Responsibilities:・I established and led the centralized outsourcing effort across Bungie projects. My day-to-day responsibilities included collaborating with matrixed business partners as well as internal stakeholders to develop and execute outsourcing strategies, as well as implementing best practices for long- and short-term planning, resource allocation, staffing, budgeting, schedules, contracts, and internal team health for each project. Achievements:・Eliminated outsourcing-related crunch and overtime ・Evolved Destiny 2’s post-Activision outsourcing pipeline through systemic improvements to use a central, integrated database for asset and feedback tracking, to link contract pipelines across production / legal / finance / infosec, and to implement new technologies to connect internal resources to external vendors・Honed outsourcing schedule to combine long-term predictable scope with resilient internal schedule and capacity; only lost total of 5 days of production time to COVID while delivering an entire season of content on-time for original deadlines・Pioneered adoption of new techniques to vastly expand what could be outsourced to support internal teams・Built suite of dynamic tools for calculating budget, long and short-term production capacity, staffing requirements, and internal and external costs to ensure projects are within budget, on schedule, and within scope

・Built company, raised all funds, and produced City of the Shroud (2018), an action/tactical RPG hybrid with an always-on cloud-infrastructure backend for its massively player-driven story・Designed and ran Kickstarter campaign that hit its $14,000 goal in 9 days・Managed teams totaling 50+ developers across 7 companies around the world to deliver top-tier code, art, audio, PR・Gave GDC talk about working creatively with AAA-tier companies to maximize asset quality at minimal cost. Developed texturing process with Playerium that was featured by Allegorithmic・Led all QA efforts and learned C# to optimize code for performance on low-end devices・Produced 3 other titles on contract during development of City of the Shroud, saving one from years of development hell and helping the others decide future trajectories・City of the Shroud was chosen for Indie MEGABOOTH and featured on the PlayStation blog, Engadget, Kotaku UK, and RedBull・Gave invited talks and presented on panels to professionals and students at the Game Developers Conference, Eurogamer Expo, Cleveland Institute of Art, Marshall University, PlayExpo, and Oberlin College・Founded Brighton Indie Coffee and Oberlin Indie Coffee as networking and socializing opportunities for local independent developers; also served in Brighton Game Collective, Brighton Indies, and Brighton Unity User Group

・Oversaw $1M+ in outsourcing contracts and coordinated teams totaling 200+ artists across 4 countries in 3 languages to deliver all visual assets for Capcom’s PS4 debut title (Deep Down)・Built Capcom’s outsourcing pipeline from scratch together with Head of Global R&D; established the model used throughout the rest of this company to this day・Owned Localizaion QA Management for Steel Battalion: Heavy Armor (2012). Took buggiest localization in company history to smooth release in 2 months with no prior experience ・Constructed P&Ls, development budgets, marketing strategies, and live service business strategies to provide company with approaches to revitalizing existing franchises・Selected, contracted, and coordinated vendors and internal dev teams; my projects always came in on-time and on-budget while building and maintaining positive relations with vendors・Voice actor for Asura's Wrath (Street Fighter Announcer Voice); motion capture actor for Dante and Nero (Devil May Cry... Pachinko Machine); hand/arm model for Deep Down hero・Titles include: Street Fighter V, Resident Evil 6, Dead Rising 3, Dragon’s Dogma, Deep Down, Asura’s Wrath, Steel Battalion: Heavy Armor, Dead Rising 2: Off The Record, and 3 Unreleased Titles

・Highly competitive international research grant. ・Topic: “Causes of country-of-origin bias in the video game market and how to overcome them.” ・Conclusion: Games are judged by country of origin, a given title's appeal to local tastes, and the developer behind the title (the developer's reputation), in that order. A region’s developers must continually produce high-quality titles that have at least some degree of local appeal (changing the box art does not suffice) in order to gain an audience and slowly build the audience's confidence that a given title from that region and developer will be enjoyable.