Chris Hanel is a designer and maker with over a decade of professional experience, six in the gaming industry. He's served in a variety of creative and technical roles, working individually or on teams of all sizes and budgets to deliver content for games, film, web, and print.
|Game/Quest Design||Primary Focus|
|Game Scripting||Primary Focus|
|Cinematics Design||Primary Focus|
|Prototyping & Iteration||Experienced|
|Writing & Content Creation||Primary Focus|
|Hosting & Presentation||Experienced|
|Graphic Design & Branding||Experienced|
|Social Media Management||Competent|
While the game is unreleased (and thus not easily exhibited here), I've been working on WildStar since early 2011-- first as a Content Designer (Quest design, game scripting, writing, etc.) and now as a Cinematics Designer, which involves doing a lot of scripting and a little bit of everything else. There's also plenty of Marketing content that I've assisted with, which you can read more about below.
I've Never Wanted to Buy a Virtual House More Than I Do Right NowMike Fahey, Kotaku.com
The WildStar Flicks series has, from the beginning, been a 100% developer-driven effort to communicate WildStar's personality in ways that regular gameplay videos can fail to demonstrate.
On every film, I work with our team lead and animators to get each sequence scripted and assembled in-game, rendered in multiple passes, and assembled during postproduction. The primarily challenge of this process is the fact that our films rely on a constantly changing game not built for frame-by-frame image rendering. Through constantly improving workflows, developing tools through WildStar's LUA-based addon system, and working directly with our team of engineers, we've been able to push the boundaries more and more with each new episode.
DevSpeak, the Cinematics Department's second major line of content, was conceived early on as a way to get past the pitfalls of having to tell people how good the game is, simply showing it -- and letting people come to that conclusion on their own.
Though no longer involved in the day-to-day production of making new episodes, I supply the capture artists with an in-game suite of tools built for machinima production, as well as contribute to the disclaimers that appear in the introduction.
"RiffTrax is excited to kick off our involvement with fan riffing, and our partnership with Riff Raff Theater is the perfect way to do so."Mike Nelson, Host, Rifftrax & Mystery Science Theater 3000
Riff Raff Theater was a 'fan riffing' group that originated on the forums of Rifftrax.com, the post-MST3k project of Mike Nelson, Kevin Murphy, and Bill Corbett. Utilizing crowdsourcing methods to allow fans to contribute to jokes and get involved with the creative process, we were recruited by Rifftrax to assemble a script for Batman and Robin: a movie so bad, that Mike would do anything to avoid having to watch it repeatedly, including delegating the writing duties to us.
Outside of this collaboration, our performance group (consisting of myself, Dave Atwater, and Todd Gutknecht) did regular shows at the Englert Theatre in Iowa City, IA and released mp3's on Rifftrax's fan-riff marketplace. A total blast of a project, and something I haven't quite given up hope on doing again someday.
The best possible summary of my experience working on Pink Five without writing a full-on blog post: It was my first major project after moving to Hollywood as a bright-eyed kid from the midwest, I was given responsibilities far beyond what my resume suggested I could handle, I learned a decade's worth of experience under the mentorship of director Trey Stokes (who knew my capabilities far better than I ever did), and I wouldn't trade the experience for anything... except *maybe* all the sleep I never got. (Nahhhhhh.)
Part of the Art team at Budcat Creations, with credits in Band Hero (PS2), Guitar Hero 5 (PS2), and Guitar Hero: Metallica (PS2/Wii) before shifting over to a role in design.
Yes, we did ports. Even so, I was pretty proud of the work we did, especially on GH: Metallica. It wasn't the most glamorous project, but we got *everything* from Neversoft's 360/PS3 version onto the Wii and the PS2 -- every non-DLC feature, every character, on schedule, and without destroying the enjoyment of the game from the inside out. I spent the majority of my time poly-reducing and retexturing venues, as well as working on character models. Despite our hard work, and the best efforts of our bosses, Metallica did not make their dream come true, and visit Iowa for a tour of the studio.
(Also despite the best efforts of our bosses, Activision did not keep Budcat open for much longer.)