PC, Oculus VR, + Mobile
I've written everything from dialogue barks to high-level worldbuilding lore as both a team member and leader. I have experience in working on games that are narrative-light and those that are completely narrative-focused, and because of this I understand how to best deliver information to a player based on the game's genre and atmosphere. Additionally, I've written assets for games on every platform, so I know how to use the unique affordances of each to their greatest ability.
As narrative lead on Ginkgo, a 3-D atmospheric adventure game for the PC, I work primarily with the Design team and Creative Director to craft meaningful narrative beats that compliment puzzle-heavy moments and continue the flow of gameplay in a natural way.
One of my goals is to keep the whole team informed on our narrative. I've found the best feedback comes from what many people consider "non-creative" departments, and I know it's easier to work on something when you have a clear big picture. To maintain this communication, I have created and consistently update a story treatment outlining all of our narrative beats and their purposes.
For our most recent vertical slice deadline, the bulk of the in-game narrative involved establishing the world and tutorializing key mechanics. My intent with these lines was to keep the flow of narrative as natural as possible and to make the inflections in our player character's voice pop without voice acting.
As it Is
In As it Is, a 2-D narrative adventure game, I work with a team of nine as Lead Writer and a Narrative Designer. So far we've produced a highly polished 20-minute demo which has shown at several festivals, including Indiecade 2018.
Scene 1—NPC Conversations
In this level, there are NPCs that the player character can talk to in order to gain information about their objective. I wrote and helped implement all NPC dialogue, including barks, creating a fully functional branching narrative and unique conversations that expressed every NPC's distinct personality.
In this level, the player assumes the role of a character coming back to their home after a long time away. Their backstory is revealed through interacting with objects in the house. Based off this concept, I wrote and helped implement all of text for interactive items and was a key player in designing the minigame they feed into.
In EMPATH, a VR action brawler, I worked with a department of three people as Narrative Lead over a production period of one year to produce a polished 15-minute experience which demoed at USC Games Expo and Indiecade 2019.
Due to the length of the game, one of Narrative's main goals was to convey the personality of the player character and their objective in a streamlined manner. With this guideline in mind, I supervised and helped to write a full transcript of dialogue for each of the game's levels, using narrative elements to move the player forward and give their character purpose.
In Umami Blast, a mobile match-3 game sponsored by Zynga, I worked with another designer and our creative director over a production period of one year to produce a polished a fully-functional match-three game which demoed at USC Games Expo 2019 and has been published to the Google Play store.
As a writer and designer, I handled all of this game's base tutorialization writing. Due to mobile's limited space and the nature of match-three games, I had to clearly and concisely convey how the game was played, as well as its tone and basic narrative premise.
In Comeback Machine, a visual novel I made in order to practice character expression, I wrote every line of dialogue in a branching narrative, telling a story in medias res that delivered information entirely through a conversation between two characters.
One of the most significant portions of the branching narrative in Comeback Machine involved sets of playlists the player could choose from at multiple points in the game to play. Each playlist lead to a different flow of conversation which culminated in a common end to continue the game's story.
In Honeydew View, a visual adventure novel with supernatural elements, I worked with a team of three to create a compelling narrative storyline, writing every line of dialogue in a branching narrative spanning over 20,000 words. This was written and implemented over a period of 4 months, creating a polished 10 minute demo that was exhibited at the Gameheads Student Expo.
Honeydew View's branching narrative was distinct in that certain choices lead to entire unique portions of the game; the game had to be played several times in order to experience every scene in its entirety. The scene below is a potential date you can have with one of the characters.
Screenplays + narrative experiences
As a published author with over 5 years of professional experience, much of my work includes writing for other media such as short fiction and screenplays. I'm almost constantly working on a new script or piece of fiction, and when I'm not writing I'm helping to edit the work of my peers.