Graphic Shapes

PROJECT TEMPLATE

Release: Month Day, Year

Studio: Name Here

Platforms: PC | Mac | Linux

Critical reception: 94% user rating (Steam)

Team size: two core members (myself and Brian Chan) and one audio contractor (Emeen Zarookian)

Project length: 18 months

Responsibilities: creative & design direction/collaboration, worldbuilding, narrative design/writing, business development, marketing & community management, writing

Engine and tools: Unity, Adobe Suite, Monday, Slack, Basecamp, Trello, Asana, Jiro, Miro, Google Suite, 

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Robbie White

 
 
Graphic Shapes

SUMMARY OF CONTRIBUTIONS

I was the designer responsible for __________. I built spaces, planned and scripted gameplay, told visual stories, and acted as ambassador of the player's experience in the level.

I inherited responsibility for AI system iteration and tuning part-way through the project.

I was the sole designer assigned to the PC port, where I worked to ensure our UI survived the transition to a new platform (and was improved!).

I built a press demo and played various demos live at press events and trade shows such as E3, a visit to the Game Informer offices with Ken Levine, and a presentation to media in New York.

I traveled alone to Tokyo to represent Irrational for the Japanese launch of the game.

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GALLERY

Laptop
White File Folders
Reviewing CVs
Typing on Computer
Business Meeting
Filling Out a Form

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HIGHLIGHTS

Read on if you'd like to:

  • See highlights from Neptune's Bounty.

  • See more detail about my development process, with case studies.

Warning: text. Lots of it.

 
Graphic Shapes

THE FIGHTING MCDONAGH TAVERN

A key location in Neptune's Bounty. I built the layout and crafted moment-to-moment gameplay.

This served as an exemplar of what good "spoke" (as in hub-and-spoke) spaces should feel like in BioShock in terms of:

  • Pacing and variety of play experience.

  • Amount of scripted moments vs. emergent and systems-driven gameplay.

  • Spatial scale.

  • Variety of space types and themes (eg. there's a bar area, wine cellar, basement office, and upstairs hotel rooms).

  • Amount of occlusion and thus "mystery" created by not being able to view an entire space from any single vantage point (the bar area is a great example of this: an open space with pillars and other vision blockers).

  • Amount of verticality (eg. the vertical element of a balcony overlooking the bar area).

Elements of the space were even retooled and re-used in BioShock 2, and there is a Fighting McDonagh's multiplayer map.

Moments such as a splicer wandering into the bar with a security camera in tow, or a Big Daddy showing up as you go to leave the bar feel like unscripted, systemic moments. They were however scripted. As much as possible I pushed for scripted moments to feel organic and natural. I wanted to blur the line between systemic and scripted moments so that it all feels the same to the player.

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Graphic Shapes

SUMMARY OF CONTRIBUTIONS

I was the designer responsible for __________. I built spaces, planned and scripted gameplay, told visual stories, and acted as ambassador of the player's experience in the level.

Learn More
 

This is your Testimonial quote. Give your customers the stage to tell the world how great you are!

Steffenie Jones, UX Designer @ Warm Tone Studios

This is your Testimonial quote. Give your customers the stage to tell the world how great you are!

Tyler Kirk, Game Programmer @ Ember Labs

This is your Testimonial quote. Give your customers the stage to tell the world how great you are!

David Thomas, Director of Tech at TEL Education

This is your Testimonial quote. Give your customers the stage to tell the world how great you are!

Kris Gathman, Writer/Assistant Director on "10 Minutes" (short film)

This is your Testimonial quote. Give your customers the stage to tell the world how great you are!

Javier Elizondo, Production Manager @ K20 Center

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Will Thompson, Instructional Game Designer @ K20 Center