Andrew Alfonso is a hands-on, versatile storyteller, solution-driven producer, and overall humble guy, that can bring your game writing, performance capture, ADR direction, voice direction, narrative design, and localization to new heights.Whether you’re looking to create a story for a new IP, or you need a fresh, unique take on an existing brand, or you're in search of game-writing or narrative services, I'm the person that will take your ideas and give them life.My writing and voice direction work can be found on award-winning titles such as Monster Hunter: World and Street Fighter 6, both are prominently featured in my Portfolio page.

WHAT THE PROFESSIONALS SAY

"(Andrew's) experience, knowledge and experience working with international recording teams and talent makes the entire production process streamlined and efficient. His organization, planning and communication kept our projects on-budget and on-schedule and made it a better experience for our celebrities and talent."
Keith Arem, CEO, PCB Productions (Persona, Like a Dragon, Call of Duty, TitanFall, Bioshock)

"Simply put, Andrew is a fantastic guy to work with. We hired him for contract work several times when I was at IGN because of his combination of professionalism, speed, work ethic and positive attitude."
Jeremy Dunham, Zenimax Online Studios, Creative Director

"He's professional, knows his subject matter and puts everything he has into his work. He's also very personable and very easy to get along with."
Christopher Roper, PlayStation, Group Manager - Product Management, Web & Omnichannel

"(Andrew) is always one step ahead of you, offering quality advice in a friendly and positive manner. Anyone would be hard pressed to find someone else as dedicated and passionate about their work."
Brandon Tochisaka, Microsoft, Product Development Manager

Contact

Whether it's producing, in-development writing or consultation, or even voice direction, I'm here to help you make your games better. Drop me a line at any of the options below, and let's talk about what I can do for you!

PROFESSIONAL WORK

I have worked on over 40 titles during my 20 year career. My work on the titles below best exemplify my skills as a writer and producer who can bring out the best in my team.
Click on any image to read about my achievements and find professional samples of my work.

My full credits list can be found here.

PERSONAL WORK

This is a collection of works that I've done during my free time. Click on any image to view more.

FULL CREDITS

Narrative Director & Cinematics Producer
Unannounced TitleDesign Consultant
Monster Hunter World: Iceborne
Monster Hunter: World
Street Fighter IVLocalization Director
Street Fighter 6
Monster Hunter 4 Ultimate
Monster Hunter 3 Ultimate
Street Fighter x TekkenEnglish Translator & Editor
Ace Attorney Investigations
Ace Attorney: Trials and Tribulations
Apollo Justice: Ace Attorney
Apollo Justice: Dual Destinies
Asura's Wrath
Marvel vs. Capcom 3
Mega Man Star Force series
Monster Hunter Tri
Monster Hunter Freedom Unite
Resident Evil 5
Tatsunoko vs. Capcom
Zack & Wiki: Quest for Barbaros' Treasure

STREET FIGHTER 6

I am the Localization Director and Lead Writer for Street Fighter 6. I lead the creative direction of the English writing and also do the bulk of the writing myself, while also responsible for ensuring all 13 languages are simultaneously localized.Accomplishments
- Over 50% of media reviews praised the high quality of writing and voiced dialogue.
- Wrote 50+ cutscene scripts for the game.
- Wrote a 6,000 line script for the real-time commentary voiceover.
- Wrote 100,000 words of in-game text while directing external writers and mentoring internal staff.
- Co-directed the entire English voiceover with our partner studios, including the new commentary feature.
- Wrote over 50,000 lines of NPC and avatar lines/barks with a team of two other writers.
- Created audition sheets, and casted all roles with the game director.
- Created worldview and style guides for all characters, established speaking styles and personalities.
- Supervised internal QA in tandem with the game director.
- Supervised motion capture for cutscenes and in-game animations.
- Managed a team of 30 writers.
- Facilitated character design & lore checks for Kimberly, Dee Jay, Marisa, Manon and A.K.I. with diversity in mind.
- Collaborated directly with SNK on the Terry Bogard and Mai Shiranui updates.
- Collaborated directly with K-Pop group aespa for special voice over collaboration

These are a collection of barks that I wrote for the game to go along with the "Perfect Parry" mechanic. In Street Fighter 6, if you perform a parry right when an attack is about to hit, the game will go into slow motion and activate a Perfect Parry, and the characters will say a quick quip, less than 1.5 seconds. I wrote two variations for all 18 characters in the game, all the while maintaining their distinct personalities.

This was one of my favorite cutscenes to write in Street Fighter 6, and not just because of the Akira motorcycle homage! Bosch, the player character's rival in Street Fighter 6's World Tour mode, has a great back and forth exchange here with Juri, one of the popular anti-heroes of the series.

This is sample dialogue from Ryu's World Tour mode in Street Fighter 6. Being the protagonist of the series and having a personality that focuses almost entirely on honing his fighting skills, we had the challenge of making his dialogue entertaining and not a slog to read.We crafted his personality to be a man who is well-read, eloquent, but has the capacity to joke around in a very straight-man fashion. Ryu was one of the many characters who fans found endearing during World Tour.

The real-time commentary in Street Fighter 6 was a brand new feature for the series, and I was asked to hire the talent (including WWE's Zelina Vega), write all 5000 lines of dialogue and act as the voice director during recording. It was a learning experience as myself and Keith Arem from PCB Productions helped coach the commentators on how to perform in the booth. We were able to get great performances out of all four talents and make a feature that could have been terrible one of the shining points of Street Fighter 6.

MONSTER HUNTER: LEGENDS OF THE GUILD

For the Netflix animated feature, Monster Hunter: Legends of the Guild, I was credited as Creative Review in a producer role.Achievements
- Reviewed the scriptwriter's work from first until final draft to ensure it was aligned with the setting and style of the Monster Hunter series. We were able to bring it much more in line with the lore of the series, which fans noted in their reviews.- Worked with Capcom internal art teams to share 3D assets with production studio.- Facilitiated feedback between the production studio and creative director after 3D assets were reworked for the feature film.- Set up milestone deliveries for 3D asset deliveries from production studio.

MONSTER HUNTER: WORLD & ICEBORNE

For both Monster Hunter: World and the expansion Monster Hunter World: Iceborne, I was credited as Design Consultant.Accomplishments
- Worked with the game director to establish new global branding terminology for the series.
- Co-directed the entire English voiceover.
- Wrote the 5,000 word cutscene script for the Iceborne expansion.
- Created the game bible for the projectile, including background lore, speaking styles and personalities.
- Wrote all of the title updates for both World and Iceborne (over 100,000 words)
- Worked with Square-Enix writers for the Final Fantasy XIV collaboration.
- Worked with CD Projekt Red writers for The Witcher 3 collaboration.
- Worked with Ubisoft's writers for the Assassin's Creed collaboration.
- Worked with Guerilla Games' writers for the Horizon Zero Dawn collaboration.
- Wrote the screenplay for the live-action Monster Hunter movie collaboration.
- Co-directed Milla Jovovich's voice recording for the live-action Monster Hunter movie collaboration.
- Coordinated internal focus group tests to improve handling of combat mechanics.

Monster Hunter: World had an exciting collaboration with The Witcher series, which saw Geralt of Rivera get transported to the world of Monster Hunter.I was involved in voice directing for both the Monster Hunter cast and Doug Cockle, the voice of Geralt. I also wrote the in-quest dialogue, which featured branching dialogue we designed specifically for this collaboration.This was a big and fun challenge for myself, as we collaborated with CD Projekt's narrative team to ensure we did justice to Geralt.The end result was a collaboration unlike anything that Monster Hunter had seen, and one of the most satisfying things I've worked on in my career.

The last update to Monster Hunter World: Iceborne featured a collaboration with the Monster Hunter live action movie, and I was fortunate enough to direct Milla Jovovich for her in-game dialogue and cutscenes. Unfortunately this was during the start of COVID so I had to do everything remotely, but I think the end result was terrific.On top of that, I was also asked to direct the mocap and facial capture for the cutscenes, since the Artemis character is based on Milla Jovovich and the team requested foreign talent for the role.

For Monster Hunter: World and Iceborne, all of the cutscenes were written and recorded to match the original Japanese voice length and lip sync.This cutscene introducing the final major boss of the game, Fatalis, was one of my favorites as it was extremely challenging to write compelling dialogue with the lip flaps found in this scene, but after we recorded everything, I felt it came together very well.I also like the final line of this scene that I wrote, which calls back to an earlier scene where our cast comments how they're not up against any regular monster, but they're fighting against history.

This is the Safi'jiiva raid event for Monster Hunter World: Iceborne, which features dialogue and barks from a script that I wrote and also voice directed. These lines were written and recorded while the event was still in development, and I worked closely with the level designers to ensure that we got as many details right as possible. Due to feedback from QA, we ended up with some text-based barks with short voiced quips as we ran out of time for recording, but I believe they still communicated information to the player well.

RED'S CURIOUS ADVENTURE

This is a Twine project I did for Susan O'Connor's Narrative Masterclass workshop.For this assignment, we had to design a sub-quest with branching paths based on Little Red Riding Hood going to her Grandmother's house.With this quest, I wanted to present the player with branches that offer different emotional responses, but gave the player the same reward at the end, as I feel that many players tend to game-ify their choice and choose the side that benefits them most in the game, instead of what is most interesting in terms of narrative.

You can play the demo on Itch.ioThe full dialogue tree can be found by clicking the thumbnail below.

ORLANDO'S SMOKES

This is an assignment from Susan O'Connor's Narrative Masterclass workshop that I reworked into a Twine project.Initially this was a layer cake dialogue exercise but I decided to expand on it and create a branching NPC dialogue tree when the player is presented with the opportunity to take a new quest.With this script I included additional rewards and consequences depending on the player's choice, while allowing the player to delve into the lore of the game a little.

You can play the demo on Itch.ioThe full dialogue tree can be found by clicking the thumbnail below.

THE ANGLER

The Angler is a sample screenplay intended to act as the opening introductory cutscene for a science fiction game set in deep space. This idea was originally for a sci-fi comic book I had in mind, but I decided to work it into a quick screenplay sample for portfolio purposes.Description: Saorise Cunningham is an engineer on the interstellar cruiser Amaterasu, which is transporting thousands of humans across the galaxy to a planet named the Red Giant in order to colonize it.Link to PDF Format (9 pages)

THE MERCY OF KANNON

The Mercy of Kannon is a sample screenplay that fuses cutscenes and gameplay segments together, and is intended to be a boss battle in an fantasy heavy, action-based game.Description: Akira Murasame is a deadly warrior that acts on behalf of The Chapter, a mysterious organization that controls everything seen and unseen in this alt-universe take on Japan. Something had happened that caused Akira to turn against The Chapter, who then killed his entire family. He returns to Osaka to settle the score, and faces off against Aoi Sumida, a fierce sorcerer of The Chapter, who is looking to end the Murasame bloodline forever.Link to PDF Format (5 pages)

THE DEAL WITH HADES

Description: The Deal with Hades is a one scene cinematic script that was written for the Narrative Department’s Masterclass II workshop. We were asked to take the scenario of “Orpheus and Hades bargain” and construct a cinematic around the climactic moment where Orpheus bargains with Hades for the return of his beloved, Eurydice. My partner, Lee Seymour, constructed the basic scene with no dialogue and only stage direction, and then I was tasked with filling the scene with dialogue and any additional stage direction when needed.Link to PDF Format (4 pages)

ARTICLES

Why I Love is a series of guest editorials on GamesIndustry.biz intended to showcase the ways in which game developers appreciate each other's work. I contributed this entry about Soulcalibur, and how it affected my life and professional career.

PRESS

Here are a collection of interviews, articles, etc. where I talk about the titles I've been a part of.

NHK Game Planet
I was asked to appear on NHK's documentary show Game Planet along with other Street Fighter 6 developers to talk about our work and some of the behind-the-scenes stuff that happened. Here I talked about localization and how me and my team worked together with the SF6 team to create authentic-looking environments for the game.

GDC 2016: Taking Monster Hunter Worldwide
I was fortunate enough to go to GDC in 2016 as a speaker, where I delved into the localization of Monster Hunter 4 Ultimate, which is still considered one of the best written titles in the entire series. Here I talked about the process of our localization, and some of the changes we made for the western version of the title.

Interview: Electric Playground & Street Fighter 6
Victor Lucas was kind enough to invite me onto his show, Electric Playground to talk about working at Capcom and about the localization of Street Fighter 6.

Interview: Monster Hunter World's localization (RockPaperShotgun)
Rock, Paper, Shotgun loved the writing and puns in Monster Hunter so much that they wanted to interview the localization staff about it! We went into some of the cat puns and other writing choices in this interview.

Interview: How Monster Hunter finally found success in the United States
I was interviewed by the VentureBeat staff for their article about Monster Hunter's success outside of Japan, where I spoke about localization's role in the success of the franchise.

IGN's Up at Noon
The IGN staff had Monster Hunter creator Kaname Fujioka on the show to talk about Monster Hunter: World, and I was there as his interpretor!

Interview: Localization Segment on Monster Hunter World's BTS
I appeared on a special behind the scenes series documenting the making of Monster Hunter: World. I spoke a little bit about my work as design consultant and localization director!

Interview: Localizing Monster Hunter for the West (SiliconEra)
I was interviewed by the SiliconEra staff for their article about Monster Hunter's localization process and how we went about developing the game for a global audience.

Localization Blogs for Monster Hunter 3 & 4 Ultimate
This is a collection of blogs I wrote about the localization of Monster Hunter 3 Ultimate and 4 Ultimate prior to release of both games. There's a lot of insight on how we named our monsters and how we worked with the dev team, especially on Monster Hunter 4 Ultimate.