Back with Guild Wars 2, I began working on the quarterly releases for our fifth expansion “Janthir Wilds”.

Most of my 2024 was spent working on an unannounced project, and learning new skills. Towards the end of the year, I transitioned back to the Guild Wars 2 team.

The bulk of 2023 was spent working in my role as story design team lead for “Secrets of the Obscure”. I was the SOLE story designer for this expansion release, as we moved to a smaller-scoped expansion release cadence, enabling me to build the entire 10-chapter story solo.

After the successful launch of “End of Dragons” I transitioned back into the role of Story Team Lead as we began pre-production on our fourth expansion, “Secrets of the Obscure”.

2021 was spent building the story of “End of Dragons” in preparation for its release in early 2022. In this expansion, I was one of two story designers who built the entirety of the story for this pivotal expansion (the culmination of a 10-year long narrative arc).

In 2020, I made my return to Arenanet and began working on “Icebrood Saga” which was in the last part of its release, and beginning pre-production on our third expansion, “End of Dragons”.

Unfortunately, not long into 2019, I was caught in layoffs at Arenanet, and spent the bulk of this year unemployed, performing a number of freelance and consulting opportunities, including a two-month stint in Malmo, Sweden at Massive Entertainment working on “Avatar: Frontiers of Pandora”.

Continuing to work across Living World, I served in a variety of roles over a few different releases.

Our elite team of story designers shipped an incredible release in “Path of Fire”, and then we pivoted to moving back to work on Living World.

After “Heart of Thorns” I maintained my role as story design team lead as we began work on our second expansion, “Path of Fire”.

I served in the role of story design lead up to, and through, the release of “Heart of Thorns”, and after launch began to move into pre-production on the next expansion.

Around this time, my role shifted to Story Design Team Lead as our studio geared up for the creation of Guild Wars 2’s first expansion, “Heart of Thorns”.

Now a principal game designer, I was responsible for helping plan and develop several of the biweekly releases, dubbed “Living World” throughout the next year.

The first half of the year was helping to refine, polish and prepare our content for launch, before pivoting to our post-launch plans for our initial season of Living World, which began with a “one-time” weekend event named “Lost Shores”, in which I served as a Principal Designer.

Continued to refine my skills as a content designer, building events, achievements and ambient scenes across many maps and regions of the launch release of Guild Wars 2.

Now a content designer, I was initially tasked with building the content for a handful of the core open world maps, as well as four of the six core cities in the game.

As development on Guild Wars 2 took greater shape, I continued to provide environment art assets, then towards the end of this year I made the shift from art and into game design.

After our “Nightfall” release, I began to transition over to developing art assets for our next project, which began as “Utopia”, before shifting to a full-on sequel, Guild Wars 2.

As Art Process Manager, I helped streamline new technical processes and pipelines in addition to continuing to serve as a prop artist for “Nightfall”.

Building prop art assets for “Factions” until its launch in 2006, then pivoting to a more technical role as the “Art Process Manager” for our third campaign expansion “Nightfall”.

I continued to provide prop art assets and environmental art support up through the launch of ”Guild Wars” in early 2005, and then immediately pivoted to supporting our full-sized campaign expansion “Factions”.

I spent the first couple of years at Arenanet doing a variety of different art tasks, including UI and menu design, logo design, character prototyping, and finally settling in as an environment artist creating prop assets for our launch game “Guild Wars”.

Electronic Arts Seattle was closed at the tail end of 2002, resulting in my being out of work for several months, until I took a chance on a then-unproven startup called Arenanet, where I was brought on as a 3D art generalist.

I spent this second tenure at EA Seattle building car models across MCO as well as the Need for Speed franchise, delivering that product across three SKU’s with a 9 month development cycle.

Creative differences with the management of Nonstop led to me being let go, which resulted in me returning to Electron Arts Seattle, where I joined the team working on Motor City Online as a vehicle artist.

After the Cavedog layoffs, I spent a year working at a small startup called Nonstop Entertainment on an unannounced PC game designed to launch with RealNetworks as part of their “Arcade” platform.

I worked at Cavedog making weapon models, cinematic assets and other props, before the studio’s publisher made the decision to cancel the project and shutter most of the studio.

I left EA Seattle in 1998 to pursue a dream job working at Cavedog, an offshoot of Humongous Entertainment, where we were building a “Half-Life” killer named “Amen: The Awakening”.

I served as Lead Artist through three back-to-back product releases for the FIFA line, helping to create art for UI and front ends, stadiums, and character models.

After being laid off, I landed at a small studio named Manley and Associates, which was in the process of being absorbed and reorganized as Electronic Arts Seattle, where I started as a Lead Artist working on the popular FIFA franchise.

I reached the title of Lead Artist, until the Seattle studio was suddenly dissolved while in pre-production on several unannounced titles.

I transitioned out of QA and into a full-time art position, contributing my talents to several of the studio’s games on the Sega Genesis and Super Nintendo Entertainment System.

After graduating, I landed my first professional game industry job with Software Creations of America, beginning there as a QA lead.

I began my game development career as a junior QA tester for Humongous Entertainment, while attending the Art Institute of Seattle.