I’ve worked for several entertainment companies including Eidos Montreal, Capcom Vancouver, Propaganda Games (part of Disney Interactive Studios), Radical Entertainment (a part of Activision | Blizzard), Rainmaker Entertainment,¬†Vancouver Film School, and Riptown.com (the marketing division of Bodog.com).

I divide my skills into two major categories:


I make fascinating characters, place them in interesting settings, put them up against big, intriguing problems, and then write the drama with as much wit and charisma as I can muster. For me, the most satisfying stories are those that offer a desirable experience told with flair, cunning, and ingenuity. That’s what I try to do.

My personal tastes tend toward science fiction, fantasy, period drama, and genre-heavy material like noirs and westerns. I particularly like escapism — going to weird, exotic places, meeting bizarre characters, and exploring unusual civilizations. I also prefer a hefty dose of sardonic wit and irony. Some people think I’m a good comedy writer.

Despite all the above, I’ll write anything that has strong human drama and interesting characters.

Story Design

I turn stories into video games. This requires a huge cross-section of organizational, leadership, and creative skills.

When I finish creating the basic elements of the narrative, I shepherd and champion the story all the way down the production ladder. This means constantly verifying that the story matches the game design, voice-directing the actors, managing writing teams, designing narrative features, collaborating with animators, meeting with stakeholders and executives, defending the production schedule, meeting budgets, and — above all — ensuring that the story quality does not degrade as it progresses through the game development process.

Many previous employers have nice things to say about my work.