While we're not quite ready to announce what we've got going on, know that it's amazing, and you should be excited.

Professor of Game Design, in the Game Design MFA Program

Bradd focuses decades of creative and technical expertise toward serving the talented team at Muddy Robot. Sometimes the simplest solution is the most elegant, and other times there is no substitute for having tried and failed, and then repeated until succeeding. Knowing which situation the team is facing at all times is Bradd's most vital responsibility, and a major driver of the team's successes.

Creating opportunities for creatives to create meaningfully.Create. Create. Create.

• Launched Tetris Beat on the Apple Arcade App Store, which remained in the Top Three games on the platform for over six weeks. Was responsible for designing and implementing the entire Art Production Pipeline and training the team on how to create world-class content efficiently.• Provide daily guidance and insight to executive-level employees and external partners to accelerate development schedules and drive product excellence. Curated instincts for what ‘great’ looks like.• Write Milestone Schedules, and Technical Documentation covering the entire production cycle, laying the groundwork for the development team transitioning to live-ops.• Lead process improvements to the production pipeline and train the existing team in the latest best practices, leveraging recent cloud services and distribution developments.• Conduct interviews and make hiring suggestions to strengthen and grow internal teams.

Oversaw building the prototypes used pitching games to major publishers, ultimately partnering with Apple, positioning our game “Ultimate Rivals: The Rink” as a Flagship title on Apple Arcade, followed by “Ultimate Rivals: The Court.”Responsible for building the talented core team into an studio capable of producing multiple titles concurrently. I oversaw the recruiting and hiring process, growing the development team to over 60 full time employees, and negotiating contracts for over 30 independent vendors. I am particularly proud that we were able to continue growing aggressively through the pandemic, doubling our headcount with no employee turnover, and no missed milestones.Drawing on the successes of the early team, which was entirely remote, I lead the transition of the entire studio, comprised of more than 80 individuals across all disciplines and contractors, to a fully remote structure in less than a week. Metrics drawn from our Jira tracking demonstrate an immediate meaningful lift in project velocity. Being ultimately responsible for the quality of all aspects of the product, I placed the highest emphasis on protecting the quality of work-life for the people actually making the product. This meant maintaining our remote environment as a collaborative and creative space, and proactively addressing the stresses and unique challenges presented by a fully remote, geographically distributed team.Most effective among the initiatives I implemented were a series of daily video conferences. I prepared over 200 half-hour team activities to help us grow social connections, and new skills. These included spotlight interviews getting to know each of the team members on a personal level, technical presentations made by subject matter experts within the team, company wide superlatives, a 360 review process, and multiple town-hall style progress updates, making every team member’s contributions recognized across the entire company.

The veterans who made your favorite games teaming up with hot new talent to create amazing experiences!

Direct the creative and technical processes to motivate and guide in-house and external teams of artists, animators, and modelers through the production pipeline, sustaining creative vision, stylistic and character fidelity and animation quality while driving project velocity to meet deadlines. Ensured the quality and consistency of external team production by streamlining the rigging process and creating flexible base rigs. Mentored character designers, 2D artists, and 3D artists to deliver artwork that translates clearly to 3D, maximizes fidelity, and utilizes current best practices and technology.Key Contributions & Achievements:▪ Delivered 200+ minutes of animation and 60+ characters and custom rigs that recreate famous Disney characters and scenes for interactivity, all approved by Walt Disney Animation Studios partners.▪ Increased production velocity 60% with no increase in resources by optimizing the animation production pipeline.▪ Adapted the content production pipeline to accommodate baked lighting with no impact on quality or style.▪ Introduced new pipeline tools to overcome in-game object clarity and asset file size challenges, reducing worst-offending files by 85% without sacrificing visual fidelity.▪ Developed rendering techniques for combining pre-rendered 3D assets with Vector Based characters to create content aligned with Ghosts of Mistwood game world aesthetic and theme.▪ Took ownership of the inherited Hidden Worlds production pipeline, and overcame documentation gaps to expedite production ramp-up.

I explain the hierarchy of terrible Computer Generated art thusly:A Great Model + A Great Texture + Bad Lighting = What am I looking at?A Great Model + A Bad Texture + Great Lighting = I can see that this is Bad.A Bad Model + A Great Texture + Great Lighting = This looks Great!A Great Model + A Great Texture + Great Lighting = Still looks Great!My aim is to point the next generation of artists in the direction of Great Lighting and Great Textures/Materials.