Games: solo
I ship software people play: video games, apps, and creative infrastructure. I’ve built mixed reality systems for real world exhibitions, cultural heritage, scientific research, and design previsualization. I care about the layers beneath the surface of interactive software—editor tooling, technical art, and performance—and how to design systems that learn from the people who use them.
About
I ship software people play: video games, apps, and creative infrastructure. I’ve built mixed reality systems for real world exhibitions, cultural heritage, scientific research, and design previsualization.
I care about the layers beneath the surface of interactive software—editor tooling, technical art, and performance—and how to design systems that learn from the people who use them.
BACKBONE
An immersive horror, first-person stealth exploration game spanning approximately 30 minutes, rendered with NTSC analogue-style graphics that mimic the rainbow iridescence of 1970s television. My contribution to the C.H.A.I.N. 3 network, BACKBONE continued directly from the start node and dramatically expanded the exposition, connecting to three other nodes in the collaborative graph. The game recreates an early 70s midwestern basement—a childhood memory of one of the lead characters—using modular architectural assets to build an atmospheric period environment. Technical features include an inspection system for environmental storytelling, a phone call system for delivering dialogue sequences, and stealth gameplay driven by enemy AI running on a finite state machine with procedural and physics-based animation. As a critical structural node in the network, BACKBONE bridges multiple narrative threads while establishing key mechanical systems for subsequent developers.
Soap Soup: Sodium
An atmospheric exploration game created for the 2024 SOAP SOUP collaboration, a modding project where artists create abstract rooms using a fixed set of elements. My entry is a sensory experience that places the player in a sodium-lit parking lot on a midsummer night. I designed a soundscape of cicadas and a distant storm, and used sophisticated spherical projection mapping for the visuals, focusing on creating a realistic and immersive atmosphere of warm light and deep shadow.
GENESIS 2K24
A head-tracked rhythmic rail-shooter that traces the cyberspace aesthetics of Rez (2001) back to their origins in Chicago's art and technology scenes. In collaboration with Charles Voita and Bill Derrah, I led the development of this remake of my 2023 entry for the C.H.A.I.N.G.E.D. project. The game reimagines the Electronic Visualization Laboratory's (EVL) 3D vector graphics for Star Wars (1977) and incorporates head-tracking from the CAVE system (1992), set to Phuture's genre-defining Acid Tracks (1985). It was exhibited at the BitBash 2024 festival.
Genesis
A light-gun game inspired by vector graphics that reimagines the credit crawl sequence from Super Smash Bros. Melee (2001). I developed this game as my submission for the C.H.A.I.N.G.E.D. collaboration. The project served as a personal platform to explore new technologies, including motion-captured camera techniques, synchronizing gameplay to music, a blocking system for sequencing events, and vector-based rendering.
Córdoba Court
Córdoba Court is an innovative social game I designed and developed to foster community building. Modeled after the communal patios of Córdoba, Spain, the game invites players to cultivate a shared virtual environment, expressing their individuality by designing personalized totems from millions of possible combinations. The project serves as a social experiment in digital placemaking and community greening practices. A report is also available, which analyzes player content and observed behaviors.
Rococo
Rococo is my first complete game, built solo in two weeks for the Haunted PS1 Summer of Screams jam. The player bounces on a jelly-like linoleum floor through a child's dream of a deconstructed kitchen, reaching for a floating jar of cookies. Two inputs, three minutes — I focused on making one interaction feel inevitable through custom shaders for an unlit, candy-colored look and a physics-driven sound system that ties audio to the player's motion. An epilogue was added days after release in response to players wanting to stay in the world. Rococo reached 4.6★ across 218 ratings with 109 comments over five years of organic discovery — more individual ratings than any Haunted PS1 collective release except the two flagship Demo Discs.
Drip
A dreamlike ball platformer created in one week for the C.H.A.I.N. collaboration. My task was to create a sequel to a first-person hospital game. To meet the deadline, I used Grasshopper for procedural level design, creating a large, open dreamscape where the player floats downwards. This parametric approach allowed me to efficiently place collectibles, asteroids, and hazardous tentacles along splines with random variation, directing the player's movement through the vast space.
Minotaur
Minotaur is a simple game experience that served as my earliest experiment with embedded analytics. For this project, I built a system that records play sessions and sends summary data back to a Clowder server. This work enabled long-term data collection, and the results from over three years and thousands of play sessions are analyzed in this report.