Eager to work on more ambitious projects, I joined Ninja Theory, a studio renowned for its storytelling and artistry. As a designer on DmC: Devil May Cry, I worked on a game that brought together two things I love: Ninja Theory’s cinematic storytelling and Capcom’s deep, mechanically rich gameplay. I also had the opportunity to design a gesture-based combat system for Fightback, a mobile game published by Chillingo.

My next career move brought me to Rocksteady, the studio behind Arkham Asylum, one of my all-time favorite games. Joining a team whose work I considered a benchmark for game design was intimidating, but their warmth quickly made me feel at home. I formed lasting friendships, and working on Arkham Knight became one of the most rewarding chapters of my career. I could happily have stayed for years, but the studio’s shift toward live service games prompted me to reconsider my next step. After a short time on Suicide Squad, I decided to pursue a long-standing ambition: moving to North America.

As a lifelong Capcom fan, I had already been fortunate enough to collaborate with their Japanese designers on DmC: Devil May Cry, learning valuable lessons in game design. That experience made joining Capcom Vancouver, then their only Western studio and best known for the Dead Rising series, especially meaningful. I joined as a senior level designer and soon stepped into a lead role, adapting to a new country, greater responsibility, and a different development culture. Unfortunately, my time there ended when head office cancelled our project, closed the studio, and moved development back to Japan.

After my time in Canada, I moved to Los Angeles to join the Star Wars Jedi team at Respawn Entertainment. I also fulfilled a lifelong dream of attending GDC and E3. Having followed these events from the UK for years, it felt surreal to attend in person and see industry legends like Shigeru Miyamoto on the show floor. Stepping into a lead role toward the end of Fallen Order allowed me to build on my leadership experience at Capcom. It also reinforced how much I enjoy supporting other level designers, giving them the freedom to make creative decisions and the guidance to grow. I’ve found that work just as rewarding as building levels myself.

When the COVID-19 pandemic hit, I decided to move closer to the UK while staying in the US. I joined People Can Fly, which had recently opened a studio in New York. I pictured a subway commute with the New York Times, a coffee, and a bagel in hand. Instead, I worked from my apartment throughout my time there, as the studio never returned to the office. Despite missing that in-person connection, I loved working on Project Dagger with such a kind, honest and friendly team. Leading an international level design team brought its own challenges and rewards, and I particularly valued learning from my colleagues in Poland and their approach to development.

When Project Dagger’s publisher shifted the game toward live service, I found myself at a familiar crossroads after my experience on Suicide Squad. With Respawn Entertainment now offering remote work, I took the opportunity to reconnect with old colleagues and rejoin the Jedi team. I continue to work as a lead level designer and am excited about what we’re creating.