PC, Oculus VR, Mobile, + Console
Some samples of barks, in-game text, story treatments, and other pieces of my work.
Heroes of the Storm is a multidimensional MOBA by Blizzard Entertainment.
I wrote some upcoming Heroes of the Storm content during my time as a Production Intern at Blizzard Summer 2020. My work included Product names, flavor text descriptions, and PR Blurbs for the Craftwars Event Patch, as well as voice lines for HOTS champion Hogger.
Spider-Man: Miles Morales is an upcoming adventure game for the PS5 by Insomniac Games.
I wrote for Spider-Man: Miles Morales as a Writing Intern at Insomniac Games in 2019. My work included writing gameplay, mission, and emergent dialogue, menu text, character descriptions, a collectible miniseries, and gave feedback on the main narrative with the rest of the Narrative team.
Additionally, I worked with designers and engineers to design and implement a new emergent narrative system, and helped with implementing other emergent dialogue.
As narrative lead on Ginkgo, a 3-D horror adventure game for the PC, I worked with the Design team and Creative Director to craft meaningful narrative moments that complimented gameplay-heavy sequences, maintaining the balance of story and gameplay to deliver a nuanced, compelling experience.
To maintain teamwide communication about the story as I iterated on it, I created and updated a story treatment outlining all narrative beats and their purposes.
Dialogue, interactable text, and journal entries from 3 secret rooms hidden throughout the game that reveal different pieces of your mother's dark past.
As Lead Writer on Detour Bus, I work with another writer to write / iterate on all in-game text with a focus on barks, mission text and quest objectives. My writing is reviewed in table reads and with temp VO in-editor to adjust the narrative flow and tone throughout a level.
Each level of Detour Bus features a bus-themed American monument and requires players to do anything from travelling to a destination to using the bus to herd bison.
Dialogue in each level had to balance a cast of characters' personalities and dynamics while naturally teaching the player new mechanics / objectives.
In EMPATH, a VR action brawler, I worked with a department of three as Narrative Lead over a production period of one year to build the game's world and story, consistently adjusting the narrative experience to match our changing scope.
One of the most difficult beats to nail in this project was the boss fight. We needed to convey a deep history of friendship and betrayal between the player character and the antagonist in a single sequence. I wrote and iterated on the cutscene leading up to the fight, as well as the barks in the fight itself.
As it Is
In As it Is, a 2-D narrative adventure game, I wrote all in-game dialogue, cutscenes, and interatable text. Additionally, I worked with the rest of the team to design narratively-significant minigames that conveyed themes of social anxiety, isolation, and connection distinct to their respective characters.
Scene 1—NPC Conversations
The player must talk to a few different characters in this level to find an objective. I wrote and helped implement all NPC dialogue, creating a fully functional branching narrative with interactions that expressed each NPC's distinct personality. Below is an example of 1 of these conversations.
A character's backstory is revealed throughout this level by interacting with objects in their house after a long time away from home. I wrote & helped implement all dialogue and interactable text.
Screenplays + Narrative Experiences
I'm always working on a piece of writing, whether I'm on a project or not. Here are a couple of screenplays and narrative experiences I've done.