CGF - What are some of the titles you have worked on?

I've been very lucky in my 7 years thus far. I've gotten many great opportunities to work on various genres. My first gaming company was a budget PC game developer, where I learned all of the applicable basics of game development and animation in a "trial by fire" setting. While there, I've worked on numerous 1st person games such as Deer Hunter 2003, and Carnivores: Cityscape. A strategy, turn based game about Clowns fighting Aliens which, unfortunately never made it to release. And a 3rd person 3D side-scroller called Duke Nukem: Manhattan Project.

My career took a large upgrade when I went to work for Raven Software, where I did much of the player character animation for Jedi Academy, as well as animation work for cinematics and game play on Xmen: Legends. Working on Jedi was a unique joy for me. I can't say Im a rabid Star Wars fan or anything, although I enjoy the topic. I can say I'm a fan of light saber combat, especially when it's my first opportunity to have some genuine influence over the game play mechanics.

Now, I'm working with Monolith Productions out here in the Seattle area. We completed work on Condemned: Criminal Origins about a year ago, and are full-steam ahead on our most recent, currently unannounced project.

CGF - What has been your most challenging project to date?

Each project I've worked on has presented me with something unique that I've needed to learn to be able to properly do my job. From my first project as a game animator, needing to understand how a game works, to becoming a cinematic animator, quickly learning how to do lighting, facial animation, camera work, and rendering. There has also been the challenge of learning all the different animation packages, in house tool sets, and the various game engines.

But, what I believe stands out from the previous challenges, was while working on Condemned, having to figure out how to make melee combat from a 1st person perspective not only aesthetically appealing and easy to understand, but "feel" like you, the player are in the fight. Some of the most difficult animation I was expected to tackle on that project were the finishing moves. These animations were performed on the enemy and player characters in unison, from the first person perspective. Trying to make a first person head butt read correctly, while still looking brutal was a challenge I had never imagined I'd face. I had some great support from my fellow team members, which each brought their unique knowledge to the table. The leads on that project were insanely talented, and did an outstanding job of mentoring the team. And the rest of the animators were a pleasure to work with. It was a team effort that I have been, and still am proud to be a part of.

CGF - How long have you been working for Monolith?

I've been with Monolith for about 2 years now. I first learned of Monolith's open animation position from a friend on the inside, who I had worked with at my first game company. He took the liberty to show my animation reel to the art lead from the team who was hiring. Shortly after, I was contacted, which to me seemed like completely out of the blue, and asked if I'd be interested. I wasn't sure if it was the right thing for me at the time, but I kept an open mind and flew out for the interview. Once I saw the prototype for the project, which ended up being Condemned, I was hooked. To this day, I believe I still owe my friend here a few dinners for his generosity.

CGF - What role do you play at the studio?

I started out with Monolith as a senior animator. Over the course of my first project here, I offered to take on more responsibility, such as the animation schedule and helping to balance gameplay. I also made sure I became completely familiar with the tools and techniques needed to succeed in the role. Before joining Monolith, I had little experience with motion capture, but during production I managed to educate myself on the entire process, since it's so heavily used here. Shortly after Condemned wrapped, I was offered an animation lead position, which is currently my role. On top of managing the animation team and our animation schedule, I now advise in the use of the motion capture facility. I'm being given more opportunities to help shape the core combat mechanics. And I'm responsible for the aesthetics and functionality of the game's animations. Monolith has given me so many great opportunities, and I'm grateful for their trust.