Yourself!Fitness puts the power of game consoles to work on a goal not usually associate with video games: fitness. The game features a virtual personal trainer who guides the user through workouts, and dynamically adjusts  the workouts depending on the user's fitness level and available equipment.

The workouts take place in any of six locales, and I was responsible for the creation of these environments. I designed all but one (the Dojo), and brought them to completion almost entirely on my own (I had a little help from contractor Will Heiberg).  I used Maya's Mental Ray renderer to create lightmaps, which allows for some really nice lighting in the levels.

This action horror game features beautiful yet terrifying environments. I contributed to them as an off-site freelancer by creating most of the skies and water for the game. To do this, I created a variety of textures and models, which I then layered together and animated using Surreal's powerful Riot engine.

I created world objects for this MMOG as a freelance artist for art house Liquid Development, who were hired by Origin to create the game's art assets. The game looked great, but unfortunately it was never published.

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Surreal was brought on to finish this project using assets and a game design from developer WXP. For this title I created the levels Weathertop and A Knife in the Dark from scratch. I built The River Anduin almost entirely from scratch, and I built Orc Dam using many of WXP's assets as a base.

I was brought on to this game towards the end of the project to overhaul and complete the final level of the game. Drakan: TAG got great reviews and is loads of fun - I still find myself picking it up and playing through it in new ways.

This game was the reason I came to Surreal Software - making a Spaghetti Western themed game was appealing to say the least. Partway through Gunslinger's development, however, the rest of the game's team and I were moved to the struggling Drakan: the Ancients' Gates. Gunslinger never quite recovered from the setback. The game was canceled, but its spirit lived on in Surreal's well-received The Suffering, which inherited many game design elements from Gunslinger.  I did level design for Gunslinger, and I went on to do similar work on Surreal's Drakan: The Ancients' Gates, and Fellowship of the Rings.

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I joined Eidetic for the last five months or so of production on Syphon Filter 2. I jumped into crunch mode and cranked out a couple of two-player levels and a whole bunch of character models. It was worth the work; SF2 shipped on time to good reviews, big sales and favorable reaction from fans.

Vigilance evolved from the design goal, "Virtua Cop off rails" into a more traditional 1st- and 3rd-person game.

The engine that powers Vigilance uses Lightscape for its radiosity and ray-traced lighting. Lightscape generates natural lighting that at the time of Vigilance's release (after Quake, but before Half-Life) hadn't been seen in the first-person genre. It was this lighting that first drew me to the game.

I designed, built, textured, and lit  two levels for Vigilance. I also modeled, textured and animated characters and managed the character animation system. My Monastery level was used in the shareware demo and the E3 demo of the game.

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KillWheel's basic premise: You play a two headed ogre who races through lush valleys and green forests in a big spiked wheel smashing the villages of peaceful elves and halflings. Not very well adjusted, but entirely original. Unfortunately Killwheel never made it across the finish line. You need more than originality to get published, and KillWheel just didn't have fun enough gameplay to go along with its wacky premise.

In Sirens an LA biker kid finds himself in a dangerous but darkly beautiful alternate universe. This game had great potential, but was never published.

Incidentally, the Headgames that made this game is different than the Head Games that was also producing games at about the same time - usually games with the word "extreme" in the title.

I animated most of the characters for X-Men 2. Working on this game taught me how to function within a team of people with very diverse skill sets, how to work fairly autonomously, and how to make the most of whatever resources are available to me. Once you've brought the X-Men to life with 16 colors, 64 x 32 pixels, and very few animation frames, everything else is gravy.