonstrated specific actions, key features, and visuals and then integrated feedback from A/V Production and the Art Director with a focus on composition, camera movement, action, light, and color.
Examples of my work were used in some of the following videos: YouTube
While working on Call of Duty: Advanced Warfare as part of the internal QA team at Sledgehammer Games, I executed test plans and matrices for the game and tools throughout development phases (Single/Multiplayer/DLC; XB3, PS4, PC).
I was focused on performing daily in-depth checks of development tools (including level editor, asset management, art creation tools, etc.). I compiled daily status updates on tools for management and the development team. Additionally, I worked directly with the development team on various task requests, including building and testing tools for new feature implementation.
Advanced Warfare was the top-selling game at US retail for 2014, and was received with positive critical reception.
On Skylanders: Trap Team, a 3D platform game published by Activision, I worked with development studio Toys For Bob as part of the internal QA team to ensure the daily stability of game builds (Single/Multiplayer). I executed test plans with a focus on functionality, balance, performance, interface, art, and sound. Additionally, I assisted the production/development team in tracking down issues & accomplishing tasks as directed by management.
On The Bureau: XCOM Declassified, I worked as part of an internal QA team to ensure the daily stability of the game build/code (Single/Multiplayer; 360, PS3, PC).
I was primarily focused on ensuring the daily stability of tools (Unreal Engine 3) for use by development team. Additionally, I assisted with tasks as requested by engineering, level design, art, audio, and P/D departments.
As part of the 2K Marin development studio, I worked as a QA Analyst on the first-person shooter BioShock 2 to ensure the daily stability of the game build/code (Single/Multiplayer; 360, PS3, PC).
I was also focused on ensuring the daily stability of tools (including Unreal Engine) for use by development team. Additionally, I assisted with various tasks as requested by the engineering, level design, art, audio, and P/D departments.
By March 2010, BioShock 2 sold 3 million copies across all platforms and received positive reviews.
While at publisher Electronic Arts, I worked as on Online Tester for Rock Band 2 where I identified and isolated defects in pre-release software (Single/Multiplayer; 360, PS3, PS2, Wii), focusing on multiplayer network connection tests. Additionally, I worked on a number of expansion packs.
Rock Band 2 received highly positive reviews from critics upon release and sold 1.7 million copies through the end of 2008.
The Autobiography of Benvenuto Cellini (In Space) is an experimental first-person game built in the id Tech 4 engine.
On a team of 8 deveIopers, I was responsible for scripting attacks for the mini-boss enemy and modeling various sci-fi themed high-poly assets, including the snowcat model seen here.
Soulbound is a first-person action/adventure game that throws the player into a post-apocalyptic world taken over by the gods of various pantheons. It is up to the player to escape captivity and travel through ravaged and transformed environments. Through this journey, the player will fight otherworldly creatures and gods to stop the destruction of humankind.
On Soulbound, I worked as Lead Designer and Writing Editor on a team of 7 developers. Additionally, I made models and textures for an Egyptian themed level as part of a prototype built in the Unreal Engine.
As part of a 3 person team, I collaborated on design of Brimstone Alley, a 1920’s city in hell game prototype for the Unreal Engine. I designed, modeled, and textured environment props for the streets, store facades, warehouse, and dock areas. I also painted terrain textures inside the game engine.
Various textures and 3d assets.
