Lead Gameplay Producer
I lead cross-functional production for an unannounced R&D title, working across gameplay systems, 3D environments, player experience, and product-wide development programs. I love this game, and I can’t wait to tell you more about it.
Lead Gameplay Producer
Led a cross-disciplinary team of 40+ developers delivering expansions and running live operations. Spearheaded change management, streamlined production workflows for the entire live product, and drove team health and DE&I initiatives, while listening to players directly through social media and influencer round tables.
playruneterra.com: Legends of Runeterra official page (opens in a new tab)
Outsourced art production
During early production, I managed outsourced art production with global vendors, integrating their work in-engine and keeping vendors aligned as the core team defined its artistic goals.
PlayStation: Helldivers 2 official page (opens in a new tab)
Cinematic animation · Technical art
Embedded in the cinematic animation pipeline, I owned its technical art: auditing scenes so props, rigs, floor planes, ADR and tooling were flagged, tracked and sprinted, keeping continuity with the evolving script, and running in-house and client-facing animation reviews.
PlayStation: God of War Ragnarök official page (opens in a new tab)
Pre-production consulting · Animation
While deep in production on Part II, I consulted the Part I production team through pre-production and scoping on animation, face and body rigging, blendshape production and in-house tooling, building on what we were learning on the sequel.
PlayStation: The Last of Us Part I official page (opens in a new tab)
Environment art outsourcing
Streamlined the environment art outsourcing pipeline, keeping external partners collaborating smoothly and every asset aligned with the game’s signature style.
PlayStation: Ratchet & Clank: Rift Apart official page (opens in a new tab)
Environment art production
Blended global outsourcing with in-house production to keep high-quality environment assets flowing for San Diego Studio, and consistency across teams and vendors. (And maybe a dinosaur or two, for good measure.)
PlayStation: MLB The Show 21 official page (opens in a new tab)
In-game asset production
Managed production and optimization of in-game assets for PlayStation 5, balancing global outsourcing with in-house production to hit the next-gen quality bar without costing performance.
PlayStation: Spider-Man: Miles Morales official page (opens in a new tab)
Texture & performance pipelines
Ran production pipelines for the PS5 remaster, driving texture updates and improving graphical and performance KPIs for next-gen hardware.
PlayStation: Spider-Man Remastered official page (opens in a new tab)
Cinematics production
Led cross-discipline cinematics teams of 50 to 100+ (animators, technical artists, motion editors, mocap technicians and coordinators), delivering 500+ minutes of body and facial animation and 100+ minutes of in-game cinematics.
PlayStation: The Last of Us Part II official page (opens in a new tab)
Environment art & concept outsourcing
Managed internal and external environment art and concept teams, owning day-to-day tasking and scheduling, and oversaw the art outsourcing pipeline end to end: from first estimates and 3D modeling through engine integration and legal coordination for gold master.
PlayStation: Death Stranding official page (opens in a new tab)
Dreamlit Paths
Community Card Kitchen
Fate’s Journey: Beyond
Dev for a Day: Rusticles Collaboration
Fate’s Journey: Onward
Runeterran Emporium
Soul Fighter cross-Riot event
Heart of the Huntress
The Path of Champions: Monthly Challenges
Glory in Navori
Format Rotation (Standard & Eternal 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 JourneyWant to talk shop about production, pipelines, or whatever you’re building? I’d love to hear from you.
