About

The first lines of code I ever wrote were Java — for Minecraft hacking clients. I'll leave it at that.

In late 2018, I was working at a U-Haul and pursuing a CS degree online when I started making mods for Beat Saber. A Silicon Valley startup noticed, hired me, and bought the rights to the mod. I dropped out. Turns out building things was always going to win over studying them.

From there I spent five years at SideQuestVR — frontend, backend, game development, infrastructure. Five years of building whatever needed building.

In March 2026, I was laid off. So here I am — sitting on a game I've been building in my spare time for four years, thinking "well, I might as well try shipping this thing."

So that's the plan. Ship the game.

BEATSHIFT ARENA started in 2022 as a multiplayer experiment. I wanted to push the limits of what Unity and Photon Fusion could sync across a network. The first idea was simple: when you take damage, you grow bigger. When you die, your body becomes part of the map.

That was interesting enough to keep going.

Then I got curious about syncing music over multiplayer. I tried raw audio analysis, moved to native libraries like Rubberband and Aubio for beat detection. Eventually went back to my roots and built on Beat Saber's map format — tools like ChroMapper and Beat Sage had made map creation trivial. I took songs I'd made, dropped them into the game, and synced the weapons to the beat.

That's when it clicked. The shooting felt intentional. The cube character made sense. The neon aesthetic made sense. Then I added wall riding, grapple swinging, momentum transfer, and the game started feeling like something that should have always existed but never did.

I won't pretend I'm a lifelong arena shooter devotee. MW3 era Call of Duty, Titanfall 2, Quake on my grandma's computer when my uncle wasn't looking. But traditional arena shooters get repetitive. BEATSHIFT ARENA exists because I wanted a game where the music, the scaling, the arena shifts, and the movement all conspire to make sure no two moments play the same.

The rhythm game DNA comes from Pistol Whip, Beat Saber, and the early VR rhythm wave. I almost made this a VR game at one point. I've been producing music since I was about 10 — saxophone, piano, guitar, FL Studio. The game's soundtrack spans genres I've never touched before, and it all syncs.

Solo dev. Code, art, music, netcode, shaders, game design. Every system in this game passed through my hands.

BEATSHIFT ARENA is launching into Early Access. The core mechanics work and they're genuinely novel. But I need players in the game telling me what works, what doesn't, and what they want to see.