Interactive Demo
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Fundog X Evolve 512 - The Forever Winter
Some environment art work on levels. Primarily technical art work helping standup player systems, templatized locomotion, animation systems, IK, weapons and grenade systems, etc…
Battlefield 4
Multiplayer maps I worked on as environment artist and level owner.
Crackdown 3
Worked on environments and vistas for the multiplayer maps in Crackdown 3.
Unreal Engine 5 Rapid Prototypes
Game prototypes using marketplace assets to stand up gameplay experiences or a Vertical Slice.
Into the Stars
Art Director and Co owner @ Fugitive Games for our debut title “Into The Stars”.
Diode
Diode is an action adventure game that I am making by myself in UE4.
Paragon X Brawl
Brawler game using Paragon characters as a fun exercise.
Head Hunter
Gameplay loop exercise for a personal case study
Personal Unreal 4 Projects
In engine footage of some personal UE4 work..

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The Forever Winter Battlefield 4 Crackdown 3 Lost Planet 3 Cloud Castles Raiders (Unreleased)Battle Busters

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The Forever Winter

| Tech and Environment Art |

Environment and level art work for several POI’s across multiple maps
Tech art, locomotion, weapons, and UI
Worked on templatized animation system to work with several main character locomotion and weapons
Implemented targeting marker system
Made grenade systems with variations for chaff, cluster grenade, Flare…etc

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Battlefield 4 (Multiplayer)

| Environment Artist |

Level owner on several Battlefield 4 multiplayer maps from concept to shipping.
Directed mood boards, asset pipelines, and outsourcing for the maps I owned.
Implemented tech with FX artist for “Levelution” for secondary lanes in the playfield
Worked on maps for map packs: “Second Assault” – “Dragons Teeth” – ” Final Stand”

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Crackdown 3 (Multiplayer)

| Senior Lead Environment Artist |

Built next-gen visual prototypes in unreal to explore art style for the IP.
Established early environment pipelines
Work on background Vista geo and layout
Tech Art prototype holographic shader for fast performance

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Lost Planet 3

| Associate Lead Environment Artist |

Helped lead environment art standards and practices.
Environment art level owner of several biomes
Technical Art including global weather controls and gameplay cinematic lighting systems.
Delivered and shipped performant and bug tested levels across multiple platforms.

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Cloud Castles

| Senior Technical Artist |

Set up cinematic pipelines implementing Characters, FX, And animations from the team
Early gameplay prototypes to validate cross discipline performance and memory budgets
Created gameplay prototypes to validate system design and scalability.

Info!

Raiders (Unreleased)

| Associate Lead Environment Artist |

Prototype cinematics for new IP development
Environment art level and shot owner for segment (0:52 – 1:25) and (3:05 – 3:45)
Modeled, rigged and animated main submarine vessel

Project Raiders

Personal UE4 Project

Project Raiders

Personal UE4 Project

Battle Busters

| Personal Prototype |

Rogue Lite arcade shooter.
Set up gameplay, cinematics, and front end
Multiple selectable playable characters
Procedural systems for spawning AI, Shops, and Bosses using RNG
Shops, Powerups, Pickups, Battle Suits, and Weapons

View Other Prototypes

My top 5 favorite games:

Zelda : Breath of the Wild – for Switch

Castlevania : Symphony of the Night – for PS1

Blaster Master – for NES

Zelda : Minish Cap – for GBA

Bionic Commando – for NES

Daily Drivers:

Overwatch (Rank : Gold – Tank Main)

Rocket League (Rank : Gold)

With over 21 years in game development, I’ve worked primarily as a level artist, specializing in tech, lighting systems, pre-production, and environment optimization. I also spend a lot of time helping set up player pawns, player animation systems, game modes, and cinematics—whatever is needed to ensure gameplay systems and environments work together seamlessly.

My role is best described as a “bookend developer.” I’m the person you bring in at the beginning to set up level structures, establish game-specific best practices, explore visual direction, and make sure things are fun to play. Then, after the demos, trade shows, and investor builds, I come back in to help circle the wagons—optimizing, stabilizing, and making sure the game actually ships.

Coming from an environment art perspective, I bridge the gap between tech and art, optimizing levels without sacrificing visual fidelity. I’ve helped multiple titles through full console certification across Nintendo, Sony, Microsoft, and Steam.

I work with a positive, solution-first mindset and a simple rule: I’ll figure it out.