Meet the composer.

What began as innocent play in childhood—with toys, improvisation, and world creation—matured into a deep love for exploring the imaginations of others through music and video games. Music became my training ground for pattern recognition. I used improvisation to discover the rules behind the surface, and reverse-engineered what I found into compositions of my own. I learned form and structure.

After high school, I carried an engineering mindset and had already begun 3D work through CAD and Rhino in school. I completed a transferable A.S. degree from community college. During that time, I picked up guitar and spent my days bouncing between Nintendo, PlayStation and PC—and my Fender and Ibanez. I researched my hobbies incessantly.

When I moved on to university, I explored different areas of study while pursuing a Computer Science degree. After a strong first semester, I changed majors to Electrical Engineering—but it was more out of fear than vision. I had taken on multiple complex systems courses at once. That became a symbolic fall. I "dropped out" after a self-imposed difficult second semester and turned to composing and playing live music, social life, and working to manage the debts I’d taken on.

I found success in music a few years later after moving back home and forming a band with musicians from high school. We got prematurely signed to a major metal label (no actual drummer yet, transparently) ended up touring the West Coast and most of Europe. The entire time we juggled fill in drummers due to their unstable personalities. I met wild, interesting people and lived deep inside another life full of freedom and simultaneous occasional abusive emotional entrapment.

Eventually, I left the band in search of something greater (Lack of permanent drummer/drive/structure). I started a home-based recording and production business working with musicians (WaveTouch Studio) Later, I co-founded a second business making and selling skateboards and longboards (another childhood obsession which turned into business and marketing knowledge)

That’s where I encountered betrayal, and began to see the structure of dialectic manipulation up close. It changed everything I understood about human behavior. I burned my ties to that creation and cut all ties with my ex-partner. The following years were spent in mental fragmentation and painful clarity—reflecting, rebuilding, and seeing the hidden patterns for what they really were. I found a truth.

That time devastated my confidence and my ability to connect socially. I eventually took all those patterns and redirected them toward something I could build alone. I recorded a solo album during the pandemic (At Odds), but it wasn't enough. I used my systems on the lyrical content, struggles and lessons and even reversible time structure design methods, but it wasn't enough of a meaningful medium anymore. I decided to return to my childhood curiosity, armed with a musical understanding of abstraction. I reminded myself: I belong in the larger game industry. I have something to offer.

At this point I had never even thought to peek behind the veil of what makes a video game. It had been complete magic to me, time spent in exile absorbing narrative and choice. The connection from code to experience was invisible to me.

I spent half a year swimming through broken tutorials, trying to assemble a larger picture from the scattered pieces of this art form. Then, through my job, I was offered the chance to study under guidance. That’s when I committed. I enrolled in a course that would push the one thing I had loved but never truly felt I had the time or restraint to refine: art. I flipped it into risk.

Through learning the 3D pipeline—environmental design, layout, world-building—I ended up completing a personal arc I didn’t realize was open. This portfolio is the artifact of that process. It is not just a showcase—it is a record of healing through narrative systems.

During this time I have pushed myself fully into learning everything I can to speed up my process of creating palatable art. I have learned art appreciation far before being able to have a steady hand in applying the fundamentals I can describe so well. The unexpected turn came in the course when I had to revisit programming to finish the course. I knew going into video game design that this would be a big hurdle for me because of college and I used the experience of my mistakes and suffering through to complete my arc and submit.

Beyond these struggles that are course related, I have navigated the fallout of family health and relationships, marriage, a childbirth and other various life changing situations that seem to fall into alignment within a certain timeframe. I am also a music teacher that learns while teaching another, simultaneously developing new theoretical composition techniques in line with the principles learned here. The separate aspects of my life have distilled into a pure repeating form. This is enabling me to focus on and align my goals.

I have a clear target on my goals and weaknesses now with a strategy guide in hand.

I’ve created a mirror through symbolic structures. I use personal history with pain, loss, betrayal, and misunderstanding to build environments filled with narrative potential—each layered with cultural trigger-avoidant metaphors, caution, and care. Stories are deeper and more ancient forms than culture that contain emotions as tones. They are the chords of consciousness.

I do not design for performative tragedy or emotional manipulation. I design stories that touch the edges of real human experience without crossing into spectacle. My system allows deep meaning to unfold cleanly, logically, and metaphorically—giving games the ability to hold all of humanity's themes without breaking the player’s relationship to the world.

The themes I’ve lived are "dark nodes"—reference/resistance points for narrative inversion, containment and survival themes. They create meaning through contrast and allow me to see systems where others see chaos. I use this to create engaging decisions that can teach as well as shock.

I use safe, intelligent abstraction to translate my lessons into play.
It’s my return to where it started—and a design language to carry it forward.

And through my story, you've met my systems.

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Technical Proficiency

My creative pipeline bridges the visual, auditory, and systemic—from early ideation to finished implementation:

  • 3D Modeling & Sculpting: Blender, ZBrush

  • Game Engines: Unreal Engine, Godot

  • Texturing & Materials: Substance Painter, Substance Designer

  • 2D Art & UI: Krita, Photoshop

  • Video Editing & Post: DaVinci Resolve, Premiere, After Effects

  • Sound Design & Composition: All major DAWs (Ableton, Studio One, Reaper, etc.)

  • Scripting & Logic: Basic C++, Python, GIT

  • AI & Generative Tools: FlowiseAI, Ollama, Stable Diffusion, Custom LLM Tool Development

  • Scripting & Logic: Basic C++, Python, GIT

  • Systemic Organization & Flow Design: Trello (multiple uses in systemic design process)