Led development of narrative for the DLC over a one-year period, from concepting to execution to polish - championing our story to the wider studio all the way to launch

Undertook initial concepting into setting, mechanics, characters and theme, then worked closely alongside GD and Art to create a comprehensive Narrative Outline document

Presented narrative pitches to studio directors; adapted based on feedback and pushed back where appropriate

Structured the DLC story into a memorable and impactful three-act framework, incorporating must-haves from other departments into compelling, characterful beats

Created and maintained keystone narrative documentation, including a “Beat Sheet” detailing all major story moments and updated as the project progressed

Designed, cast, wrote and voice directed a new IP-friendly character, Grace, for the DLC

Brainstormed striking but economical cinematics within constraints, wrote first drafts of scripts and worked collaboratively with the Animation team to bring these to reality

Wrote clear, evocative narrative briefs for key assets from audio to animation to art

Wrote design documents for several narrative-heavy puzzle and combat mechanics

Served as de facto Lead for 11 months for a team of narrative designers while waiting for a new Lead Narrative Designer to be hired

Allocated, oversaw and delegated work; mentored and offered support to teammates

Reviewed pitches for side content from more junior narrative designers and fed back, gave guidance and signed off on concepts which were then pushed into active development

Worked with production to construct realistic schedules within tight timescales

Pulpy, vivid narrative design for quests; unifying gameplay, environmental storytelling, VO and text through compelling stories

Developed a unique voice for player character Carla - including backstory and motivation - and wrote all her cinematics, conversations, VO, barks, etc

Conceptualised and wrote text journals to guide players and develop worldbuilding/lore

Wrote clear yet punchy text for major tutorials, skill descriptions & UI menus

Directed voice talent in the booth and assisted in casting

Mentored junior teammates in narrative design; gave constructive feedback on and edited the work of others

Created and maintained key documentation used throughout the studio, including LocKit, player-facing terms glossary and character "cheat sheets"

Represented the game and studio during press interviews, and at Gamescom '22

Early narrative concepting and ideation around a core vision and several key goals

Presented 3 story outlines expressing different potential themes (and their key beats, plot twists & endings); based on feedback, refined to a final accepted story approach

Gave suggestions to align narrative with gameplay

Explored player expectations of the survival horror genre and ways to tell a more diverse and interesting story without falling back on stereotypes

Offered general guidance on characters, enemies, locations, gameplay and tone

Narrative design for twice monthly LiveOps events (7+ million players each month)

Developed exciting narrative arcs that spanned months and created characters to appeal to our players, including bold and unapologetic fan-favourite Nadia Fox

Wrote snappy, flavourful dialogue

Playtested, gave feedback to ensure consistency and maintained documentation

Crafted Style Guides & Tone of Voice documents used across the brand

Worked with partners to localise text across dozens of diverse regions worldwide

Wrote copy across many other areas: tutorial text, UI text, promo copy, patch notes, press releases, website text, app store copy, etc

Dead Island 2 Interview: "A Love Letter To Old Hollywood B-Movies" — Screen Rant

Dead Island 2 Hands-on and Q&A – Devs Comment on Game Length, HELL-A Setting, and Open World Boredom — Wccftech

Dead Island 2's Developer Explains Why Its 'Dev Hell' Reputation Has Worked Out Well — Video Games Chronicle

Creative UK — Breaking Into Creative Careers

The University of Nottingham

Stories Made to be Played: Why Games Are Best When They Accept They're Games — Published in SUPERJUMP