Resume

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Gregory E. Miller
619-448-3471 / gmiller1@cox.net

Objective:

To work in a positive, creative, and highly motivated environment where my skills and talents will be recognized and put to good use creating top notch products.

Employment:

Sony San Diego Studios                              June 2014-September 2016

Senior Designer

Gnomageddon (Working Title) (PS4): 

  • As one of two designers working on the game I had a hand in all aspects of its creation such as: UI Flow, HUD layout, Character Designs, Economy System, Crafting System, Boss Fights, Level Design / Flow, Game Modes, and Collectables.
  • I created levels and implemented gameplay in Unity using proxy art to mock up overall flow. I created level cinematics using Usequencer to help get across gameplay ideas.
  • I created characters including their abilities and lore, implementing them to the game and testing basic functionality.
  • I was responsible for the lore of the whole game tying it not only into the characters and the levels but all aspects of the game as a unified whole.
  • I created UI mock ups using App programs so we could see working models of how everything could flow.
  • We were still working on the project when the studio was shut down. Samples of gameplay and documentation can be found on my website.

 

Veritas Design Group                               July 2013 – June 2014

Lead Designer/Game Architect

I worked on a two person team designing and developing games and apps for various tablets and phones.   We developed 8 apps in 9 months from concept to implementation to publishing them on Apple, Android, and Amazon platforms

Using the link below you can see the titles we developed.

http://veritasapps.com/home/

Trion Worlds                                                      November 2009 – June 2013

Senior Designer

Defiance (Xbox 360/PS3/PC):

  • As the first level designer hired on I helped to form most of the playable space of the game world working closely alongside the environment artists using Trion’s proprietary terrain editor.  I created detailed documents for the artists to help them understand what was essential for game play and what was more for visual flair.
  • I created temporary population in my play spaces to test game play and mission flow using their proprietary population editor and eventually was tasked with working on final game play for 11 of the mission locations.
  • I also picked up the task of creating the majority of what we call “emergencies” which are pockets of dynamic combat content found all over the game world.
  • Currently I have been creating all of the emergencies for our TV Tie-in content as well as designing and populating one of the combat arenas that will be in an upcoming DLC pack.  Samples of all of the above (minus the DLC content) can be found on my website.

Bottlerocket Entertainment                                 February 2004 – May 2009

Lead Design/ Senior Artist (2D/3D)

Rise of the Kasai (PS2): 

  • I was an Environmental Artist on this game.  I worked in Maya to build objects, terrain and structures to populate the game world.  I worked very closely with the designers to make sure gameplay flowed smoothly through my levels.
  • The process as a whole ranged from modeling, to texturing, to lighting, to implementing effects, and even to revising some of the level design to help with gameplay.

 

Xiaolin Showdown (PS2/PSP): 

  • For this game, I was able to take advantage of my past design experience to become the lead designer.  Working closely with the president of the company and one other junior designer, I helped to create the design documents, all necessary paper maps and charts, tuned variables for all the heroes and enemies, and even built a majority of the stub levels that we used to test out gameplay.
  • I worked very closely with every department to get the game to look and feel as close to the original design as possible.  I also had a lot of contact with both the license owner (WB) and the publisher (Konami) and made sure that I addressed all of their concerns keeping the game as true to the cartoon license as possible.  We used a custom toolset for this game that was built directly into Maya.

 

Splatterhouse (Xbox 360/PS3): 

  • In the early phase of this game I was co-lead designer helping to work out all basic game ideas and game mechanics, I wrote a large amount of the initial design document and was responsible for the gameplay flow of the vertical slice.
  • I was moved off to be lead on Flash (see below) until that publisher went out of business at which time I returned back to Splatterhouse.  At this point I was mainly responsible for balancing out the weapon system and helped out with a large amount of the jump node puzzles (which included the design and implementation of the puzzles).

 

Flash (Xbox 360/PS3):

  • I was the lead designer on Flash and as such was responsible for overseeing the design and implementation of the game.
  • I wrote the majority of the design document and kept it up to date on a monthly basis, created all of the early stub levels to test out game play and worked on all level elements (missions, stunt opportunities, camera cuts, traffic and pedestrian implementation, etc.) with a junior designer while overseeing two other designers as they fleshed out the combat system.
  • I interfaced with every other department making sure that everyone maintained a cohesive vision for the game and worked especially close with the level artists to bring the two main cities to life.  Unfortunately our publisher Brash went out of business and the game was thereby canceled after only a year into the project.  Samples of gameplay and documentation can be found on my website.
  • For both Splatterhouse and Flash our level building tool set was a conversion of Gamebryo tools reconfigured to work in Maya.  Our AI was a visual state machine that was a custom conversion of Visio.

 

Sigil Games Online                                                July 2003 – December 2003

Senior Artist (2D/3D)

Vanguard: Saga of Heroes (PC): 

  • I was hired on as an Environmental Artist.  I worked exclusively in Maya and in Sigil’s proprietary Game Editor to build both objects and structures in order to populate cities.  I was responsible for modeling, texture mapping, level layout, and lighting.

 

Gratuitous Games                                                  February 1999 – April 2003

Senior Artist (2D/3D)

Gex3 (N64): 

  • Being a port of the Playstation version, my primary responsibilities were model and texture corrections to make them work under the N64 restrictions.  There was unfortunately not any opportunity to take any creative liberties since it was being produced concurrently with the Playstation version.

Cruisin’ Exotica (N64): 

  • Being a port of the arcade version, my primary responsibilities were track reduction and texture map corrections to make them work under the N64 restrictions.  I worked hard to make this version look better than any of the previous home versions by including a variety of vertex lighting tricks to add more overall depth to the graphics.

CART Fury (PS2): 

  • This game was another Midway arcade game port so most of my responsibilities were to make sure that all the art transferred over to the home system looking as good as it could.
  • I was able to do some original content by designing and implementing the UI and designing the mini games we added for the home version.

Slugfest 20-03 (Gamecube,Xbox): 

  • We worked once again with Midway in porting over the PS2 version of their baseball game onto the other platforms.  I was in charge of all assets dealing with stadiums as well as being the contact person for the two art teams.
  • I built two original stadiums to be used for the game but they never made the final cut.  They can be seen on my website.

Soldier of Fortune 2 (Xbox): 

  • We worked with Activision and Raven to port the PC version of this game over to the Xbox.  I initially worked on reducing textures and reworking levels to optimize art for Xbox.
  • For a map pack expansion I designed three unique levels and built them using a modified Quake Editor.  Play thrus of these levels can be seen on my website.

Slayers (PS2/Xbox/Gamecube): 

  • This was a “tech demo” we did to show the quality of work our programmers and artists could do on an original title.
  • I was involved in most aspects of it, from design, to concept, to some modeling and textures, but focused mostly on doing animation for all the characters/creatures in the game.  It was only three months worth of work but I was very proud of what we accomplished.

 

Midway Home Entertainment                                          April 1993 – June 1997

Artist (2D/3D)

Double Dragon 5 (SNES/Genesis):

  • I was part of the entire creation process, from story boarding out all the characters and backgrounds, to helping design moves, create animation, and editing sprites.
  • I was also put in charge of leading the Genesis conversion team.

Troy Aikman Football (SNES/Genesis):

  • I created all of the “plays” artwork, did some referee animations, and worked on the Championship Trophy screen.

Fun & Games (PC/3DO):

  • I created a plethora of animating sprites for various parts of the game including all of the art work for the “Whereabouts” mini-game, and redesigned all of the outfits for the “Mix and Match” section.

Mortal Kombat 3 (Playstation):

  • I was Lead Artist, responsible for converting all of the arcade artwork to fit Playstation specifications.  This mostly required scaling and retouching to clean up artifacting. I created some new special FX, and got to design the entire home system interface.
  • I was also responsible for dealing directly with all of the original arcade artists at our Chicago branch.

Mortal Kombat Trilogy (N64):

  • Once again, I was Lead Artist, responsible for converting over all arcade graphics (from all previous MK games) to fit N64 specifications. This time it required not only scaling and retouching, but a lot of palette crunching and frame cutting to make everything fit).
  • I designed and created new artwork for missing “fatalities” and “friendships”, redesigned the interface, and got to work with raw video footage to implement one of the characters from the ground up.

 

Offroad Challenge (Arcade):

  • I created a few dozen animating sprites that were mapped onto flat polygons to create various scene animations (animals on the side of the road, ducks flying, etc.). This required extracting source material from where ever we could find it (usually video tapes) cleaning it up to make it game ready and then animating it in as few of frames as possible.
  • I also modeled a handful of very low poly count objects (houses, ladders, chairs, a stagecoach, a U.F.O.) that were used on various stages.

Midway E3 booth “flying logos”:

  • A fellow employee and I produced half a dozen “flying logos” for use in Midway’s 1997 E3 booth. We did the design, modeling, texturing, lighting and animation for all of them in less than two weeks.

 

SKILLS:

2D/3D Art Software
3D Studio Max (up to version 5), Maya (currently using version 8.5) , Photoshop (currently using CS5).  I’ve also dabbled in  Premiere, Adobe Encore and Adobe Golive

Level Editors
Unreal editor and the Quake Editor to do game and level design.

Personal Information
I am well organized, highly motivated, excellent at multitasking, work well with others, and have a great sense of humor.  I work hard and thrive under pressure.  Video games are my life and my passion and I’ll do what it takes to prove that.

 

EDUCATION:

Bachelor of Art: Graphic Art       1992
Loyola Marymount University

Life Drawing Courses                2001-2003
Watts Atelier, San Diego


REFERENCES:

Kevin Lydy
Former boss at Midway
760-635-0287

Chip Burwell
Former Boss at Gratuitous Games
619-269-2883

Jay Beard
Former Boss at BottleRocket
uglyheroes@me.com

Terrence Yee
Former Content Lead at Trion
858-442-8762

Pierre Hintze
Former Studio Head at Sony San Diego
480-438-5959