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 0 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. For the Rex Splode Towel Skin, instead of a standard DLC announcement, the team built a character-driven campaign around Rex's personality from the show, complete 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.

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. More coming.

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.

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.

Led creative strategy for Holiday Ops, the biggest annual tentpole for World of Tanks, a franchise with over 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 additional lines of custom voiceover. In live service games, a client renewing a creative bet is the metric that matters.

An ongoing body of work. Multiple FutureVision reports a year, plus regular thought leadership in Fast Company. All of it tracking how technology changes behavior before companies fully recognize it.

The research guides real product and business decisions for teams at Nike, Samsung, Epic Games, and Google. Spend enough time looking at how people actually behave and you start to see the same motivations repeating in different contexts.