Gamba Gun
Commission
2025
Role: Trailer Editor

Time + Iteration = Quality (lots of playtests)

Testing wasn’t just a phase of ESC/APE’s development, it was the engine that constantly drove our game forward. I pushed to run as many tests as possible and during the projects development, I led over 100 playtests, capturing player behavior, bugs, and feedback with a structured, repeatable process.As the Level Designer, I compiled detailed reports that tracked everything from gameplay issues and art inconsistencies to feature requests and completion data. I documented and organized the data so our cross disciplinary team of artists, programmers, and designers could make informed decisions quickly. These insights helped us refine the experience, cut clutter, and amplify what resonated with players.We boosted our playtest completion rate from 55% to 98%, because what good is a game if nobody finishes it? I relied heavily on real time observation rather than just post play surveys, ensuring feedback wasn’t influenced by suggestion bias. That combination of hands on testing, thoughtful analysis, and iterative improvement was why our game was half as good as it was. That, and the sleepless nights spent making sure everything was in tip top shape.

UNDER CONSTRUCTION...

Currently designing and documenting...
Check back for updates!

Designing Chaos with Intention

At Global Game Jam 2025, I helped make a fast-paced party brawler called Burst Your Bubble. I was the level designer, and going in, I had big ideas. I wanted to do something new and innovative, something that stood out.But once the clock started ticking, I had to let go of my ego. There just wasn’t time for overthinking. Instead, I focused on what felt good to play and tested constantly. I built a level with multiple routes, narrow chokepoints, and open chaos zones. I threw in teleporters for mind games and made sure the jump arcs and harpoon traps gave players tons of ways to create unpredictable moments.Of course, it only looked unpredictable. The design was driven by clear systems, which meant players still felt in control. That mix of tension and freedom gave skilled players the space to shine, while casual players could still have their big, cinematic win moments.As the jam wound down and other teams finished their games, people started walking around to try different projects. A lot of them came to ours and then came back multiple times after that. Some for revenge, others for the sheer fun of it. Seeing people crowd around our station, yelling and laughing as they played, was one of the best feelings I’ve had as a designer.Burst Your Bubble reminded me that good design doesn’t need to shout. If people are lining up to play again, you know you did something right.

The Call

When my former classmates from VFS invited me to join them for the 2025 Global Game Jam, I jumped at the chance to collaborate with some of the most talented people I know. In less than 48 hours (and with little sleep), we created a game that not only we enjoyed but many others at the jam did too.Working under that kind of pressure brought back memories of our time on student projects. We had to move fast, but we worked efficiently and seamlessly as a team, blending our different disciplines and personalities to create something we were all proud of.I’m lucky to be surrounded by such talented friends who push me to be my best.

Haunted House

Lived in Spaces & Environmental Storytelling

Making a house creepy brings a lot of ideas to mind, but nothing quite unsettles me more than a man’s living space. Walking the delicate line between barren and messy was something I wanted to explore, adorned with dingy, flickering lights and piles of long-forgotten drinks.I also wanted to retain a sense of personality in the children's rooms, as a sign that he doesn’t go in there much anymore since they… uh… disappeared. In the son’s room specifically, I did research into what a “struggle” might look like, just as detectives would do, and built a space that suggested sinister happenings.Since this was a horror experience, I focused heavily on gritty, eerie audio and visuals. Walking through a deranged lunatic’s house needed to feel lived-in, and reflect his unravelling mental state. Creeky floor boards, dripping faucets, dim and unsettling lighting, and of course, children's laughter played a huge part in delivering that feel. I had a lot of fun crafting these environments, each one designed to hold those tense, unsettling moments I craved as a horror fan myself.

Memories of Yheleanor

No combat? No Problem!

With Memories of Yheleanor, I set out to create the atmosphere of a village hastily abandoned, one where life had recently been lived, but now only traces remained. I wanted players to feel both the eeriness of absence and the quiet beauty of nature slowly reclaiming the space. Lighting and color were key tools in striking that contrast: warmth amidst decay, serenity within tension.As a walking simulator, the game had no combat meaning that movement and exploration were the core of the experience. Every moment had to be purposeful. I focused on crafting points of interest that naturally drew the player in, pacing their journey through tight paths, wide open spaces, and viewpoint reveals that offered subtle narrative beats.Designing for this kind of experience pushed me to think differently. Without dialogue or action mechanics to rely on, I leaned into environmental storytelling and visual language. Shapes, colors, and spatial composition became my way of guiding players emotionally and directionally. It was a challenge that deepened my understanding of how to use space not just to tell a story, but to make players feel it.

Counter Strike 2: Abandoned Market

Sightlines, Landmarks, and Balancing

I wanted to challenge myself by practicing 2D layout design and whiteboxing under a short time frame and what better game to do it for than one I absolutely adore? Choosing a tactical shooter like Counter-Strike 2 pushed me to think critically about gameplay balance and spatial clarity.Designing for both Terrorists and Counter-Terrorists meant that every element, from choke points and flank routes to bomb sites, had to feel fair, readable, and strategically rich. I focused on creating unique structures and cover placements that not only supported multiple playstyles but also encouraged creative decision-making.Throughout the process, I iterated based on imagined player behavior, ensuring each area could support a wide range of encounters, from tense 1v1s to full-on site takes. The result was a map that prioritized flow, visibility, and moment-to-moment tactical choices. If I had more time, I would’ve loved to continue playtesting and polishing it further, with full set dressing, lighting, and all the final touches. But alas, art is never finished, only abandoned :')

Gamba Gun

• Play It Now!

Collaborating Under Pressure: Ornery Deadlines and Juicy Vibes

When my friend Nolan (Tech Artist from ESC/APE) commissioned me to do a trailer for his game in less than 2 days, I naturally was up for the challenge as well as aiding my ol' brother in arms. Nolan is known for the "juice" he brings to his projects and I wanted to match that level of personality. He requested that the tone be ornery and aside from that, I had free reign. I asked him for all the art, SFX, and music he could send me to get a sense of what I was working with. Without any footage, I had record all of this myself. I'm no stranger to recording footage for games but knowing Nolan, I asked for debug tools (like locking the camera or disabling the HUD) to make capturing the shots I wanted easier. This made my ideas for trailer possible. And after 8 iterations and some back and forth, presented him with this. I'm happy that he liked it what I was able to make for him in such a short timeframe. Go check his game out on Steam!

Photography

Whether it's through virtual photography or real life photography, I love capturing a moment in time. Being able to perfectly compose all those beautiful colours, shapes, and light into a single frame has always been satisfying to me. Oddly enough it was when games started doing photo modes that photography piqued my interest. I learned all the fundamentals and practiced them virtually and in real life, each one feeding back into the other. Like many of my interests, my photography skills continue to bleed into my other passions.

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