Unreal Engine Experience
UE5 - Large Open World Tokyo
World Building & Design: Concepted and blocked out visually compelling game worlds, bridge-gaining the gap between design intent and final art.
Asset Foundations: Authored core world metrics, proxy meshes, white-box materials, and asset libraries to establish studio development standards.
Pipeline Integration: Streamlined asset pipelines between Maya and Unreal Engine, managing geometry cleanup, source files, and collision setup.
Technical Art & Optimization: Resolved complex artistic and technical bottlenecks across lighting, navmesh, player flow, composition, and performance.
Creative Alignment: Balanced gameplay mechanics with artistic vision, successfully navigating and resolving conflicting design goals.
Cross-Functional Collaboration: Proactively collaborated across disciplines, reducing leadership overhead through clear communication and constructive feedback.
UE5 - Dark Halls Blockout
UE5 - Asteroid Blockout
World Previsualization: Built and prevised an entire planet from cryptic brief to functional world, authoring the visual art style, storyboards, and key gameplay beats.
Level Design & Flow: Engineered player flow, pathing, and collision layouts to optimize gameplay pacing and spatial logic.
Atmosphere & Lighting: Executed the look and feel of the environment through custom lighting setups that established the mood and guided player direction.
Blender
Hard Surface Modeling: Transitioned from Maya to Blender and found my passion for hard surface modeling SCI-FI shapes. 😊 This has been incredibly helpful on projects where my modeling skills can compliment my world building skills.
Point Level Designer and WorldBuilder
CALL OF DUTY BLACK OPS III
Activision / Treyarch
Work Experience
Texturing, 3d modeling, and designing AAA game spaces for co-op, singleplayer and multiplayer experiences.
Striking a balance between concept art and gameplay needs
Working across numerous departments and individuals to ensure map exceeds gameplay and visual bar
Ensuring level stakeholders are all on the same page by keeping communication constant and ongoing.
Working as middle management, or point person, attending high level meetings with directors and delegating feedback and concerns to other assigned builders
Participating in the interview process for new design candidates
Problem solving design and art issues. Making sure game designers and artistic vision are aligned.
Point Level Designer - Shadows of Evil
Setdressing and modeling numerous locations in the map, primarily the Theater District.
Activision - Treyarch
I started at Treyarch as an Associate Level Designer. After 6 months, I quickly became a mid-level designer and was trusted with numerous responsibilities, including overseeing many of the campaign and zombies content.
Currently I am working as a Point Level Designer, overseeing other work being done on the level, delegating tasks, and working very close to production and game directors to make sure the vision and design are delivered. I cannot say enough good things about this studio and this team
Sandbox System Designer
HALO
343 Industries - Microsoft Game Studios
Work Experience
Designing and Prototyping numerous new weapons and vehicles
Tuning, polishing, and balancing all aspects of vehicle systems, including camera, health, weapons, effects, collision, and vehicle physics systems
Working closely with multiple departments in getting new assets into the game
Prototyping new ideas and functionality with 3d software and proprietary tools
Authoring physics and collision geometry for numerous assets
Kit-bashing the effects and particle systems to quickly get temp visual feedback on new weapons and ideas
Setting up and balancing all systems and subsystems for vehicle damage states, including separating geometry in Maya and using exported geometry to create new physics based damage pieces
Maintaining up to date vehicle documentary and vehicle specs for the team
Utilizing Maya to setup asset hard-points, regions, materials, and damage channels
Creating levels and generating unique assets with Maya / 3dsMax
Mantis Health Setup: Setting up the health and damage transfer between different regions for the first time after receiving the new rig from tech art.
Design Sketches for how the Assault Sphere could integrate with the other vehicles.
343 Industries
It was truly an honor to work alongside such great talent on such a huge franchise. Spending 3 years at Microsoft, I learned so much about game design, design psychology, and systems design.
Castle Concept
3D MAYA BLOCKOUT
Design and Process
Using Maya, I was able to take a 2d concept and create a space in 3d. I then exported the scene as an OBJ and got it running inside Unity after much trial and error and coffee.
Original Concept (Left) Maya Blockout (Right)
My blockout started out very large. As I worked through the layout and design, my next goal was to simplify and refine layout to help deliver a more focus experience.
Game Designer
YARS REVENGE (2011)
Atari / Killspace Entertainment
Work Experience
Designing and putting together Stages 4,5 and 6.
White-boxing and paper mapping detailed level layouts
Setting up manual occlusion for the majority of the levels in Gamebryo Gamebryo.
Laying out fun and complex camera splines
3d modeling and implementing art assets
Working closely with the art team in setting art direction and maintaining correct assets throughout the game.
Set-dressing all maps and bringing them to ship-able visual quality
During production, I had to figure out ways to utilize an unfamiliar engine, while laying out a fun an interesting spline for the rail, and set dressing the levels in a way to help sense of speed. I realized the having objects much closer to the camera really helped, so I balanced open and tight spaces. Gamebryo had an very steep learning curve, but I was able to design over half of the game's levels. which all ended up in the final product.
Not only was I responsible for designing the levels, I also planned out and paced the combat encounters. If that was not enough, I also manually occluded the levels to ensure GPU performance did not fall apart at any given time.
God of War
LEVEL DESIGN TEST
Sony Santa Monica (2010)
Sketchup Level Design
Below are images showing the design process of a 3d space I was working on for Sony. I used Google Sketchup to help visualize my design process and level scale beat by beat. As much as they loved the test, they determined I did not have enough industry experience at the time.
LEVEL DESIGN TEST
Dice / Electronic Arts (2014)
BATTLEFIELD Map Design
Design Process
I utilized Maya to blockout a large Battlefield type of open world. After spending a day researching a few locations and deciding on what locale I wanted to try and create, I began collecting reference images and satellite map data.
Once I was happy with the locale, I began design the space in Maya. I over-layed some top down satellite image files in Maya to help me nail down scale. Once scale and placement was refined, I began thinking about designing the objective locations and points of interest.
I continued to think about how the gameplay would unfold, and so I continued to refine the spaces and started implementing more design callouts to the space, such as spawns, interior space callouts, and potential vehicle routes.
System Designer / Level Designer
MERCENARIES 2
Electronic Arts / Pandemic Studios
Work Experience
Taking ownership of all the game's 100+ vehicles
Tuning overall feel, which includes but is not limited to physics, health, damage, camera systems, and suspension
Designing and World Building using proprietary tools
Delivering high quality in-game screenshots, as well as recording high intensity gameplay footage for marketing needs
Prototyping new vehicle types and systems
In game, real time vehicle physics GUI. I got to work directly with the physics engineer to request parameters to help make our vehicles feel genuine. Mercenaries had over 100 vehicles to tune.
Level Design for Death Race - Designing the layout and set dressing the map, including editing terrain and working with splines.