Kenn White

As announced in Variety: http://variety.com/2016/digital/news/ellation-vrv-e3-announcement-1201795573/

"The new service will offer consumers the ability to subscribe to bundles of content, or pick a la carte channels. Each channel will also offer some ad-supported content, and be available on mobile as well as connected TV platforms including Microsoft’s Xbox One. Ellation plans to announce additional VRV channels, as well as supported devices, in the coming months."

Special Wii-only edition of Jurassic: The Hunted which included new shooting gallery content. Sort of a mash-up between Jurassic and Top Shot Arcade.

ESRB and final submissions work. Deb Haight was primary producer.

ESRB and final submissions work. Deb Haight was primary producer.

Mobile title built with focus on tablet gameplay. Original vision was for a light builder / casual RTS with deck building elements. Game was pivoted to a mini-MOBA for mobile around December of 2014, then cancelled outright in April 2015.

Worked as part of PMO to assist team producers Caryl Shaw and David Steinwedel to ship KIXEYE's first mobile game. Coordinated multiple external teams and shared service groups regarding scalability and environments challenges, tools implementation, and executive communications.

As part of PMO, came on to project to help build and confirm game schedule. Consulted with executive staff and provided consulting for production goals and overall scoping. Worked weekly with producers and project managers on team regarding progress status and communications.

Worked first on TOME as the primary lead project manager, evolving the team's initial use of process and tools while growing the team from 10 to nearly 70 developers, designers, and artists. Moved from team to assist as part of new program management group after hitting internal beta milestones and began coordinating shared service teams with TOME's internal development group while independently assessing risks and schedules of the project overall. Game itself is a faster based, accessible… Show more

Worked first on TOME as the primary lead project manager, evolving the team's initial use of process and tools while growing the team from 10 to nearly 70 developers, designers, and artists. Moved from team to assist as part of new program management group after hitting internal beta milestones and began coordinating shared service teams with TOME's internal development group while independently assessing risks and schedules of the project overall. Game itself is a faster based, accessible MOBA that plays completely thin-client - no patches or installs needed. Show less

Day-to-day and strategic project management and production on a million-dollar-a-month title with more than 500K players in more than 30 countries. We maintained a cadence for monthly releases (with localization). Grew the team by 50% during my time on the project and began regular weekly and daily reports. Evolved the team into Scrum framework with daily standups (team and pod), biweekly sprints, and regular retrospectives. Best damned team a guy could ever hope for.

I managed day-to-day tasking and QA leadership from Alpha through ship on Facebook. Unicorn Parade was a light social MMO which included same-screen synchronous multiplayer (when nearly nothing else offered anything of the kind).

I put together the initial pitch for a Kinect based, non-hunting Cabela's game for kids. I lead production and management on all pre-production work on this game through prototype and first playable stages before departing Activision.

I worked on initial pre-production work, from concept through prototype gameplay under Senior Producer Greg Allen, prior to departing Activision.

I was lead producer for this title in pre-production (before departing Activision), pitched as a Kinect version mash-up between Big Game Hunter and Top Shot Arcade.

I worked on early pre-production documentation and concept pitches alongside Associate Producer Andy Spohn and under Senior Producer George Batog.

At the time, this was the biggest budget Activision Minneapolis had ever spent on a single game. I've also never put so many hours into a single title as I did the year on this game. Ultimately, this game was the third highest selling title that year for all of Activision (only Call of Duty Black Ops and World of Warcraft Cataclysm did better). Was there for every hour of it - from early concepts and story arcs to final submission.

Lead producer for Top Shot Arcade working with Budcat productions (their last title). Homage to "bar-cade" style shooting galleries. Proud that I was able to keep the difficulty curve in-game after executive pressure to make the game easier. Put together focus testing that showed the difficulty was something that gamers wanted in a shooting gallery game. So much love went into this title.

Again worked under Senior Producer Chris Owen and ended up shipping a miracle in a box. Ended up with basically 2/3 the team we wanted, half the budget we expected, and just over half the time we'd planned for while simultaneously producing/shipping Big Game Hunter 2010 (same external studio). Lots of really late nights/early mornings and long weeks.

Cut my teeth in the games industry working on this title under Senior Producer Chris Owen and Director of Production Tim May. Was brought in due largely to my experience in traditional project management, but learned the ropes in games specific production and design.