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[WIP] Unannounced AAA Title

Lead production across Gameplay Systems, Audio, Environments, and Narrative for an unannounced R&D title. Architect scalable systems, drive execution across multi-pod environments, and shape product strategy through operational clarity, cross-functional alignment, and systems-level leadership. I love this game, and I can't wait to tell you more about it.

Legends of Runeterra

As the Lead Gameplay Producer for this product from 2022 onwards, I led a cross-disciplinary team of 40+ developers, delivering high-quality expansions and overseeing live game operations. I spearheaded change management, streamlined production workflows for the entirety of the live product, and drove team health and DE&I initiatives. With a focus on balancing strategic goals and mentoring junior producers, I ensured both efficient processes and exceptional player experiences. By listening to player feedback and engaging with our communities directly through avenues like social media and influencer round tables, I helped shape game features that aligned with player expectations, fostering a strong connection between the game and its passionate audience.

Helldivers 2

During early production of Helldivers 2, I managed outsourced art production, collaborating with global vendors to deliver in-game assets. As the core team defined its artistic goals, I facilitated the integration of outsourced work in-engine and ensured vendor alignment with the game's evolving vision.

God of War: Ragnarök

I was embedded in the Cinematic Animation pipeline and owned the Technical Art portion of the process. I collaborated closely with the team to audit scenes, ensuring all necessary elements—such as props, rigs, floor planes, ADR, and tooling—were properly flagged, tracked, and sprinted. My efforts focused on maintaining continuity between scenes and aligning all technical and artistic requirements with the evolving script. Additionally, I facilitated both in-house and client-facing animation reviews, managed roadmapping, and mitigated risks throughout the production process.

The Last of Us: Part I

While deep in production on The Last of Us: Part II, I became involved with The Last of Us: Part I team during their pre-production and scoping conversations. I consulted the core Production team on aspects like animation scoping, face and body rigging, blendshape production, and in-house tooling, ensuring a smooth foundation for the project’s technical and artistic development that was built on the learnings of the in-progress sequel.

Ratchet & Clank: Rift Apart

I played a role in streamlining the environment art outsourcing pipeline for Rift Apart, ensuring seamless collaboration with external partners to bring vibrant, dynamic worlds to life. My contributions helped streamline asset integration, ensuring every detail aligned with the game’s signature style and high-quality standards.

MLB: The Show 21

I was responsible for blending global outsourcing with in-house production to ensure a smooth flow of high-quality assets for our repeat client, San Diego Studio. I maintained consistency across teams and vendors, driving efficiency in the creation of sports-resonant and immersive in-game environments (and maybe a dinosaur or two, for good measure).

Spider-Man: Miles Morales

I managed the production and optimization of in-game assets for Spider-Man: Miles Morales, ensuring they met the high-quality bar expected for the PlayStation 5. By balancing global outsourcing with in-house production, I played a role in delivering visually stunning assets that were optimized for seamless performance on next-gen hardware.

Spider-Man: PlayStation 5 Remaster

I facilitated production pipelines for Marvel's Spider-Man: PlayStation 5 Remaster, driving updates to in-game textures and enhancing graphical and performance KPIs. My work ensured the remaster met the high standards of next-gen visuals while maintaining smooth, optimized gameplay.

The Last of Us: Part II

I led cross-discipline teams ranging from 50 to over 100 professionals in our Cinematics pipeline, delivering more than 500 minutes of body and facial animation and over 100 minutes of in-game cinematics (IGCs) for flagship PlayStation AAA titles - including The Last of Us: Part II. These teams spanned cinematic and in-game animators, technical artists, motion editors, motion capture technicians, and production coordinators, driving high-quality results for one of the industry’s most iconic games.

Death Stranding

All Production Credits

(last update: January 2025)

Legends of Runeterra // Riot Games

Dreamlit Paths
Community Card Kitchen
Fate's Journey: Beyond
Dev for a Day: Rusticles Collaboration
Fate's Journey: Onward
Runeterran Emporium (Personal Shop)
Soul Fighter cross-Riot event
Heart of the Huntress
The Path of Champions: Monthly Challenges
Glory in Navori
Format Rotation (and creation of Standard & Eternal matchmaking queues)
Star Guardian cross-Riot event
The Darkin Saga: World Ender
The Darkin Saga: Domination
The Darkin Saga: Awakening
The Forces From Beyond
The Path of Champions 2.0
Worldwalker
Beyond the Bandlewood
ARCANE: The Path of Champions
Magic Misadventures
A Curious Journey

PlayStation Studios: Visual Arts

Helldivers 2 (February 2024)
God of War: Ragnarök (November 2022)
The Last of Us: Part I (September 2022)
Ratchet & Clank (June 2021)
MLB: The Show 21 (April 2021)
Spider-Man: Miles Morales (November 2020)
Spider-Man: PlayStation 5 Remaster (November 2020)
The Last of Us: Part II (June 2020)
Death Stranding (November 2019)

Freelance Commercial Production

  • Tony Hawk Pro Skater 1 + 2 (Director Jeff Tremaine)
  • "Patience" St. Archer Beer Super Bowl Commercial (Director Isaiah Seret)
  • Suze Orman Netflix Special (Ten22 Films)
  • SDG&E (Yella Production)
  • PGA Tour and Mastercard (Director Mike Curtis)
  • Bioadvanced 5-in-1 Weed & Feed Commercial (Director Neal Morris)