Between Float and VRChat, I worked with Fun Bits Interactive across game design, coding, audio design, music, and early VR. I moved between creative direction and hands-on implementation, helping small teams explore new ways to play.
HALP! — design, scripting, and sound
Working with a small Fun Bits team and my brother Chris Millar, I helped build an Oculus-funded demo for the first Oculus Touch controllers. Players became a giant robot helping a crashed pirate spacecraft, with physics puzzles and characters that responded to their gestures and actions.
My contributions included game design, scripting, dialogue writing, voice direction, spatial sound, and music. I also built and maintained our daily task tracker and taught teammates to update it as they completed work. We built the demo for Oculus Connect 2 in summer 2015.
Apophis 2029 — player experience and audio
For this asteroid-focused game, I developed player-flow layouts and worked through progression, rewards, feedback, and transitions with the team. I also tested the music on mobile hardware and used Ableton Live and iZotope analysis to recommend improvements to headroom and playback clarity.
My design work included proposals for future onboarding, progression, economy, and post-launch tuning. These were plans for further development, rather than claims about released features.
Lost — spatial sound
During this period, I created and implemented sound design and spatial audio for Oculus Story Studio’s first VR film, Lost, developing an Ableton Live and Unreal Engine workflow to iterate on the sound as the film evolved.
République — collaboration with Camouflaj
I also worked with Ryan Payton and Camouflaj on République in 2013.
Across these projects, I combined experience design, implementation, audio, and practical team coordination.
