Seven Worlds, One Theme
Movieverse opens with a shared theme of 'Emergency & Disaster'. However, each project is a fully independent website with its own voice and narrative.
Movieverse is a collection of portfolio websites set inside fictional movie worlds, each built around a modern real-world use case.
Movieverse opens with a shared theme of 'Emergency & Disaster'. However, each project is a fully independent website with its own voice and narrative.
Each build maps to real client scenarios: tourism, transportation, corporate & local events, real estate, e-commerce, entertainment and local government.
Can you tell a story through a single-page website? Each world is designed to show world-building, technical capability, and presentation skill.
Problem: If Jurassic Park had opened successfully and become the resort John Hammond imagined, the website would need to make the impossible feel bookable. Not a monster movie. Not a nostalgia piece. A premium island destination where the star attractions happen to be living dinosaurs.
Design Response: I treated it like a modern luxury eco-resort, with a bit of Disney, a bit of high-end travel, and a lot of careful restraint. The site needed to feel polished and desirable before it felt spectacular.
World-Building Layer: The fun was imagining what thirty years of corporate evolution would do to the park. The branding, the guest messaging, the environmental language and even Mr. DNA all had to feel like they had grown up with the business.
Technical Layer: I built it as a full resort-style landing page, with destination sections, attraction-style content, guest information, visual storytelling and a structure that guides visitors through Isla Nublar as though they could genuinely plan a trip there.
Best Detail: Mr. DNA was the one I obsessed over most. I didn't want to drop the 1993 version into a modern website, so I imagined how his design might have changed over the decades if the park's marketing team had kept him alive.
Problem: Seahaven needed to sell perfection without admitting that perfection was manufactured. The organisation behind it would need to present the town as warm, safe and aspirational, while quietly hiding the machinery that makes it all possible.
Design Response: I modelled it on subscription television, lifestyle destinations and glossy planned-community marketing. Less "visit this town" and more "buy into this way of life".
World-Building Layer: The site hints at the control beneath the surface without ever saying it outright. Everything is sunny, polished and reassuring, but there are little signs that Seahaven is not quite as effortless as it pretends to be.
Technical Layer: I built the site around a broadcast-style product experience, with subscription language, promotional sections, partner-style branding, lifestyle copy and careful visual cues that make the whole thing feel just slightly too managed.
Best Detail: My favourite detail is the way the site references systems that would exist to protect the illusion. It still reads like cheerful marketing, but underneath it there is a quiet sense of containment.
Problem: Amity Island had one job: keep the summer season alive. The town would need to reassure visitors, support local businesses and keep selling the idea of a perfect coastal holiday, even with something awful happening just offshore.
Design Response: I modelled it on New England tourism boards, seaside town websites and small local destination campaigns. The design had to feel friendly, civic and sunlit, not dramatic.
World-Building Layer: The tension comes from what the site avoids saying. Beaches, family days out, local pride and community events all carry on as normal, while the danger sits just beneath the surface.
Technical Layer: I built it as a tourism-led destination site, with seasonal messaging, local sections, beach imagery, visitor information and enough narrative hints to let the story creep in without taking over.
Best Detail: The shark is barely shown. That was deliberate. Spielberg knew the unseen threat was scarier, and the site borrows that same idea.
Problem: Walley World needed to convince families that it was the ultimate Southern California theme park escape. Big smiles, big promises, no hint whatsoever that a Griswold-level disaster might be waiting at the gates.
Design Response: I modelled it on real theme park destination marketing, mixing glossy resort language, family-friendly attraction pages and the kind of relentless optimism theme parks do so well.
World-Building Layer: The world had to feel bigger than the joke. I wanted Walley World to feel like a real operating park, with its own rides, mascots, entertainment, themed areas and slightly over-polished promise of family fun.
Technical Layer: I built it as a full theme park website, with attraction cards, promotional sections, resort-style imagery, park messaging and a structure that makes the place feel like it has a whole operating world behind it.
Best Detail: I loved working in the Southern California influence. Even small things like the rounded ride cards nod towards Spanish mission architecture, helping the park feel rooted in a real place rather than floating in generic theme park land.
Problem: Cyberdyne needed to look harmless. Before Skynet, before the apocalypse, before the future collapses in on itself, it is just another technology company presenting its work as progress.
Design Response: I modelled it on corporate technology, defence research and early institutional web design. The trick was avoiding obvious sci-fi styling and making everything feel boring enough to be believable.
World-Building Layer: The danger is in the gap between what the company says and what the viewer knows. The site talks about systems, research and innovation, while the audience brings the dread with them.
Technical Layer: I built a restrained corporate-style website with structured content, research-led messaging, sober visual choices and small narrative details that point towards the future without turning it into a Terminator fan page.
Best Detail: The best detail is probably how normal it all feels. Cyberdyne is more unsettling when it looks like a company you might actually stumble across online.
Problem: This site needed to make something horrific feel completely routine. In a world where Purge Night is normalised, the organisation behind it would need to sell preparation, safety and compliance like any other seasonal retail campaign.
Design Response: I modelled it on modern e-commerce, survival gear retailers and government-backed public information campaigns. It had to feel clean, efficient and worryingly ordinary.
World-Building Layer: The unsettling part is the tone. The site treats fear, violence and survival as consumer categories. Everything is practical, helpful and calm, which makes the premise feel even darker.
Technical Layer: I built it as a functional shop-style experience, with product cards, category-led browsing, basket behaviour and a checkout interaction that lets the world reveal itself at exactly the wrong moment.
Best Detail: You can add items to your cart, but trying to check out gives you the line: "The Purge has already begun. May God be with you."
Problem: This one needed to answer a strange little question: if an early public internet had existed in 1986, how might authorities use a transport website during a disaster nobody could properly explain?
Design Response: I modelled it on public transport information, civic emergency notices and very early web interfaces. It needed to feel basic, functional and limited by the technology of the time.
World-Building Layer: Rather than showing King Kong or explaining the whole story, the site frames the disaster through service updates, evacuation messaging and confused public information. The scale comes through in fragments.
Technical Layer: I built it as a public transportation emergency page, with live-style notices, broadcast-inspired content, service disruption messaging and a structure that lets the crisis unfold through practical updates.
Best Detail: The Roosevelt Island Tramway framing is a nod to Kongfrontation at Universal Studios Florida. Total theme park nerd territory, admittedly, but bringing even a little bit of that attraction back online was brilliant fun.
