MY RESPONSIBILITES

• Conceptualizing, designing, building and scripting six named Main Quests and one Side Quest
  
• Working within Quest Cells consisting of many disciplines (such as Level Design, Level Art etc) to drive and deliver quests from start to completion, while upholding the excitement and well-being of quest cell members
  
• Iterating and tweaking story beats, gameplay flow and narrative pacing while making sure the project vision is respected and ensuring the success of the story
  
• Collaborating with cinematic teams to ensure coherence and seamlessness between gameplay and cutscenes.
  
• Designing and implementing high level "in-between" quest-moments needed for progression and thematic coherency
  
• Onboarding, mentoring and providing guidelines for newer Quest Designers and various members of the team
  
• Building quest design documents, templates, tools and technical solutions (often together with game designers and gameplay programmers) to improve and standardize our workflow from both a tech and usability perspective
  
• Developing the Quest Team culture and guidelines
  
• Taking on the role of Lead Quest Designer for post-release and DLC
  

Being a life-long Star Wars fan, the opportunity to work on a Star Wars game was in every way a dream come true for me, and when I was offered the role of Quest Designer on Star Wars Outlaws I immediately jumped on the chance. Having worked as both level designer and narrative designer, this was the perfect bridge - getting to both help shape the story while still having one foot firmly planted in gameplay design and scripting. Working alongside a small but amazing core team of Quest Designers (Maximilien Lutz, Sam Luckhardt, and lead Chris Nonis) we would work seperately within 'quest cells', typically consisiting of (but never limited to) a Quest Designer, Level Designer, Level Artist and Writer who would work together to design and build any given quest under the parameters given to them.

With my fantastic quest cells, I worked on seven quests from ideation to finalization, six of which were Main Quests - many of which introduced core concepts to the player. I was also tasked with designing many holistic "in-between" quest-moments and tech solutions, such as planetary dialogue introductions, the introduction of the Reputation mechanic, the introduction of the ship vendor system, handling certain characters when they are not handled by quest scripts, helping out with datapad and in-game computer tech, and more.

Towards the tail-end of the project, roughly two montsh before release, I was promoted to Lead Quest Designer and oversaw the last tweaks and bugfixes, before ramping up on post-release content, a large title update that would see large changes to the gameplay systems and quest structures, while also working on the second DLC - Star Wars Outlaws: A Pirate's Fortune.

Below you will find details on a few of the Main Quests I worked on.

Differing from the previous quests, The Wreck is almost entirely non-combat and instead focuses on traversal, exploration, mystery and spectacle. In order to get off-planet, Kay needs to find a nav computer compatible with her ship, and her newly aquainted mechanic-friend Waka has located one deep within a 200 year old High Republic shipwreck that has proven too dangerous for others to scavange off of. As Kay explores the dilapidated ship, reactives the ship's old reactor and finally finds the bridge, she manages to extract the nav computer, only to be backstabbed by Waka, who has sold her out to Zerek Besh - a new, lethal crime syndicate and Vail Tormin, a bounty hunter who has now tracked her down. In a panicked effort to get away, Kay activates the old ships engines, causing it to collapse in onto itself, allowing her to make a narrow getaway.

As mentioned above, this quest was a big outlier in terms of gameplay as it is one of very few quests in the game with a large emphasis on mood and exploration with barely any combat at all - something the quest cell fought hard for, believing the quest would feel unique because of it, a sentiment which was later shared by the players upon release.

Large efforts were put into big set pieces like climbing the ship's reactor and the explosive finale of the quest in which the shipwreck collapses around the player as they have to dash towards the exit. This involved very complex and delicate scripting and was a very large multi-disciplinary collaborative effort with artists, VFX, cinematics, sound, lighting and more, helping out to make these moments feel as bombastic and exciting as we could make them.

Lastly, this quest also introduces the iconic droid companion to Kay; ND-5 along with Jaylen Vrax, the mastermind behind the heist that the rest of the game is centered around. It is the last large main quest on Toshara, and leads into a sequence in which the player can freely choose which