Scott Stevens Email & Phone Number

Culver City, California, United States

The Hero Workshop is a non-profit dedicated to facilitating interactive storytelling games and workshops for heroes of all ages. We began as an after school program located in the LA area, pivoted to running online role playing games such as Dungeons and Dragons in 2020, and we opened our community center in Culver City, CA in 2022. Our community of heroes meets for a weekly appointment with adventure to meet up with friends, pretend to be wizards, roll dice, and slay dragons together. Founding The Hero Workshop has been a lifelong dream of mine, and working to establish and grow this organization has been one of the most rewarding challenges of my life so far. I started playing Dungeons and Dragons when I was 7 years old, and I can draw a straight line from my first game of DnD with my uncles in Oregon State to becoming a professional Game Designer as an adult. Seeing how this game can ignite the imagination of so many young heroes, how it has broken down social barriers at each of our small tables (we cap most games at 8 players); as well as how it has made our heroes more comfortable with tricky subjects like math and public speaking, is what provides the drive to continue growing our program.If you have a moment and are curious, please visit our website at www.heroworkshop.org to learn more, and maybe even sign yourself up for a weekly appointment with adventure!

Greater Los Angeles Area

Excited to take on the challenge at Firefly Games. My focus will be on developing processes for decision making and maintaining an aggressive production schedule as we scale the company. Firefly works with some of today's most exciting brands and IP, and I'm looking forward to taking Firefly Games into the future of gaming!

Culver City, California

As Lead Designer, I worked closely with both internal and external game teams to bring 3rd party IP to mobile game markets. Developing design processes, managing the communication of design decisions and challenges to teams both local and remote, and maintaining a healthy feature backlog were duties that filled out the regular work of designing and documenting designs in this lead position.

Palo Alto, California

As Senior Game Designer on Star Wars Commander, my first role was to oversee the creation of single-player content. This eventually evolved into managing the content design aspects of the live game, including; scheduling in-game events and tournaments, designing, pitching, then developing new limited-time content, as well as giving voice during scheduling meetings for important tech backlog updates, bug fixes, and tools improvements for the entire team. Being the Content Designer for a live game sometimes involved new feature development, as well as running the creative aspects of presenting new and recurring event features to our players. This would typically include a narrative arc and the supporting art assets, though several new units were designed and tuned for this content as well. All creative was pitched and approved by Lucasfilm, a separate subsidiary of Disney and the gatekeepers of the Star Wars franchise.

San Francisco

At KIXEYE, my role as Senior Game Designer involved developing new features, managing the implementation and/or adjustment of existing features, and paring down the feature backlog by reducing scope of undeveloped features and breaking larger features up into multiple sprints of achievable execution goals. I was also tasked with managing the new user experience and all single player content. While there, I was part of the team that took a game from early production to test market, and I took part in all of the global launch feature set designs.I had two direct reports; a Level Designer and a Systems Designer. I reported directly to the Creative Director and co-founder of KIXEYE.

San Francisco

I happily joined Zynga in April of 2012 to work on the hidden object game Hidden Chronicles as a Game Designer. My responsibilities revolved around supporting the live game by working with the narrative designer and content teams to provide fresh and interesting content and new quests to our players. The best part about this aspect of the job was listening to player feedback and responding quickly - keeping players engaged with an ever evolving game through new quests and hidden object scenes to explore, and eventually new features to play.After Hidden Chronicles, I moved to the new hidden object game in development called Hidden Shadows, a crime-themed hidden object game with adult content. From that project I moved to new IP, where I began pitching new game ideas and working with smaller, nimble teams within the Zynga organization to bring new games to the mobile market. I enjoyed the challenge of developing new ideas within such a large organization, and thinking on the scale that Zynga operates on in terms of millions of players.

San Carlos, California

As Art Director for Hive Media, my responsibilities all revolved around the art department. This included creating a pipeline for the delivery of art for all of Hive Media's projects and pitches; managing the art schedule; assigning and critiquing work; and developing the look and feel of existing game projects, new projects, and pitches; and creating style guide documentation.While there, I was part of the redesign for the existing property "Deadliest Catch", which was re-launched as "Deadliest Catch: Derby Grounds", as well as providing the art direction for the fantasy football social game "MogoBall" and the iPad game "Zombie Nation".

San Francisco Bay Area

Tall Chair, Inc began life as an art services company, specializing in art production and design for mobile devices. Soon after its founding, Scott has been seeking opportunities to expand Tall Chair into other facets of the mobile market. By winter 2009 Tall Chair expanded beyond art services into full development with the release of Sherlock Holmes Mysteries in a partnership with Warner Bros., Goyo Mobile, and Manifest Games. Shortly after the release of Sherlock, Tall Chair closed its first round of funding and began full-scale development of original IP with Cowboys vs. Zombies, and tools for creating interactive content on iOS devices.In Fall of 2010, Tall Chair pivoted it's business model away from the games market and into the interactive media market, specifically focusing on a suite of tools for content creators called The Active Reader.By December of 2010 the pilot project for The Active Reader toolset was shipped in partnership with Cognito Comics called Operation Ajax - an interactive graphic novel based on the works of Stephen Kinzer. Tall Chair announced the official release of The Active Reader in late February, 2010.

As Game Designer for Lamplighter Studios, my job is to develop Game Design Documentation for current and upcoming projects. This often includes writing and creating pitches for new projects, as well as maintaining fresh documentation for ongoing and current work. I am also called on to create a Design Estimate for new projects. This Design Estimate is then used by Production to determine the time and cost that a project requires.

San Francisco

As Producer for Lamplighter Studios the most significant portion of my duties was to maintain the forward movement of the projects I was overseeing. At the beginning of a project this entails several client meetings to define the project goals, parameters, and the schedule. From that point forward I activate the art team and give out the art assignments and scheduling required to complete the project on target. Once a project is activated I monitor its progress, unclog any bottlenecks that develop during the production process and solve any problems that may arise. The Producer at Lamplighter acts as a liaison between the client and the art team, keeping the client updated on the projects' progress, turning in deliverables and relaying any pertinent feedback from the client back to the art leads. The Producer is also responsible for the profitability of a project, so close monitoring of the budget is a daily exercise.

The Special Effects Department for the Church of Scientology. My work there included the creation of 3D scenes using a combination of assets created by myself and other artists on site, as well as the animation of 3D landscapes (water, simple pfx, birds flying by, trees waving in wind, stuff like that). I also prepared a significant amount of web content that is used for these sites:http://goldenagestories.com/http://dianetics.orgI am not myself a member of the Church of Scientology.

This position in the company required client contact to develop the scope of their design needs. Most of this work involved creating album art for CD and DVD - packaging art for the case, any insert art needed (booklets, etc.) and the label for the disc itself.

Bachelor Of Science In Game Art And Design, Game Art And Design

Game Art And Design, Game Design And Production