Shipped Titles

Days Gone – Story & Cinematic Trailer (Sony Bend Studio)

Senior & Lead Gameplay Animator contribution handling key narrative shot planning, performance capture implementation, and character staging. Specifically responsible for the hero character animation and layout work featured between the [1:53 - 1:58] timestamps.

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Days Gone – E3 2018 "This World Comes For You" Trailer (Sony Bend Studio)

Senior & Lead Gameplay Animator contribution managing keyframe layouts, shot planning, pre-viz setups, and performance direction for the motion capture sequences utilized in the official E3 promotional campaign.

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Star Wars: Uprising – Mobile/Tablet (Kabam)

Senior Animator role executing high-fidelity character and creature asset animation optimized for real-time mobile pipelines. Developed key locomotion variants and combat styles, earning an iOS Editors' Choice accolade.

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Spirit Lords – Mobile/Tablet (Kabam)

Senior Animator responsible for hero character combat mechanics and creature performance states. Coordinated directly with Technical Art and Modeling departments to resolve runtime skinning/rigging pipeline blockers. Shipped as an iOS Editors' Choice title.

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Star Wars 1313 – Next-Gen Gameplay & Traversal Pre-Viz (LucasArts)

Senior Animator role executing pre-visualization animatics to prototype core gameplay loops with designers. Directed mo-cap actors, evaluated structural data captures, and established core blend network trees for prototyping advanced third-person player mechanics.

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Spider-Man: Web of Shadows – Locomotion & Hit React Framework (Shaba Games)

Established the foundational animation identity and technical style standards for Spider-Man's core locomotion. Built a robust global shared hit-reaction asset library utilized across all characters, collaborating directly with engineering teams to map out early complex blend tree configurations.

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Spider-Man 3 – QTE Sequence Planning & Action Concepting (Treyarch)

Handled full-suite staging, sequence timing, and cinematic keyframing for complex branching Quick-Time Event (QTE) action sequences, delivering core animated proofs of concept to anchor gameplay systems.

Notes about working on Spider-Man Games

Spider-Man Animation Demo Reels:

🎥 Reel Part 1 🎥 Reel Part 2 🎥 Reel Part 3

My time with Activision gave me the privilege to work on two consecutive Spider-Man properties: Spider-Man 3 and Web of Shadows.

On Spider-Man 3, QuickTime events (QTEs) were all the rage as a result of God of War’s critical success, which seamlessly integrated them in pivotal moments to exhilarate the climax of a combat sequence.

In hindsight, our implementation at times left the player feeling a bit detached from the moment. It lacked the polish of a crescendo coming together for that classic one-two punch followed by a knockout. Yet, as a young animator, it was a fantastic learning experience. Spider-Man was a character with so much expressive possibility to explore within bipedal movement.

"Animating Spider-Man felt like channeling the kid acrobat in you. If you could imagine yourself doing it, you could execute it."

With little to no practice, any action would be hit precisely—swinging the edge between dangerously stupid and purposefully accurate. All while having fun saving the day. Nonchalant, amateurish, raw talent.

Expressing a "new Spidey Sense" is exactly what I felt when starting on Web of Shadows. That project was a completely different team altogether, and the design was heavily influenced by Capcom's rapid, instantaneous feel for responsive combat. We DMC'ed the heck out of Spidey.

This game, for me, was a masterclass in responsive player feedback and jubilant character style. Anticipation was the input of the player; impact was the feedback.

Click, pow. Click, Pow, Schee-Bap!

We were obsessed with the rhythms of our combat chains. Design would offer me little beatbox sessions of what their punches should sound like, and I would interpret them using anything I could dig up from gymnastics, capoeira, parkour, skating, and ballet. Anything that wowed me to the degree of what humans could already do—and then plus some.

Example Previz Reel for comparison of Pre-Alpha game footage.

Star Wars: 1313 Archive Media:

🎬 Rough Animation Reel 🚀 Official E3 Reveal Video

Prior to the historic E3 video reveal, this Rough Animation Reel was created in close collaboration with Game Designers and Technical Riggers to concept and establish a baseline character rig and move set for the then-unannounced 3rd person cover shooter, Star Wars: 1313.

Since these sequences were animated early in preproduction, the final character designs for the game were not yet defined. The core challenge was to work entirely within the expected proportions of a typical biped. These hand-keyed moves helped the team explore a distinct sense of attitude, agility, and flare during visceral combat moments.

"The challenge was to find a precise balance between technical engineering limitations and hand-authored dynamism in our human movement."

As production expanded, the team later incorporated motion capture alongside dynamic blending systems. This enabled our animators to infuse high-fidelity realism into our established move sets in a timely manner.

The game's creative and engineering leadership was always evaluating and evolving our animation processes. Prime examples of this culmination of mocap, hand-keyed animation, and procedural blending can be found throughout the celebrated Star Wars: 1313 E3 gameplay showcase.