Recent Work

Fashion Icon

Lead Game Designer

Gameloft

iOS / Android / Mobile, 2012


This game reached #1 on the Highest Grossing Overall iPad app chart in 21 countries.


I was responsible for the systems design for the full development cycle of this female-focused RPG. The scope included over 1000 clothing items, 23 locations, a battle and flirting system, and a social component where you could visit friends and vote on which players’ outfits best fit a periodic event’s theme.


I was also responsible for providing direction and mentoring to the level designers, and creating design documentation and presenting it to headquarters.


In the top screenshot we can see the player shopping for better equipment (read: armour), and in the bottom screenshot we see a battle sequence that takes place in a progress-gated party (read: dungeon).

Stefan Jewinski

Citizens of Earth

Level Designer

Eden Industries, ATLUS

PS4 / PSVITA / Wii U / Nintendo 3DS / Steam, 2015


Created levels and scripts from the start of the production phase through to launch on this RPG. Designed a number of areas from conception to release including Sugarflats and many of the house interiors, re-designed a number of existing areas including the first Moonbucks dungeon and the underwater zones, and performed polish and bug-fixing on nearly all levels.


Landmarking was tremendously important for this giant world. As seen below, the Grasslands area uses color and uniquely-arranged objects to landmark the map and help the player navigate. Notice that the ground is dark lush green on the extreme left, light green in the bottom/middle, and it blends to dusty, dry yellows, oranges and browns on the extreme right. Objects also vary across the map - there are more houses on the left, and more enemies (red markers) on the right. These tricks help set the scene, but also help the player remember how to get around.

Play of Light

Lead Game Designer & Programmer

Cat Amuck Studios

PC, 2014


Designed and coded gameplay mechanics such as the light-grapple movement ability, and implemented over 50 levels on this UDK exploration game.


The design focused on mood and movement:


For movement, the question was could we make a game where everything you saw was “in-bounds”? If you saw a cave, could you enter it, or reach a mountain’s peak, or climb up to the very stars? The answer we took was that if it’s a solid structure, no matter how far, the light-grapple (grappling hook) would let you move to it. This was definitely a challenge, and to meet it took both a lot of gray-boxing to solve collision issues, and experimentation with sight-lines in 3D space for a player that could go anywhere.


For mood, we decided to make the lighting up of the sky and the constellation gel with the audio, where as you build the constellation you also build up the ambient music tracks.

Heelys: The Grind

Senior Game Designer

Fuel Industries, Heelys

iOS / Android, 2015


Designed the mechanics on the full development cycle for this endless skating game. My main focus was on tuning the feel of grinding - and I am particularly pleased with the glow I placed on the grind-able rails to make them visually obvious to the player.

X-Men: Destiny

Game Designer

Silicon Knights, Activision

PS3 / Xbox 360 / Wii, 2011


My two main responsibilities on X-Men: Destiny were designing all the AI and boss encounters for all SKUs (PS3 / Xbox 360 / Wii), and implementing the level design mostly for the Wii version.


GamesRadar.com wrote in their review that the “boss battles are absolutely thrilling”, and specifically mentioned the “entertaining boss encounters” in their bullet points summary of the review.

The Magneto boss includes three phases and represents probably the most dynamic sequence in the game. The player starts way up in the sky trying to free Cyclops from a metal prison while fighting Magneto and Juggernaut on a floating section of a bridge, only to eventually surf Juggernaut back to the ground. The third phase features Magneto throwing subway trains and girders at the player, and the player must jump and avoid these hazards before entering combat. The reason I believe these boss encounters stand out is that the gameplay keeps changing the pace from hazard-avoidance to combat and back.

The X-Men franchise has always been about teamwork. I was responsible for doing the teammate AI, and there are many sequences in the game where you fight alongside a group of mutants like Colossus, Quicksilver, and Wolverine.


To make the battles visually massive, the trick I used was to have teammate AI bounce back and forth between targeting the enemy-most-threatening-to-the-player and a random-distant-enemy. This balanced helping-the-player with visually-obvious-movement, and looked like a comic book hero battle.

The end-game Sentinel boss fight begins with a climbing hazard challenge. The boss stands at the top of the building and fires energy beams down at the player. The player must scale the building, then fight against the boss. I did the paper design, white boxing, iteration and polish on these bosses. The Sentinel’s chest houses its weak spot, but its arms can optionally be individually destroyed. Each destroyed arm prevents the Sentinel from using any attack involving that hand and gives health replenishments.

At E3 2012, Destructoid called it “the best game of the show hands down”.