DIGITAL GAMES
Shane has created and shipped digital games across partners including Marvel and Disney, alongside original IP and internally developed concepts.
His approach is to treat games as the center of a larger experience, extending into physical products, narrative, and other forms of media to build connected worlds that players can engage with beyond the screen.
He also focuses on pushing gameplay forward through technology, leveraging touch, motion, and emerging platforms to create new patterns of play and more immersive, dynamic experiences.
NANOVOR
Think Pokémon … if Directed by Quentin Tarantino.
Nanovor was a creature-collection and battle game set in a microscopic world, where strange, evolving lifeforms lived beneath the surface of everyday reality.
As Chief Creative Officer, Shane built and led a world-class creative team responsible for every aspect of the experience, from concept through execution.
He personally designed and illustrated many of the creatures and characters, which were then translated into 3D assets for the game. Under his direction, the team developed the full visual language of the IP, including UI/UX, in-game assets, and the broader brand system, extending all the way through to marketing and campaign work.
The result was a cohesive, fully realized world where every touchpoint felt intentional and connected.
Animated Series
To expand the universe, the team developed an animated series that brought the world of Nanovor to life beyond the game.
Working with animator Anton Bogaty, the series introduced characters, storylines, and tone, giving players a deeper connection to the world while reinforcing the identity of the IP across platforms.
Beyond the Screen
Nanovor was designed as more than just a game, it was a connected ecosystem.
The world extended into physical toys, comics, novels, and a network of in-universe websites that felt real, but revealed themselves as part of the larger narrative. Each of these touchpoints contained hidden clues, codes, and discoveries that fed back into the core game, unlocking abilities, revealing strategies, and deepening the player experience.
Even physical products became part of the gameplay loop, turning the act of collecting and exploring into something that existed both digitally and in the real world.
MARVEL
For Marvel, Shane created Marvel Kapow, a mobile-first action game built around a simple idea: what if your fingers had the powers of the Marvel Universe?
Using the touchscreen as the core mechanic, players could channel abilities directly through their fingertips, claws extending from taps, Captain America’s shield held and thrown, Thor’s hammer unleashed, web-slinging, and even Hulk-like force, all mapped intuitively to touch and gesture.
The game was structured like a living comic book, with players moving through panels and actively playing each moment, blending narrative and gameplay into a single, cohesive experience.
As Chief Creative Officer, Shane built and led the team that delivered the game end-to-end, while also contributing original character illustrations. A personal highlight was having his work recognized by Joe Quesada, who praised his illustrations, bringing a childhood ambition full circle.
WHIrLEO
Whirleo was an original mobile game built around a simple, tactile idea: navigate the world by spinning.
Using touchscreen and gyro controls, players guided a spinning top character, Whirleo, through a vibrant landscape, solving puzzles, unlocking areas, and discovering hidden paths. Movement, interaction, and progression were all driven by rotation, turning the device and spinning objects to move through the world.
At its core, the game carried an environmental message. As Whirleo moved through each level, players cleaned up pollution and defeated creatures like Pollutos and Smoggers, encouraging younger audiences to think about their impact on the planet.
Extending beyond the game itself, the project partnered with 1% for the Planet, with a portion of proceeds supporting real-world environmental initiatives, connecting in-game actions to real-world impact.
Deadshot
Deadshot was a mobile-first shooter focused on accuracy over navigation. Instead of moving through environments, players jumped between positions, putting all the emphasis on timing, sniping, and decision making.
Built for touchscreen, the experience was fast, intuitive, and stripped back to its core. A bold black-&-white visual style reinforced the game’s clarity and intensity.
GOGOKIDDO
Shane founded GoGo Kiddo to create a more connected approach to early childhood learning, combining storytelling, gameplay, and physical activity into a single evolving experience.
Each week introduced new content centered around a simple concept, like learning a letter or idea. Kids could watch an animated episode, play interactive games, engage in hands-on activities, and sing along to original music, all designed to reinforce the same lesson across different forms of play.
The platform blended digital and physical experiences, encouraging kids to move seamlessly between screen-based learning and real-world interaction. The result was a living, 360° learning system, where education wasn’t confined to one format, but experienced through story, play, and creativity.
