UNNANNOUNCED MMO
Role: Art Director | Tencent | 2012
​
When I had joined Tencent they were already well underway in the development of an ambitious MMO (Massively Multiplayer Online) title. The primary challenge for the studio was being a split development team between Boston, USA and Shanghai, China (a 12 hour time difference).
There were communication challenges that stemmed from a split org and having very little overlapping times for leadership to align on vision, aesthetics, and key gameplay features.
In addition to my duties as the Art Director/Art Manager, I was asked to take on the role of a Product Owner (aka Producer), and create a vertical slice proof of concept with a team of dedicated artists, designers, and engineers.
UNNANNOUNCED MMO
Role: Art Director | Tencent | 2012
​
When I had joined Tencent they were already well underway in the development of an ambitious MMO (Massively Multiplayer Online) title. The primary challenge for the studio was being a split development team between Boston, USA and Shanghai, China (a 12 hour time difference).
There were communication challenges that stemmed from a split org and having very little overlapping times for leadership to align on vision, aesthetics, and key gameplay features.
In addition to my duties as the Art Director/Art Manager, I was asked to take on the role of a Product Owner (aka Producer), and create a vertical slice proof of concept with a team of dedicated artists, designers, and engineers.
UNNANNOUNCED MMO
Role: Art Director | Tencent | 2012
​
When I had joined Tencent they were already well underway in the development of an ambitious MMO (Massively Multiplayer Online) title. The primary challenge for the studio was being a split development team between Boston, USA and Shanghai, China (a 12 hour time difference).
There were communication challenges that stemmed from a split org and having very little overlapping times for leadership to align on vision, aesthetics, and key gameplay features.
In addition to my duties as the Art Director/Art Manager, I was asked to take on the role of a Product Owner (aka Producer), and create a vertical slice proof of concept with a team of dedicated artists, designers, and engineers.
UNNANNOUNCED MMO
Role: Art Director | Tencent | 2012
​
When I had joined Tencent they were already well underway in the development of an ambitious MMO (Massively Multiplayer Online) title. The primary challenge for the studio was being a split development team between Boston, USA and Shanghai, China (a 12 hour time difference).
There were communication challenges that stemmed from a split org and having very little overlapping times for leadership to align on vision, aesthetics, and key gameplay features.
In addition to my duties as the Art Director/Art Manager, I was asked to take on the role of a Product Owner (aka Producer), and create a vertical slice proof of concept with a team of dedicated artists, designers, and engineers.
UNNANNOUNCED MMO
Role: Art Director | Tencent | 2012
​
When I had joined Tencent they were already well underway in the development of an ambitious MMO (Massively Multiplayer Online) title. The primary challenge for the studio was being a split development team between Boston, USA and Shanghai, China (a 12 hour time difference).
There were communication challenges that stemmed from a split org and having very little overlapping times for leadership to align on vision, aesthetics, and key gameplay features.
In addition to my duties as the Art Director/Art Manager, I was asked to take on the role of a Product Owner (aka Producer), and create a vertical slice proof of concept with a team of dedicated artists, designers, and engineers.
UNNANNOUNCED MMO
Role: Art Director | Tencent | 2012
​
When I had joined Tencent they were already well underway in the development of an ambitious MMO (Massively Multiplayer Online) title. The primary challenge for the studio was being a split development team between Boston, USA and Shanghai, China (a 12 hour time difference).
There were communication challenges that stemmed from a split org and having very little overlapping times for leadership to align on vision, aesthetics, and key gameplay features.
In addition to my duties as the Art Director/Art Manager, I was asked to take on the role of a Product Owner (aka Producer), and create a vertical slice proof of concept with a team of dedicated artists, designers, and engineers.
UNNANNOUNCED MMO
Role: Art Director | Tencent | 2012
​
When I had joined Tencent they were already well underway in the development of an ambitious MMO (Massively Multiplayer Online) title. The primary challenge for the studio was being a split development team between Boston, USA and Shanghai, China (a 12 hour time difference).
There were communication challenges that stemmed from a split org and having very little overlapping times for leadership to align on vision, aesthetics, and key gameplay features.
In addition to my duties as the Art Director/Art Manager, I was asked to take on the role of a Product Owner (aka Producer), and create a vertical slice proof of concept with a team of dedicated artists, designers, and engineers.
UNNANNOUNCED MMO
Role: Art Director | Tencent | 2012
​
When I had joined Tencent they were already well underway in the development of an ambitious MMO (Massively Multiplayer Online) title. The primary challenge for the studio was being a split development team between Boston, USA and Shanghai, China (a 12 hour time difference).
There were communication challenges that stemmed from a split org and having very little overlapping times for leadership to align on vision, aesthetics, and key gameplay features.
In addition to my duties as the Art Director/Art Manager, I was asked to take on the role of a Product Owner (aka Producer), and create a vertical slice proof of concept with a team of dedicated artists, designers, and engineers.
SHOW NO TELL
This video that was directed by myself (and produced with the efforts of a number of key people on the team), and served as a proof of concept for a major milestone/exec review.
The key differentiator was an instance that would dynamically scale its content and difficulty based on the number of players in your raid group.
We utilized picture in picture to illustrate the differences between 1 player and 3 player groups within the same instance. By differentiating the time of day, spawned monsters, combat triggers, and spawn locations, we were able to offer a dramatic alternative to the look and feel while maximizing the same environmental and core assets.
UNNANNOUNCED MMO
Role: Art Director | Tencent | 2012
​
When I had joined Tencent they were already well underway in the development of an ambitious MMO (Massively Multiplayer Online) title. The primary challenge for the studio was being a split development team between Boston, USA and Shanghai, China (a 12 hour time difference).
There were communication challenges that stemmed from a split org and having very little overlapping times for leadership to align on vision, aesthetics, and key gameplay features.
In addition to my duties as the Art Director/Art Manager, I was asked to take on the role of a Product Owner (aka Producer), and create a vertical slice proof of concept with a team of dedicated artists, designers, and engineers.
SHOW NO TELL
This video that was directed by myself (and produced with the efforts of a number of key people on the team), and served as a proof of concept for a major milestone/exec review.
The key differentiator was an instance that would dynamically scale its content and difficulty based on the number of players in your raid group.
We utilized picture in picture to illustrate the differences between 1 player and 3 player groups within the same instance. By differentiating the time of day, spawned monsters, combat triggers, and spawn locations, we were able to offer a dramatic alternative to the look and feel while maximizing the same environmental and core assets.
CRASH TAG TEAM RACING
Role: Creative/Art Director | Red Eye Studio
Client: Vivendi Universal Games | 2005
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This was undoubtedly my favorite project at Red Eye Studios where we created 30 minutes of pre-rendered cinematics. We had the opportunity to get really creative with the characters’ personalities and aesthetics. I felt the work we did here was some of our best, and it’s a period of time I look back upon with much fondness.
