God of War-inspired level
A metrics and mechanics level with orb door triggers, health bar and health pick-ups, and a rune puzzle, all scripted in Blueprints. I built the layout, whitebox and blockout.
Game Design, Level Design
Credentials & toolkit
Unreal Engine 5BlueprintsUnityC#Jira/Confluencemonday.comTrelloMiroFigmaPerforceMicrosoft OfficeGoogle Workspace
Certified ScrumMasterScrum and Agile certified
6 yearsin software development
M.S. Game DesignFIEA, Interactive Media and Game Design
Producer · Game designer · Orlando, FL
Lilly
Riggleman
Creative Project Lead · Lead Producer · Game Designer · Voice Actor
Bluefall
I had only just joined Enludio as lead producer when Bluefall was handed to me, one month before launch. As project lead, I was told up front that the project was at risk: it was behind schedule, the frame rate was low, and the game didn't yet feel like a cohesive player experience.
The team put their trust in a brand-new producer, and we got to work. I led the team in reprioritization, and a month later, Bluefall ran smoothly on a 3DOF motion platform at IAAPA Expo 2025 in Orlando. Players gave it 4- and 5-star ratings.
- Role(s)
- Creative Project Lead, Lead Producer, Game Designer, Voice Actor
- Studio
- Enludio
- Game Title
- Bluefall
- Showcased
- ● IAAPA Expo, Orlando 2025
- Engine
- Unreal Engine 5.3
- Team Size
- 11 developers
Watch the Bluefall video
Opens on YouTube. Video by Cisco Cruz.
Creative Lead & Producer
- Stepped in as Creative Project Lead for the last month of a six-month production that was behind schedule, with final say on every creative decision.
- Cut unfinished levels and reprioritized the game around what we could deliver well.
- Ran playtest sessions to find the heart of the game, what made people want to keep playing, and pushed the team to exaggerate it.
- Built a live playtest survey for IAAPA with our UX lead and got the team collecting responses at the booth.
Game Designer & Voice Actor
- Rewrote the narrative to fit the game we actually had, replacing a large, overblown story with a new wrapper that highlights our core mechanics.
- Contributed to game design across the experience and ensured game mechanics worked with the 3DOF motion platform hardware.
- Recorded voice lines as the pilot instructor, so the game teaches players how to play as they ride.
Live playtesting at IAAPA
4–5/5 stars
from 30+ expo players rating Bluefall as an overall experience.
I built the playtest survey with our UX lead, put a QR code at the booth so players could answer right after their ride, and got the team steering people to it.
Game Intelligence Intern · Rockstar Games
Rockstar Games
I was a Game Intelligence Intern at Rockstar Games San Diego during my master's at FIEA, working on GTA Online and Grand Theft Auto VI.
Game Intelligence
- Analyzed the footage from the September 2022 GTA VI leak.
- Built Rockstar's first database of the leaked footage, so leadership, developers and other decision makers could use it to inform changes to the game.
- Reported regularly to the VP of Security at Rockstar's San Diego studio and wrote recurring status reports.
- Created the company's first monday.com board for logging suspicious behavior, leaks and activity, so reports could become tickets and be prioritized.
- Role(s)
- Game Intelligence Intern
- Studio
- Rockstar Games
- Game Title
- Grand Theft Auto VI, GTA Online
- Showcased
- ● Xbox, PlayStation, PC
- Engine
- RAGE
- Team Size
- AAA
Founder · Producer & Game Designer
Anna's Ascent
A first-person horror game set in Finland during the 1940s Continuation War. Anna, a member of the Lotta Svärd, is separated from her sled dog while running supplies to the Salpa Line. To save her best friend Valo, and herself, she has to face her past and the creatures trapped in the ruins of the line.
Built by SWAG (Supporting Women's Advancement in Gaming), a female-led team of AAA and indie developers I recruited, with talent from Dimfrost (Bramble: The Mountain King), Undead Labs, Falcon's Creative, Universal Creative, CCP and Rockstar working on the demo.
- Role(s)
- Founder, Producer, Game Designer
- Studio
- SWAG (Supporting Women's Advancement in Gaming)
- Game Title
- Anna's Ascent
- Showcased
- ● Not published yet
- Engine
- Unreal Engine 5.3
- Team Size
- 13 developers
Producer
- Document and share design and development tasks in Jira, Miro, Microsoft Office and Discord: the GDD, systems designs, narrative, game flow, player objectives, characters and references.
- Learn the team's tools (Maya, ZBrush, Substance Painter) to plan development realistically.
- Troubleshoot Perforce with server admins so pushes and project files keep working.
- Present progress to a network of industry veterans, including Epic Games, Rockstar and Paradox Interactive, and bring their feedback back to the team.
Game Designer
- Define the artistic vision, levels and mechanics with the team, and keep them consistent with the game's vision.
- Research successful horror designs so design decisions rest on evidence.
- Script trigger boxes, sound cues and lighting effects in Blueprints.
- Build whiteboxes and blockouts with the other level designers.
- Set dress environments with guidance from the art and lighting leads.
Team art I managed
Every creature, rig and prop below was made by the SWAG art team. As producer I managed the artists and their pipeline, and as a level designer I set dressed the game's spaces with their work.
Game Designer · Shipped on Steam
Bloodsong
A third-person underwater action-adventure where you fight by singing. Combat is built on pitch-matching: you hear an enemy's musical motif and play back the right note.
Made by a 19-person team as a graduate game project over 8 months. It launched on Steam on Christmas 2023.
- Role(s)
- Game Designer
- Studio
- TOTC (FIEA Graduate Team)
- Game Title
- Bloodsong
- Showcased
- ● Steam
- Engine
- Unreal Engine 5.3
- Team Size
- 19 developers
Game Designer
- Designed the musical motif combat system, and managed the programmers, VFX artists and composers who built it.
- Built a playtest pipeline so design priorities came from data.
- Proposed and led a redirection of the main story mid-production. We cut features playtesters used least and simplified the story while keeping it tied to the core mechanic, because we were running out of time.
- Blocked out, whiteboxed, set dressed and lit the tutorial level.
- Helped with bugs and systems across sound, mocap, clipping, optimization and narrative.
Design log: the motif combat system
Goal
Use pitch-matching as the main mechanic in an underwater game about sirens.
First version
Approach an enemy, hear one note, play it back, enemy defeated. Because we weren't making a turn-based game, the single-note loop felt slow and choppy.
The idea
Darth Vader's theme announces him whenever he enters a scene. What if every enemy had its own leitmotif?
The system
Entering combat starts a combat song in C major. Each enemy type has a unique motif in the same key, so motifs layer over the song and still sound good together. The player plays back the loudest note in the motif.
Playtest changes
The target note is randomized each encounter, so players pitch-match instead of memorizing. The target plays loudest and appears on the enemy's VFX musical staff, which teaches C major visually. A cooldown stops note spamming, and enemy attacks fire on the beat so players keep swimming and dodging while they listen.
Result
Playtesters with and without musical training improved at pitch-matching as they played. The mechanic built skill and felt unique, and making it work meant keeping UI, VFX, music, programming and design moving in step.
Prototypes & level design
Prototype Projects
Flutter
A girl goes into the woods of northwestern Indiana looking for a biofluorescent butterfly. Her UV flashlight picks up more than the butterfly's wings. It also picks up blood.
Project Manager, Game Design, Level Design
Off Central Delphine
A first-person experience conveying the events that lead up to a person with OCD trying to leave their hotel room.
Game Design, Narrative, Level Design
VR ship spotting
A VR game that trains Navy personnel to identify ship silhouettes and report them correctly to command. I designed the mechanics and levels, coordinated locations, and was one of the main contacts for the subject-matter experts who defined the training criteria.
Project Manager, Game Design, Level Design
About
About Lilly
I grew up on sports teams and video games: Pokémon on the Game Boy, Spyro on PlayStation, Halo and Call of Duty on Xbox. Both taught me to love game design, from the rules and strategy of a match to the worlds on a screen. Then, in middle school, I played Bioshock for the first time, and it showed me a game could make me feel something deeply.
I earned a technology degree in renewable energy, data systems and tech policy, which took me to Germany to study wind turbines and to Capitol Hill to research fintech policy for Congress. I managed software development initiatives for the U.S. Intelligence Community and won awards doing it. But I knew this path wasn't quite right. I felt a pull toward games like Bioshock and how to make them, so I pivoted to FIEA, the #2 ranked game design master's program in the world.
During our first assignment, I watched people laugh and strategize over a board game I'd designed, and I knew I'd made the right call.
Though not featured in this portfolio, I've also led software teams building VR military simulations in Unreal Engine, as well as AI/ML software, so I bring a deep software background to every team. My goal is to make games and experiences that make people feel, whether that's fear, excitement or reflection, depending on the project, the team and the scope. Teamwork is at the heart of how I work, and I believe the best games come from teams where everyone's ideas matter. I love what I do, and I'm excited to keep creating.
Outside of work, you'll find me cosplaying and playing trading card games. Current media I'm enjoying: The Legend of Zelda: Ocarina of Time.
What my team says
Working with Lilly was like a crash course in what great product leadership actually looks like.
When a project is disorganized or under pressure, Lilly becomes more engaged rather than less.
She creates an environment where people feel heard, supported, and empowered to do their best work.
Lilly developed thoughtful and creative solutions by leveraging existing content and refocusing the team's efforts on the highest-value work.
Contact
Let's build experiences
people feel
Resume, LinkedIn and everything else are in one place.
linktr.ee/lil_riggleman ↗