For this project, I  was a mission designer responsible for shipping The Long Night of Solace and Nightfall levels.

At Bungie, mission designers were responsible for scripting and encounter design. Paired with environment artists called Architects, we were jointly responsible for making sure every department's work came together in the level.

In addition to these levels, my responsibilities included taking over the mission design HaloScript library and maintaining it for the team. Every time a designer needed to perform a technical but repetitive task (such as loading/unloading dropships), they used these scripts.


This was my first professional design gig. The whole design team was fairly green, but a few of us had experience with modding BSP engines.

Designers were responsible for encounter design, scripting, and working with the environment art team.  I ended up shipping the missions British Invasion and To the Rescue in addition to a multiplayer map.

The combat went through heavy iteration for the sequel, adding a stress mechanic to the flanking gameplay. I was responsible for working with gameplay engineers to prototype these mechanics based off direction from our design leads.


Personal Work


This was a single-room project to familiarize myself with the Doom 3 tools.  I was also experimenting with Doom's vacuum mechanics as a way to corral the player into a sequence of fallback encounters.

I was responsible for the level scripting and Radiant geometry, but used stock Doom 3 assets build everything. The Imps throw barrels dynamically thanks to a script by pbmax.


Your objective is to collect explosives, destroy the satellite uplink tower, and escape. Upon insertion, your boat is detected and destroyed just offshore from your objective, forcing you to improvise. 

Saving is accomplished by using two-way radios scattered around the map.

This map was built over the course of a month and attempted to adhere to the style found in the original game.  I was responsible for the level layout and scripting, but used stock Far Cry assets such as buildings, sounds, and props.


Moon Chamber was an experiment using Simon "Sock" O'Callaghan's textures to make a simple CTF map.  My design job at the time focused on scripting, so building a BSP map in the evenings was a fun project.

Moon Chamber was completed over the course of a couple weeks. Unfortunately, it never received much real world playtesting because it was made well after Quake 3's heyday.  

If I were to improve the map knowing what I know these days, I'd start by varying the floor heights much more in the center room, snaking the center route, and reworking the small flag room transition tubes.