An unreleased original IP from EA BioWare.

From 2007 to 2009, I worked as a senior producer and project manager for EA BioWare’s Edmonton studio. Our goal: create a new IP that would revolutionize storytelling in games. We made promising progress with a small team, even producing a five-minute dialog demo that raised the already high bar on BioWare’s standards for digital acting and storytelling.

Alas, this new project was not to be; in 2009, the financial crisis forced Electronic Arts to reduce its ambitions. Our project was one of the two new IPs that got shelved.

A whole new Sam Fisher.

In 2006, I joined Ubisoft’s prestigious Montreal studio to work on the fifth installment in the critically-acclaimed Splinter Cell franchise: TOM CLANCY’S SPLINTER CELL: CONVICTION. Hoping to join the “Dream Team” that had brought Splinter Cell: Chaos Theory to life, I forewent a promotion in Shanghai for a senior associate producer position in Montreal.

Conviction‘s production was a tough, troubled one. Our ambitions were insanely high, yet we had a hard time meeting the expectations of Ubisoft’s upper management. After I left Ubisoft for BioWare in early 2007, the game went through additional iterations before the team finally nailed down the gameplay, and the title was released to critical acclaim.

Sam Fisher never faced an enemy like this before.

TOM CLANCY’S SPLINTER CELL DOUBLE AGENT is the fourth installment in the critically-acclaimed stealth series. This was my second project as producer for Ubisoft, and I’m very proud of my team for shipping a highly-rated game through a punishing schedule.

Double Agent is notable for its deeper storyline, taking Sam Fisher out of the shadows and deep undercover within a domestic terrorist organization operating on US soil. As producer, I oversaw most of the aspects of the game, including the story and game writing, in which I was closely involved. I also oversaw the voice recordings with Hollywood talent in Los Angeles.

At E3 2006, Splinter Cell Double Agent received many “Best of Show” nominations for a kick-ass demo that wowed journalists and game developers alike. To this day, this impossible success is the crowning achievement of my game production career.

The Ghosts are back.

TOM CLANCY’S GHOST RECON 2 was my first stint in AAA videogame production. I was associate producer for the PS2 version, then producer for the port to GameCube. Despite the lukewarm critical reception, these two games are the most profitable of my career.

The PlayStation 2 version was much more than a port of the XBOX version, developed at Red Storm. Instead, the Shanghai team had to create an entirely new game from scratch, story included. We pulled it off–barely. I worked closely with William Trotter, our game writer, and learned tons about the specific needs of game writing.