Résumé

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1. iwot games

   September 2025 – Present

   Narrative Director

   Wheel of Time

   I provide holistic, creative leadership across multiple disciplines, acting as a strategic partner to design, engineering, and production. This role requires careful and thoughtful stewardship of a beloved, sprawling franchise on all fronts, while owning the narrative vision, from planning through ship. As a director at a small start-up, I influence gameplay and features beyond the narrative scope, contributing everywhere.

2. Crystal Dynamics

   November 2022 – August 2024

   Lead Narrative Designer

   Perfect Dark

   I led the narrative department for a major AAA franchise during preproduction, guiding and mentoring the team while aligning all our efforts with gameplay and player experience. I partnered closely with directors and cross-disciplinary leads to shape the overall game vision, defending the Perfect Dark franchise integrity when necessary, and letting the team shine when we had room to do more. We had an ambitious production schedule, coordinating across two studios, and I planned out robust, dynamic creative work.

3. Blizzard Entertainment

   November 2019 – October 2022

   Senior Editor/Senior Narrative Designer

   World of Warcraft · Diablo IV

   I was entrusted with senior creative roles across two of Blizzard’s flagship franchises. I partnered with Design, Audio, Publishing, Localization, and Production to maintain the quality and consistency of two of gaming’s most iconic franchises. I combined hands-on narrative work with leadership, mentoring, and team development.

4. Activision

   April 2019 – October 2019

   CRM Copywriter

   Call of Duty: Black Ops 4 · Call of Duty: Modern Warfare

   I helped shape how millions of players experience the Call of Duty franchise outside the game itself. Working across multiple studios, I created player-facing communications, live-service campaigns, and marketing content that strengthened the franchise’s voice and supported major launches. The role combined creative writing, strategy, analytics, and cross-team collaboration in a fast-moving AAA environment.

5. Blizzard Entertainment

   March 2018 – August 2018

   Publishing Editor

   I was trusted to represent and protect Blizzard’s major franchises in published media. I partnered with internal game teams and external publishing partners, while ensuring editorial quality, lore accuracy, and brand consistency across multiple projects. We had aggressive, inflexible timelines, which I embraced to deliver high quality products that demonstrated strong writing, editing, cross-functional collaboration and creative skills.

   Editor: The Art of Hearthstone · The Cinematic Art of StarCraft · The Book of Adria: A Diablo Bestiary · The Hearthstone Pop-Up Book · Blizzard Cosplay: Tips, Tricks, and Hints

   Author: The BlizzCon Book: A Celebration of Our Community

6. Aniplex of America

   March 2017 – March 2018

   Game Localization Manager

   Fate/Grand Order

   I led localization quality for a major live-service game with an active and vocal community. I managed external localization vendors and partnerships. This entailed working across narrative, marketing, and localization teams, and required consistent project management, organizational, and people skills. I also adapted narrative and marketing content for western audiences, while preserving the original creative intent.

7. Carbine Studios

   December 2013 – March 2016

   Editor and VO Coordinator

   WildStar

   At this scrappy studio that was building something massive, I helped build foundational editorial, localization, and voice-over pipelines for a live-service MMO. We had large-scale voice over production, with tight budgets and multiple external vendors, all of which I coordinated and managed. I created scalable processes, tools, and documentation that improved production efficiency. In this role I demonstrated strong operational initiative and leadership daily.

8. XSEED Games

   August 2013 – November 2013

   Localization Editor

   Senran Kagura: Burst · Senran Kagura: Shinovi Vs.

   I adapted content for western audiences while preserving a very specific original Japanese vision, and delivered high quality localization and editorial support for multiple shipped game titles. I created documentation and pitch materials to support business development, which included evaluating potential titles and contributing to the publishing strategy. In this role, I had to demonstrate versatility across multiple roles, titles, and cultures.

9. Snail Games

   October 2012 – July 2013

   Editor

   Age of Wushu

   I partnered with multiple disciplines to refine a major international game for the North American market. I was part of a small team, where each of us jumped on any task that needed doing. I also created documentation and style guides that supported consistent content production. In this role, I built early expertise in cross-cultural storytelling, IP adaptation, and careful, clear communication.

10. Riot Games

    March 2012 – October 2012

    Associate Editor

    League of Legends

    As the first editor at Riot Games, I had to blaze a new trail, earn the trust of skeptics, and standardize multiple creative processes. I created, documented, and enforced best practices for writing, editing, and tooltip creation processes. I improved the efficiency and scalability of my team at one of the industry’s fastest growing, most dynamic studios. I demonstrated early leadership through process creation, cross-disciplinary collaboration, and creative support.

11. BioWare Corp.

    June 2008 – March 2009

    Technical Editor

    Unannounced Project

    I was part of a very small, fast-moving team creating a AAA RPG project when BioWare was in its prime as an RPG house. I partnered with Design, Art, and Engineering to support cross-disciplinary development. I managed technical documentation, and creative production processes. I built a foundation in collaborative AAA game development, which has shaped my leadership roles ever since.