Narrative Designer · Game Writer · Level · Gameplay
Building worlds worth playing in.
I'm a Narrative Designer and Game Writer. I build story worlds, write the dialogue that carries them, and design the quests and spaces players move through. Four shipped projects so far, across narrative, level, and gameplay design.
Story in a game was never the cutscene for me. It's the reason you take the next step, the history a ruin is hinting at, the voice you can still hear after the controller's down. I'm a Narrative Designer and Game Writer, and that layer is what I build.
Four games, shipped with a team. Two of them started as my idea.
Across them I've written the full story world and every line of dialogue in a game, built character arcs, and set down the lore a setting rests on. When a project needs it I work on the levels too, and on Blight Bound I drew the environment art that ends up on the temple walls.
What pulls me in is the seam between story and play. A quest should be worth doing, not just worth finishing. A room should tell you where you are before anyone opens their mouth.
If you're a studio, a recruiter, or a designer with something worth making, I'd like to hear about it.
Narrative & Concept Design
A thief steals a spirit mask and the forest wakes up hunting. A 2D pixel-art runner built by a team of thirteen. I brought the concept and the story, and designed the mechanics and pickup systems the whole run is built on.
Narrative Design
Your blood is your health bar and your only weapon: spend it to win, or hoard it and starve. A souls-lite vampire game in Unreal Engine 5, where I built the story world and tied its day-and-night conflict to how the game actually plays.
Narrative, Level & Art
A temple turns on the people who broke their oath to it, and Iboju, its last guardian, walks the ruin to set it right. An atmospheric platformer where I wrote the mythology and Iboju's arc, shaped levels, and drew the art on the temple walls.
Concept & Quest Design
Cullen inherits a cursed dagger, and the duty to end it before it claims him the way it claimed the heroes before him. A turn-based dungeon crawler that started as my concept. I wrote the story and every line of dialogue, and set the core mechanics with the team.
Original sketches and concept art — character designs and level layout concepts showing the visual thinking behind the worlds I design.
Original character illustration — a medieval princess portrait framed in ornamental ink linework with hand-drawn floral borders.
Initial rough sketch establishing the spatial layout — circular arena, fallen stone heads, arched columns, and player scale reference.
Refined concept with full detail pass — shaded stonework, broken statues, torch platforms, and movement arrow for player pathing.
Whether you're a studio, a recruiter, or a fellow designer looking to collaborate — I'd love to connect and see how I can help bring your vision to life.
An endless runner gives you almost no room for story. No cutscenes, no dialogue, no time to stop and read. The premise had to be legible in the first five seconds of play and stay legible at speed.
I built the premise into the verb. You are a thief, so you are running away with something, not just running. The stolen mask is the reason the forest is angry and the reason you can't stop. Pickups and power-ups came out of the same fiction rather than being bolted on, so collecting is scavenging and the spirit realm reads as hostile without a single line of exposition.
The mask is the whole story and it lives in the HUD, not the world. I'd push for the forest itself to escalate visibly the longer you hold it, so the fiction has somewhere to go across a run instead of being fixed at the start.
The team had a mechanic before it had a world: blood is both your health and your weapon. Spend it to fight, hoard it and starve. My job was to make sure the fiction paid that tension off instead of decorating it.
I wrote the world so that the mechanic is the theme. A vampire is a thing that must take life to keep its own, so every attack costs the player exactly what the fiction says it costs. The day and night cycle carries the same idea at a larger scale: hunted by the sun, predator after dark, one identity split across a clock. The lore explains the rules the player is already feeling in their hands.
I wrote the world outward from the mechanic, which worked, but I'd get the lore in front of players far earlier. Some of it only exists in documents. Story that never reaches the player is story that didn't ship.
A platformer where the player arrives long after the disaster. There is nobody left to explain the history, so the ruin had to do the explaining on its own.
I wrote the mythology first, then made sure it was visible. The Araya broke an oath and the gods' gift curdled into the blight, so corruption reads as a betrayal rather than as generic damage. Playing Iboju, the last guardian, gives the player a reason to care that needs no dialogue. I worked on the levels and drew the art on the temple walls, which let me put the backstory where the player is already looking instead of in a codex they may never open.
Writing the lore and drawing the walls myself kept it coherent, but I was checking my own work. I'd want fresh eyes reading the rooms cold to find out what the space actually communicates versus what I assumed it did.
My concept, so the risk was mine too. The pitch: a young adventurer takes on a cursed dagger and the duty to end it. The obvious version is a hero story. I wanted the opposite, and it had to survive contact with turn-based dungeon combat.
I made the inheritance the point. Cullen isn't chasing the legend of the Grand Trio, he's cleaning up after it, and the dagger claims its bearer the same way it claimed them. Every line of dialogue in the game is written to keep the pressure on that clock, so the story is asking whether he ends it before it ends him rather than whether he wins. I set the core mechanics alongside the team so structure and fiction were decided together, not one retrofitted onto the other.
The curse threatens Cullen in the writing but the combat never actually makes the player feel it. I'd tie it to a system, something that costs you as the fight goes on, so the dagger is a rule the player has to play around and not just a premise they're told about.