Currently leading earned media strategy for Invincible VS, a fighting game based on the Invincible universe. The work focuses on how a game enters public conversation rather than how it advertises.

The game sits between a major entertainment IP and a competitive fighter, which means balancing two audiences: existing fans and players evaluating a new entry in the genre. My role is shaping narrative framing, planning moments that generate organic attention, and aligning messaging across publishing, creative, community, and partner teams.

One example: a live character reveal at EVO 2026, built around a fan-driven melt mechanic where social engagement and on-site activations controlled the pace of the reveal in real time.

• Nearly 20,000 organic hashtag activations across platforms
• Highest single-day pre-order performance outside the holiday window
• Most-covered title across press, YouTube, TikTok, and Twitch in its competitive window weeks before launch
• Individual content beats generating hundreds of thousands of organic views

The same philosophy extends to post-launch content. The game team already had a Rex Splode Towel Skin trailer in the works. The campaign job was building the moment around it: instead of a standard DLC announcement, a character-driven push with a Rexposé calendar, a giveaway, and the kind of shameless confidence only Rex would have. The community treated it as entertainment, not a sales pitch, and press coverage followed the joke rather than the price tag.

Trailer by the Invincible VS game team. My work was the campaign around it.

The goal is simple: when players hear about the game for the first time, it should feel like something they discovered, not something they were targeted by.

League of Legends had grown far beyond the game. There was Arcane, esports, cosplay communities, novels, music, and millions of people who each had a different relationship with the IP. But there was no shared brand architecture connecting any of it. Each piece worked on its own terms, and previous attempts to unify them either flattened the differences or didn't stick.

My job was to build the connective tissue: a brand foundation flexible enough to hold all of it together while still feeling authentic to each audience. The work involved defining long-term positioning, creating shared language across publishing, product, and creative teams, and pressure-testing it against real decisions. The goal was to get the brand ready for its next 15 years and the new audiences that would come with it.

That framework became a reference point across the organization, and I eventually applied the same approach to TFT, 2XKO, and R&D projects at Riot.

Strategy docs don't move people. So I wrote and produced this manifesto (edit by Summoner) to bring the positioning to life for the teams carrying it. It made Rioters cry, from brand-new hires to fifteen-year lifers. That's how I knew we hit the mark.

Led creative strategy for Holiday Ops, the biggest annual tentpole for World of Tanks, a franchise with over 350 million registered players across PC, console, and mobile.

The core question was how to re-engage a deeply invested player base without making them feel marketed to. The answer was to stop making advertising and start making content. The campaign centered on a cinematic featuring Vinnie Jones as the seasonal ambassador, not as a spokesperson, but as a character. The community engaged with the film on those terms, talking about the humor and the personality rather than the promotion.

It worked well enough that Wargaming brought Vinnie Jones back for a second consecutive year, expanding his role and recording 250 additional lines of custom voiceover. In live service games, a client renewing a creative bet is the metric that matters.

This one is older, and it stays on the site because it's where the playbook was first proven at scale. The Galaxy Note9 was Samsung's flagship productivity phone: ninth generation, $1,000, nearly identical to its predecessor, in a market where 95% of US adults already owned a smartphone. Nobody was switching phones for a spec bump.

Research found the audience that would pay for performance but never considered Samsung: gamers, 50 million of them. So instead of making an ad about the phone, we put the phone inside the game. We created the Galaxy Skin, a Fortnite character in Samsung's colors that could only be unlocked by buying a Note9, and gave it to Tyler "Ninja" Blevins to debut in front of 20 million viewers. Players rushed to retail stores just to demo the phone.

A device made for productivity became the phone for gaming: over 400 million earned impressions, a 20x increase in mentions of Samsung in gaming, a +31 point lift in gaming-device perception against the key competitor, and a 243% increase in pre-orders among 18 to 24 year olds.

Silver Lion, Cannes · Silver Clio · D&AD Pencil · Webby Award

One result that never made the case study: I met my wife on this project, and it's when we both realized we wanted to build our careers in gaming. Best campaign outcome to date.

I research and write long-form reports and articles on how technology changes behavior before companies fully recognize it. The work spans FutureVision's own publications and pieces for Fast Company, studying new platforms, business models, and communities to find patterns worth acting on.

I also led the consulting side of R/GA's program, working with teams at Nike, Samsung, Epic Games, and Google who were using this research to guide real product and business decisions. When you spend enough time looking at how people actually behave, you start to see the same motivations repeating in different contexts. That perspective carries into everything I do.