Hi, I'm Kevin

Game Producer & Business Manager
Game Production & Management Student (B.A.)

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Spotlight

METRO 2039

Story-driven FPS in post-apocalyptic Moscow
Production Intern @ PLAION

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More Projects

FLOAT

Hand-tracking puzzles that train prosthetic AI

• Meta
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CATENA

Asymmetric couch co-op

• Steam
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MERCURY

Controller-free VR mecha brawler

• Meta
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UMBRA

Top-down sci-fi horror where light is your weapon

• Steam
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BONEHEARTS

Quirky 3D platformer about a divided skeleton

• Steam
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About Me:

Hi, I’m Kevin.I’m a Game Producer from Neu-Ulm, Germany, with a business background and a passion for games. After my apprenticeship as a banker and my degree as a Business Manager, I spent several years in the financial sector and public administration, including time in Australia and New Zealand.Today, I study Game Production & Management at Neu-Ulm University of Applied Sciences. With my teams, I’ve shipped games to the Meta Horizon Store and Steam, and I usually carry more than one hat: I produce, and I take care of the sound and the trailer around it. What drives me is the bridge between rigid structure and creative vision: clear processes that give a team the room to make something good, and a launch that gets the game seen.Right now, I’m completing my internship in the Production team at PLAION, where I’m learning how a release comes together on the publisher side.For a detailed overview of my background and skills, you can find my CV below:

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© 2026 by Kevin Bruno. All rights reserved.

FLOAT - A MIXED REALITY EXPERIENCE

Production & Visionkeeping

As the producer and vision keeper of FLOAT, I led a six-person interdisciplinary team through the entire development lifecycle. Developed for the Frankfurt-based startup MyoMod, the project required the seamless integration of their proprietary muscle-contraction bracelet to validate the 11 primary human hand gestures. I was responsible for the strategic production planning, stakeholder communication, and the implementation of a tailored Agile workflow that guided the project from a hardware-specific prototype to a successful full release on the Meta Horizon Store.Beyond my leadership role, I acted as the vision keeper by contributing to game design and managing the entire sound design and marketing funnel. This included trailer production, social media strategy, and public relations, ensuring a cohesive brand identity from day one. Today, FLOAT maintains an outstanding rating on the Meta Horizon Store, a testament to the rigorous quality standards.As a team, we won the VARJO Student Contest for Outstanding XR Projects, the German Multimedia Prize, and the Best Student Game Award in the category ‘Meaningful Game’. I also secured the team’s acceptance into the Meta Start Program. I coordinated high-profile appearances at Gamescom 2025, GermanDevDays, and the Next Reality Festival, and presented our technological approach to industry leaders such as Bosch Rexroth and at various Science Slams.

Critical Learnings & Post Mortem

Developing FLOAT required bridging the gap between academic development and professional MedTech requirements. The primary challenge was the technological leap of maintaining 72 FPS while mastering hand-tracking on mobile hardware. By implementing a professional workflow in Codecks and maintaining a weekly reporting structure, I managed frequent feedback loops and ensured 100% transparency for our partner, MyoMod.This structured approach led to exceptional customer satisfaction; our client was extremely pleased as we met all core requirements and research goals, resulting in a successful release on the Meta Horizon Store. The project’s rating and subsequent awards confirmed a vital lesson: in VR, technical optimization must guide every design decision from day one.

• Post Mortem

Milestones and Achievements

- Exhibitor: HNU Kickstart 2025 & 2026
- Exhibitor: Gamescom 2025 | Business Area 🔗
- Exhibitor: Gamescom 2025 | Indie Area 🔗
- Exhibitor: GermanDevDays 2025 🔗
- Exhibitor: Play! Con 2025 🔗
- Exhibitor: Hackerkiste Augsburg 2025
- Exhibitor: Next Reality Festival 2025 🔗
- Exhibitor: German Multimedia Prize mb21
- Exhibitor: TINCON 2025
- Exhibitor: HNU Werkschau 2025
- Exhibitor: GG BAVARIA 2026 🔗
- Exhibitor: Nordic Game 2026 🔗
- Exhibitor: GamesFestival 2026 🔗- Winner: Varjo Academic Campaign 🔗
- Winner: HNU Kickstart 2025 | Best Game-Award
- Winner: Best Student Games Award 2025 | Meaningful Game 🔗
- Winner: German Multimedia Prize mb21 2025 | Main Award 🔗
- Winner: Digital Responsibility Award 2026 🔗
- Winner: New Realities Competition 2026 🔗- Nominee: XRC25 | Young Talent 🔗
- Nominee: XRC25 | Community Award 🔗
- Nominee: Bayerisch-Schwäbischen Innovationspreis Transfer 2026 🔗
- Nominee: GamesPreis2026 🔗
- Nominee: Auggie Awards 2026 🔗- Member: Meta Horizon Start Community

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MERCURY

Production & Visionkeeping

For Mercury, the world’s first fast-paced hand-tracking mecha brawler, I acted as producer and vision keeper. I steered our six-person team through an intense three-month cycle to deliver a bold technical showcase for the Meta Horizon Start Developer Competition and the Meta Horizon Store.Beyond production management, I deeply influenced the game’s immersive feel: I spearheaded the native bHaptics integration, executed the complete sound design, and acted as the project’s vision keeper - ensuring a consistent experiential, aesthetic, and emotional direction across all disciplines.On the business side, I managed the launch on the Meta Horizon Store, produced the trailer, and led our festival and award strategy. I submitted Mercury to events including Laval Virtual and the Auggie Awards. It was nominated for the Next Reality Award 2026 in the Young Talent category and reached the community voting.

Critical Learnings & Post Mortem

While Mercury achieved its technical goals, the release served as a profound lesson in how the success of a previous project can lead to a delayed start and extreme time pressure from day one. To protect the quality of the core loop, I executed a radical scoping strategy, cutting 50% of planned features to ensure a functional submission for the Meta Horizon Start competition in December 2025. This milestone served as a critical stress test, but the race toward the final February 2026 store release left little room for user-centered iteration.At trade fairs, we saw the game’s true potential: once players understood the mechanics, the feedback was overwhelmingly positive, and the high-speed combat proved to be fully functional and engaging. However, we discovered that even a polished and fun technical core is worthless if the player cannot navigate the entry experience without guidance. Our success at events created a situation where players thrived with our personal assistance, but the lack of unbegun playtesting for the public release led to significant user frustration with our complex gesture-based controls.This experience proved that technical innovation requires a disproportionately strong onboarding process to bridge the gap between developer intent and player reality. Consequently, I have established Unattended User Playtests as a non-negotiable milestone for all future projects.

• Post Mortem

Milestones and Achievements

- Exhibitor: HNU Kickstart 2026
- Exhibitor: GG BAVARIA 2026🔗- Winner: HNU Kickstart | Best Mechanics-Award🔗- Nominee: XRC26 | Young Talent🔗
- Nominee: XRC26 | Community Award🔗- Entry: Meta Horizon Start Developer Competition 🔗

Feel the game with

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UMBRA

Production & Creative Direction

I assumed the lead role in project management, guiding our four-person team through the full development period. Beyond maintaining the project's vision, I was heavily involved in game design, art asset creation, and handled the entire sound design.On the publishing side, I spearheaded the release management. I successfully initiated and executed the launch on Steam, edited the trailer, and managed promotional activities at trade fairs.

From Game Jam to Steam

UMBRA stands as a testament to efficient scope management and the power of a clear, focused core mechanic. Developed during a game jam and refined over a rapid two-week sprint, the project proved that a disciplined development cycle can result in a highly a polished, releasable product.By strictly prioritizing the light-based combat system and ensuring a clean path to publishing, we took UMBRA from concept to Steam release in two weeks. Players received it very positively, and the project taught me how to run a full publishing pipeline under intense time constraints.

Milestones and Achievements

- Exhibitor: HNU Kickstart 2025
- Exhibitor: Game Connect 2025 - Bayern meets Hessen 🔗- Winner: 1. HNU Game Jam 🔗
- Winner: HNU Kickstart 2025 | Best Sound-Award- Selection: Steam Event: "Games Composed in Germany" 🔗

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BONEHEARTS

Producing & Marketing Support

As Producing & Marketing Support at Deus Draconis Interactive, I assist the core team part-time in increasing the project's visibility during its active production phase. My responsibilities include creating marketing assets for Instagram and LinkedIn, managing social media strategies to drive Steam Wishlist growth, and coordinating trade fair applications and travel grants.*Through this work, I secured the team's spot on the Games Bavaria community booth at Gamescom 2026, coordinated their exhibition at GamesFestival 2026 in Munich, and drove their nomination for the GamesPreis 2026. I also got Bonehearts selected for the Steam Festival "Games Composed in Germany" and submitted the game to the Best Student Games Award.I also support the team's business planning by assisting with funding applications.

Milestones and Achievements

- Exhibitor: GamesFestival26 🔗
- Exhibitor: Gamescom 2026 🔗- Nominee: GamePreis26 🔗- Selection: Steam Event: "Games Composed in Germany" 🔗

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CATENA

Production & Visionkeeping

As the sole Producer of CATENA, I led a five-person interdisciplinary team through the entire three-month development cycle as part of our fifth-semester project at HNU. I was responsible for the complete production framework - sprint planning, retrospectives, and backlog management - implementing a tailored Agile (Scrum) workflow using Codecks, Miro, and Excel, while taking full ownership of roadmapping, risk management, and clearing blockers to keep our milestones on track.Beyond my leadership role, I acted as vision keeper by contributing to narrative and game design, and by handling the complete sound design - sourcing and recording audio, then hand-implementing the full technical sound integration in Unreal Engine myself. I also produced the game’s trailer and managed the marketing funnel. On the business side, I managed the complete Steam and itch.io store presence, from storefront setup to store page copy, positioning CATENA for its Gamescom 2026 showcase.Together with the team, I secured CATENA’s spot at Gamescom 2026 through the RAW Talent booth, following a Games Bavaria delegation trip that helped pave the way for our exhibition. After the semester, I continued to lead production toward Gamescom and the Steam release. I also submitted the project to the Best Student Games Award and the German Multimedia Prize.

Critical Learnings & Post Mortem

After the playtesting deficits we hit on MERCURY, I made structured testing the foundation of CATENA. Before the first asset was even in the game, we ran weekly playtests with a different group of external testers each time, feeding problems, improvements and new ideas straight back into development. The result was a fully playable, remarkably stable build at a point in the schedule where none of our earlier projects had been that far. With only one programmer, CATENA was technically our cleanest project, and the stable base even freed him up to take on art-technical work such as effects.The main weakness was scope. We deliberately planned small, especially in art, because three to four months is little time for a polished vertical slice. Over time, though, the scope grew from idea to idea, and the strong technical state made it too easy for me to say yes. At some point I should have said no and protected the core first. As a result, art assets reached the game later than on FLOAT or Mercury, and at the end of the semester we still had placeholders in the build and no real UI. We missed the semester timeline slightly, even though we had always planned to keep working on CATENA until Gamescom.The gap in game design capacity made this harder. Balancing, enemy types and other design tasks were absorbed by our programmer and me, which only worked because the technical foundation was so solid. For future projects, I define design ownership early and escalate gaps sooner instead of compensating for them quietly.After the semester we again planned more than we could comfortably deliver. Fixes and art assets went into the game until the last day before Gamescom, and we shipped the product we wanted, on time. As the producer, I had to cut additional stages, a reworked tutorial and, after Gamescom, our Steam Input support, falling back to native Xbox controller support to protect the release timeline. Our artists delivered outstanding work, and CATENA won the Best Art award at HNU despite remaining placeholders. The ambition was right for the project, but it cost the team many hours of sustained overtime.

• Post Mortem

Milestones and Achievements

- Exhibitor: HNU Kickstart 2026
- Exhibitor: Gamescom 2026 🔗- Winner: HNU Kickstart 2026 | Best Art-Award 🔗

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