Nice to meet you!

I am a passionate writer with a special interest in video games. I love the way it draws an audience in by implicating them into the narrative, and how it challenges me as a writer to think of player agency and game design.

Like everyone else, I spend a lot of my free time watching films, reading books and playing games, but I can never quite take off my “professional” glasses, which means that I am always analysing style, form and execution of any medium I engage with. If I really need to unwind, recharge and rediscover my own creativity, I disconnect by going sailing.

I am most
productive at a

little cafe with a
latte :)

My writing

I love the grand, epic, sweeping stories where the hero has to move mountains. I love worlds that break the laws of physics, magic that rejects all logic. Fantasy and prophecy, mortal enemies and ardent love that spans centuries, that's my jam.

However, all these things mean nothing if it is not grounded in the heart. The love for a child, the grief of losing a friend, the jitters of a first crush, the loneliness of responsibility.

In my work, I always combine the epic and the small, the grand and the intimate, to create strange worlds that feel oh so familiar.

My experience


SYBO GAMES

As the sole writer at the company, it was my task to take the IP from the massive mobile hit Subway Surfers (4+ billion downloads) and consolidate it into an IP bible that communicates a clear vision for product teams across media for the next 10+ years.


ANAXANTHIA

I was brought on early in the development process to plan out the core story arc for Anaxanthia's unannounced puzzle VR game. This gave direction to the design team.


PIPETTE INC.

I worked on The Man Came Around, a survival game in which one or all members of the player’s party might die along the way. With the highly modular structure, it was a challenge to create a cohesive narrative that works in all game states.

2022 — present

  • Collate all lore and build from it a cohesive and interesting narrative world.

  • Build rich histories and deep mysteries that can be explored for years to come.

  • Lead team meetings and reach out across teams (internal and external) to help them absorb the IP vision.

  • Write player-facing stories both in-game and through social channels.

2022

  • Build from the pitch deck to create a cohesive narrative world that allows for enticing gameplay and meaningful choices.

  • Plot a story arc in which each character grows in conjunction with gameplay.

  • Write and play test game dialogue.

2021

  • Create a compelling narrative within the limits of the game

  • Document the interactive narrative clearly and cohesively

  • Design dialogue so that it functions regardless of game state

  • Find the tone and voice for each character

EDUCATION

The Narrative Department
Spring 2022

MA in Media, Society & Culture Erasmus University Rotterdam
2020 - 2021

BA in Liberal Arts
Amsterdam University College
2017 - 2020

Exchange semester
University of Melbourne
(THE rank 2019: 34)
2019

“Back when I did my studies, there was no game-specific education at university level. Instead, I took a broad intrest in media, and I focused on games whenever I had the chance.”