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DEVIL MAY CRY (2025)
Co-Producer
I worked hand-in-hand with the series creator and showrunner to produce both seasons of the show and the upcoming third season. I was deeply involved in all key creative decisions on the series from earliest development stages through animation production and final release. I also personally took on previz & editing responsibilities in partnership with our animation studios.
DMC was an immediate ratings juggernaut with 71.7 million hours viewed in its first 6 months, landing a #4 peak global ranking on the Netflix platform, and achieving massive popular and critical acclaim.
Season 2 holds a 100% rotten tomatoes score and maintained strong audience retention season-over-season, placing DMC among the top performers in both the adult animation AND the video game adaptation markets. Ten percent of viewers re-watched the series immediately after finishing it, and fifty-one percent didn't even know it was based on an IP.
The series has spawned two original songs, partnering with legendary bands Evanescence and Papa Roach, both hitting #1 on the charts.
"Netflix's Best Returning Show Lands a 100% Rotten Tomatoes Score"
— Forbes
"Netflix's 'Devil May Cry' Season 2 Remains One of the Most Visually Stunning Video Game Adaptations"
— Collider
"I Was Shocked By How Much I Ended Up Liking Netflix's Video Game Adaptation After It Revealed a Hidden Depth."
— ScreenRant
"Finally, the adaptation this video game franchise deserves."
— RadioTimes
"Even Better Than the Games"
— Collider
CAPTAIN LASERHAWK (2024)
Creative Executive / Production Executive
I played an early role in story development on the series and supported the project and creator/showrunner in a executive capacity throughout production.
I eventually worked with Ubisoft and our vendors to help develop the creative for multiple published books & manga, physical merchandising, and an original Ubisoft game based on the series. I also participated in screenings and in-person meet-and-greet events to help promote the show.
The series proved equally popular with audiences and critics, yielding glowing reviews that praised its one-of-a-kind approach to IP reinvention in a market that rarely sees large brands take chances with adaptations of popular properties.
"I had more fun with Ubisoft's Captain Laserhawk than most Ubisoft games."
— Polygon
"Captain Laserhawk: A Blood Dragon Remix brilliantly strips its source material for parts and fashions them into a postmodern multimedia experiment whose risky bets pay off big"
— The Verge
"Predictably, it's bloody, brutal, and action-packed, but (perhaps less predictably) it's also sweet, genuine, and earnest to an almost incongruous degree. It all works, though."
— IGN
"A unique take on the connected world of Ubisoft’s properties, with style, substance, and some serious LGBTQ+ representation. Even if you’ve never played the original Blood Dragon, there’s a lot to love here.
— Decider
GUARDIANS OF JUSTICE (2022)
Executive Producer
I wore a number of hats on this project, ranging from writing to editing, visual effects, animation, and event appearances. I was ultimately credited as a Co-Creator, Executive Producer, Visual Effects Designer, and Graphics Designer.
I was primarily responsible for defining and overseeing execution of the unique live-action & animation hybrid visual identity that ended up defining the series. It was this aesthetic hook that helped our low-budget independent series get picked up as a Netflix Original, a relationship that would eventually lead to much larger, premiere animated titles.
The series debuted at CannesSeries before releasing to Netflix, and received positive critical reviews praising its ambition and fearless creative approach.
The artistic courage and visual creativity is worth the watch"
— Paste Magazine
"Beautiful art, hilarious writing, inventive action, awesome music. I couldn't sing this show's praises any higher."
— WinterIsComing
"Guardians of Justice represents a better view of creativity"
— GameRant
"It's such a singular experience that I can't not recommend it"
— ReadySteadyCut
"A gonzo stew of live action, manipulated stock footage, 8-bit weirdness, and animation styles cycling quickly between blocky 1980s Saturday morning TV and Japanese anime"
— Decider