wwwill | marketing

 
One of my areas of specialty is marketing, with a focus in copywriting and social media management. I spent 6 months as a Marketing Intern at Akupara Games, as well as a year as the Head of Marketing for the Northeastern Shakespeare Society.

Here's what I've done:

Akupara Games (video game publisher) - Marketing Intern (June - December 2025)

• Wrote copy for over 200 posts for 12+ different games from the Akupara catalog
• Pitched and executed multiple social media takeovers, shoutouts, video clips, and content calendars across 4 separate brand accounts
• Created assets for use on Twitter, Bluesky, Instagram TikTok, YouTube Shorts, LinkedIn, GameJolt, and Threads
• Credited on Rain World, Airframe Ultra, GIGASWORD, Echo Weaver, Montabi, Dead Pets Unleashed, and Future Vibe Check

Northeastern Shakespeare Society (April 2024 - April 2025)

• Upheld our social media accounts/links and made graphics for a variety of club meetings, events, and announcements
• Coordinated event sign-ups, auditions, and event logistics
• Worked on typesetting and designed posters and programs for our Fall and Spring shows during the academic year

I am a strong supporter of "casual professionalism" and using tight, non-condescending language to reach and connect with an audience. My expertise is in writing, but I've played a role in all parts of the marketing pipeline. I like straightforward communication and having consistent team processes.

You can find examples of my work below. However, if you want to hear more about my work, reach out! I'm always happy to talk about my projects.

my work

A lot of my time at Akupara was focused on making "content calendars" - large spreadsheets of about 30 or so posts that were "evergreen" and could be posted at any time. This meant organizing assets, writing copy, making them presentable for approval, integrating feedback, and scheduling the posts.

While employed at Akupara, I made content calendars for six games: Airframe Ultra, Rain World, Echo Weaver, GIGASWORD, Future Vibe Check, and Dead Pets Unleashed.

The content calendar that saw the most success was for Airframe Ultra, a then-unreleased hoverbike racing game. The AFU Content Calendar posts saw like counts averaging from 500-1500 likes on Twitter. Previous AFU posts did not often see this kind of engagement.

For example, while trailers were usually getting a couple hundred likes, posts like this received little to no engagement, with this one sitting at 32 likes on Twitter. In contrast, my first post achieved 1.9k likes and 226 retweets (a 5900% increase). Even when you look at a trailer posted on the account the previous day, it only received 520 likes, making my post a 360% increase.

The last post on Airframe Ultra's account to reach a comparable amount of likes was a single video back in February - and most importantly, I was able to produce content that consistently reached that 300-500+ threshold of likes on a weekly basis.

The tone of the game was eye-catching - very dystopian, Mad Max-y, brutalist, and punk. Lots of posts were short and simple, in all caps. I wrote the copy to match the bold and brash aesthetic of the game to both draw people in and remain consistent with the established tone. It was extremely fun to write copy for AFU, and it allowed me to play around with structure and figure out what caught people's eye. The boldness of the copy (and the game itself) seemed to draw a lot of people in, so I leaned into that while writing.

You can find other examples on the Airframe Ultra account from June-December 2025.

While at Akupara, I was in charge of organizing several AG Shoutouts - little pieces of bespoke artwork we could post online to celebrate the release of other publishers' games. While I did not create the artwork myself (that responsibility fell to the incredibly talented Mike Shanks from our art team), I handled pretty much every other aspect of the process.

I would start by scouting out upcoming games for the next month and see which ones were from publishers we had good relationships with, which ones would make a big impact in the industry, and which ones would lend themselves well to artwork. I pitched these crossover ideas to the greater marketing team, and once I got the go-ahead, I would plan out what each post would look like. Sometimes this was just a description of my idea, sometimes it was a preliminary sketch. One I sent that off to Mike, I wrote the copy. I would then receive the finished artwork and schedule the post on socials (usually Twitter and Bluesky) for the game's release day.

This pipeline that I structured for the shoutouts worked well because it involved several points of communication with all involved parties (me, Mike, and our marketing leads). I particularly wanted to make sure that the descriptions I provided made sense for Mike and gave him enough of a jumping-off point for his art.

These posts performed above average for Akupara. What was the most gratifying result to me, however, was seeing developers and publishers reach out to us (either publicly or privately) and tell us how much they appreciated our artwork. It was a social initiative that both parties benefitted from.

You can see a few examples or all the posts below (click on each picture in the collage to go to their corresponding Twitter post).

These are all the posts I orchestrated:

This project has not yet been released, but I wrote a song for Akupara's forthcoming roguelike deckbuilder, Montabi. More info soon.