STAR WARS
Jedi: Survivor
Indiana Jones and
the Great Circle
STAR WARS
Jedi: Fallen Order
Gears of War 4
Horizon Zero Dawn
Killzone Shadow Fall
Killzone 3
Crysis 2
Crysis Warhead
Crysis
Killzone 3
PlayStation 3 (released Feb 2011)

I joined Guerrilla Games in Amsterdam in 2009 to work on a then-unannounced Killzone 3.

I ended up working on three of the nine singeplayer levels in the game.

I feel I was able to hit the ground running, picking up the proprietary tools at Guerrilla quite quickly, and also transferring my knowledge of 3dsMax, which I hadn't used in years, to Maya. I found the game a joy to work on, with a very strong direction towards intense action and with a very senior team fresh off the previous game knowing what needed to be done in what actually turned out to be quite an ambitious time-frame.

Pyrrhus Evac

“The sniper mission stands out as one of the most intense sequences in recent memory. This game is chock full of fantastic moments.”

- Ken McKown, ZTGD (Feb 11)

I completely re-scripted the on-foot sections from scratch as the last of many owners of 'Pyrrhus Evac'.

I also beefed up the sniper finale by adding counter-snipers and an extra balcony area to add some movement and more cover. Together with those sections, I also maintained the opening on-rails APC drive until we shipped.

Scrapyard Shortcut

“Even the more standard levels that stick mostly to running and gunning do a good job of giving context to your actions and keeping intensity levels high. For instance, you fight your way through a junkyard that funnels you through its corridors in conventional fashion, but then pits you against hovering security drones that deliver death surprisingly quickly, all while a couple of Helghast snipers take aim.”

- Kevin VanOrd, Gamespot (Feb 11)

I took the on-foot portion of the Scrapyard level from a one-page Brief to completion.

I began with paper designs in Visio and then blocked them out in Maya. I set up entities and markers for AI (e.g. waypoints) and systems (e.g. ‘lean n peeks’ for first-person player cover and AI cover) and went through scripting passes where I added enemies, Objectives and placeholder dialogue.
I then iterated based on review feedback and internal playtests before the level went to Environment Art. After this I integrated the changes, fixed things which had broken and finally, fixed bugs that came in.

By the end I became the level owner, fixing bugs and solving integration issues which came up. As external playtests and final Director reviews took place I addressed feedback coming from those while also polishing the level until we shipped.

Interception

“[...] there are those final few minutes, technically another on-rails shooter section but completely at odds with everything else you've played over the last eight hours - a few more of those next time, please guys.”

- Alex C, The Sixth Axis (Feb 11)

I prototyped the final Space Chase exotic gameplay sequence which was viewed as the riskiest part of the game because it was so different from everything else.

I worked on successfully proving out the concept by mounting the player onto a Turret from Killzone 2 (which I hid the mesh of), attaching a fake cockpit mesh (probably the Mech from Killzone 2), and animating the turret along a motion path in Maya.
I scripted in enemies and created the route around the Space Elevator mesh Art had already made which gave the level a visual anchor. I animated in the larger capital ships and placed them along the path.

I took the level to Second Pass and it was then passed off to the Animation Department and I moved on to the 'Pyrrhus Evac' level.