Crysis Warhead
PC (released Sep 2008)

Near the end of 2007, I went to Budapest to the newly-opened Crytek satellite studio to give the Level Designers there hands-on CryEngine training. After shipping Crysis, it was announced that they were looking for people to go to Budapest to work on the Crysis Expansion and having already fallen in love with the city, I jumped at the chance.

Working on Crysis Warhead was the most fun I've had working on a game. Since we already knew what had been well-received in Crysis (and what hadn't) it was all about cranking up the dial on what worked and spending time plugging the holes.

Adapt or Perish

“The most awe-inspiring level starts off with you fighting Nanosuits, then moves into a remarkable hovercraft chase over frozen seas [...] after which the level is punctuated by Korean battles against a goliath Hunter, squad combat against aliens, and a fight with another Hunter that puts the closing boss of the original to shame. It's a frenzy of intelligent and original level design, far away from the Far Cry model that Crysis aped.”

- Will Porter, PC Zone (Sept 08)

I was given the responsibility for both the art and scripting of both frozen levels, which were originally one giant level that ended up being split. I took the level from layout until we shipped.

Frozen Paradise

“[Previous encounter] is a wonder, as is a later defensive mission that has you fending off a series of aliens, and requires you to shift focus frequently and use every weapon in your inventory.”

- Kevin VanOrd, GameSpot (Sept 08)

The second half of the formerly-huge ice level. As with ‘Adapt or Perish’ I was responsible for the art and scripting and looked after it until the end of the project.

Below the Thunder

“The mines are an on-foot rollercoaster, with beautifully gloomy shadows in which enemies can lurk, and fights erupting when you least expect it.”

- Christian Donlan, Eurogamer (Sept 08)

I was moved onto this level to script it as people had been shuffled around and it was behind schedule. The artwork had mostly been done, but I did make alterations and additions (such as flanking routes) to try to make the level less linear. I also created all of the scripted sequences as the cinematic team was swamped with work.