Selected Works
Emotion. Identity. Reach.
Sword of the Sea - Crafting a wordless narrative
The most recent launch at Giant Squid, Sword of the Sea, presented a unique challenge - No Dialogue, no chirps, no squeaks, no grunts. It's not easy to present a character in a compelling way if they never verbally emote. In addition to that obstacle, our Creative Director didn't want to show anything "spoilery", which meant that the most compelling content was short, and a lot of the character defining cinematics would be left out.
The solution was to communicate tone, stakes, and emotional pull by presenting them in tandem with other key elements in early levels. Pairing the radical skater gameplay with eye-catching imagery like rideable orcas, dolphins you can surf alongside, and jellyfish you can bounce off of, allowed us to use visual storytelling without giving away key spoilers. Avoiding the stoic, golem-like presence of the main protagonist, and focusing on the changing landscape based off of character actions, capitalized on the rich atmosphere, as well as making the gameplay feel alive not only through player actions but evolving environments.
The Pathless - Leaving platforms and hearts behind
During my time at Giant Squid, The Pathless already had a foothold as a PlayStation 5 launch title, as well as popularity on the mobile front as an Apple Arcade launch title. Within my tenure, it's contract with Apple Arcade expired in addition to it's exclusivity deal with Sony, leaving lots of opportunity to bring over old fans in addition to finding new ones. The difficulty was addressing the title being removed from AA but now supporting it as a purchasable iOS/macOS product.
To mitigate confusion we posted on social media, but feeds move quickly and posts don't linger. Our more permanent fix was to set up FAQs on our studio Discord server. We continued to post warnings and countdown reminders to address it with our active audience and beyond that we carved out time to respond to inquiries in our customer support inbox and social feeds. We also set a temporary reminder on our website pointing people to the newly available app and briefly explaining that it had been removed from the Apple Arcade catalogue and was now available on the App Store instead.
Shortly after, I was able to support the marketing for the ports of The Pathless to Nintendo Switch and Xbox.
ABZÛ - When your game never gets old
Giant Squid's first, and most successful title, captures the imagination in a breakthrough combination of carefree gameplay and introspection. While this game shipped many years prior to joining the studio, due to it's widespread following I was still able to engage with outlets looking to reflect on the artistic creation and inspiration of ABZÛ . It was my pleasure to create ABZÛ's first high-end game capture with techniques not available during launch to present UHD assets to press and media outlets for use during developer interviews and classic indie game showcases both at events and in print.
Ultimately, the full rights of the game came back to the studio after the ten year long agreement was fulfilled with our publisher. Having full control over the storefront management, PR, and end-to-end marketing allowed us to further cultivate ABZÛ in a way that continued it's incredibly long-tailed performance. Eliminating the need for back and forth communications ensured that announcements went out fast, fundraisers and charity events landed effortlessly, and pricing and discounts aligned with studio marketing beats.
Ultimate Rivals™ - The first of it's kind
Bit Fry Game Studios developed the first-ever arcade sports video game franchise featuring cross-league athlete integration across the NBA, WNBA, NFL, MLB, NHL, WWE, and USWNT, launching Ultimate Rivals™: The Court and The Rink. Originally released on Apple Arcade before expanding to PC and iOS/macOS, the franchise operated under multi-million dollar licensing agreements and required coordination with major leagues, players’ associations, and 65+ athletes, including high-profile names like Wayne Gretzky and Alex Morgan.
Because this crossover concept was unprecedented, we had to navigate strict and often conflicting licensor requirements. Leagues required marketing assets to feature at least six athletes from their own organization, which directly challenged the core value proposition of cross-sport gameplay. To solve this, we structured content around approved “buckets” of players and leveraged highlight athletes for broader campaigns, aligning creative execution with licensing constraints.
To produce compliant assets, I customized in-engine builds, adjusting character loadouts, branding visibility, VFX, and camera setups, to capture tailored screenshots and video. I managed the full approval pipeline with licensors, incorporating feedback through multiple revision cycles before distributing final assets across PR and owned channels. Even close to launch, challenges persisted. Days before The Rink released, last-minute NHL feedback on logo visibility required a full asset overhaul. I coordinated across art, engineering, and production teams to rapidly recapture and revise content, secured final approvals, and delivered assets to Apple Marcom on schedule.
LOTRO™ & DDO® - The career defining growth spurt
Part of my role at Warner Bros. was to capture screenshots for in-game splash screens, box art, magazines, and websites. These assets would promote new expansions, character gear, skins, and events. To achieve the visions of the marketing team I would stage props, create set lighting, and pose characters for in-game capture within our custom engine. Once the scene was rendered I would work with the Digital Designer and Art Director to complete final post-processing. Personal highlights included features in print magazines such as Game Informer, PC Gamer, and Massive Online Gamer.
I would later become the sound designer on Dungeon's & Dragon's where I would sound hundreds of environments, monsters, and in-game effects. I would manage the pre-production (working with our composers to plan and write music), production (directing VO and foley sessions), and post-production (bug fixing and polish).
Non-Profit Experience - Sustainability/Wildlife Conservation
The graphic designs and photos here showcase my experiences working for environmental non-profit organizations. Ranging from helping Washington Environmental Council, Puget Soundkeeper Alliance, and being organizer and facilitator: “Trash Talk: Small and Large Ideas for Achieving Zero Waste in Your Home or Community," Youth Environmental Service Corps Environmental Symposium.
I publicized classes and events for Washington State University extension school, Water Stewardship Program by developing ads, fliers, press releases and promotions with partners. I collected event video and photography to grow social media pages, websites, and for marketing campaign use, increasing reach and securing future donations. Assets were published in online blogs and newspapers, posted on Washington State ferries, and printed for events.
I also co-created Sea Creature Fact of the Week. A website and weekly newsletter showcasing photos and facts sourced from the primary literature about the fascinating animals that live in the sea. Additional featured content includes: Sustainable Seafood, Educational Resources, Marine Conservation, Global Ocean News, Interactive Learning Games, and a blog titled Notes from the Field, detailing life as a marine scientist for the general public.
