Other Projects

As part of ITP 380: Video Game Programming, I built a Portal-inspired 3D game as my final project, working directly with SDL and OpenGL rather than a commercial engine.

My primary role was gameplay programming. I designed and implemented multiple levels, each focused on exercising a different mechanic: physics-based 3D platforming, a functional Portal gun with correct portal physics, real-time portal window rendering, movable blocks, laser puzzles, audio and dialogue systems, and a pause UI.

As part of CSCI 467: Introduction to Machine Learning, I developed a data-driven analysis of short-term queue time prediction for Disneyland’s Space Mountain. Using historical wait time data augmented with temporal, weather, and holiday features, I evaluated multiple regression and learning-based models.

A tuned XGBoost model achieved the best performance, predicting queue times within 15 minutes on test data. Error analysis highlighted the impact of unmodeled factors such as ride closures.

As part of CSCI 420: Computer Graphics, I built a first-person roller coaster simulation inspired by SeaWorld Orlando’s Mako using modern OpenGL. I generated the track by sampling a Catmull–Rom spline and sweeping a cross-section along it, computing a stable tangent–normal–binormal frame to keep the camera and rails smoothly oriented through steep turns and drops.

To drive the motion, I approximated coaster speed with a gravity-based energy model, converting height changes into velocity along the spline for a more believable sense of acceleration. To ground the experience spatially, I textured the environment using satellite imagery of SeaWorld Orlando, resulting in a POV ride with per-fragment lighting for depth and readability.

As part of EE 477: MOS VLSI Circuit Design, I designed and implemented a full-custom 4×4 systolic array for matrix multiplication using Cadence Virtuoso. The architecture was built around a grid of pipelined processing elements that stream input matrices through the array while accumulating partial sums in a regular, scalable dataflow. Ripple-carry adders were built from a research-derived CMOS full-adder cell optimized at the transistor level for area and delay.

I completed schematic design, full-custom layout, and functional verification of the array, balancing correctness, area, and timing constraints. The final design was awarded Best Design out of over 100 teams, based on PAD (power consumption, area, and delay) efficiency.

As part of CTIN 452: Themed Entertainment Design, I collaborated on a concept for an immersive walkthrough experience inspired by Pink Floyd’s The Dark Side of the Moon. The project focused on translating the album’s themes and emotional arc into a cohesive spatial and sensory guest experience.

I contributed to key experiential design decisions, led the graphic design for the final pitch deck below, and performed light audio engineering to dynamically shape background music: adjusting volume, texture, and emphasis to support specific moments during the presentation.

As part of CTIN 486: Alternative Control Workshop, I served as the director of a physical, body-based plumbing game. Players crawled beneath a cabinet and, while lying on their backs, used their fingers to plug “leaks” as they appeared—an interaction inspired by Whack-A-Mole. Each leak integrated a Hall effect sensor to detect magnetic finger plugs, along with an LED and buzzer to signal activation and a vibration motor to provide haptic feedback.

The project was intentionally ambitious and ultimately overscoped. Without dedicated mechanical engineering expertise, a substantial portion of development time was spent constructing the maze-like pipe system, leaving limited opportunity for iteration and playtesting. This experience clarified the importance of aligning physical scope with team capabilities, and I’m actively planning a Version 2.0 that applies these lessons through a tighter scope and more polished execution.

As part of CTPR 456: Introduction to Art Direction, I constructed a hand-built white model of BoJack Horseman’s house. Using screenshots from the animated series, I derived detailed dimensional breakdowns, produced scaled drawings, and fabricated the final model from hand-cut foam core.

To provide context and scale, I added minimal scenic elements, including palm trees and a to-scale 3D-printed figure of BoJack Horseman.

As part of EE 354: Introduction to Digital Circuits, I developed a rapid prototype of Pac-Man implemented on a Nexys A7 FPGA using Verilog in Xilinx Vivado. To keep iteration fast on a short timeline, we intentionally simplified the visual system with a sprite-less approach, avoiding long synthesis cycles. This pushed the focus toward core digital design problems, including implementing game logic as finite state machines, encoding the maze and movement rules directly in hardware, and coordinating input handling, game state updates, and display output within a synchronous system.

As part of CTIN 488: Game Design Workshop, I served as the producer of Thirteen Safes, a 4-player social deduction board game. Over three weeks of concepting, development, and playtesting, our team iterated on a physical prototype to refine both mechanics and pacing. The final game is a Clue-inspired experience in which a hidden “killer” conceals their possessions to mislead innocent players during a preliminary killing phase, enhanced by a custom audio track.

As my first time in a leadership role on a creative team, this project pushed me to develop facilitation skills alongside design instincts. I learned how to guide brainstorming sessions toward actionable outcomes, leverage creative dissonance as a strength, and make clear decisions when consensus wasn’t possible.

As part of CTIN 191: Survey of Themed Entertainment, I conducted a detailed analysis of the design decisions behind Mario Kart: Bowser’s Challenge at Universal Studios Hollywood. The analysis examines how ride system technology, spatial layout, queue design, and augmented reality elements are integrated to support gameplay clarity, guest flow, and narrative cohesion.

Particular emphasis was placed on the balance between physical sets and digital overlays, the onboarding of first-time riders through pre-show and queue environments, and the ways in which familiar IP was adapted into an attraction setting.