how did i get here

Growing up, I spent countless hours watching my dad play video games. Those moments sparked something in me that never really faded. BioShock in particular left a deep impression on me. Rapture wasn't just a level, it was a place that felt alive, layered with atmosphere and intention. That sense of wonder is what eventually led me to pursue Independent Game Production.

My eye for space and design didn't come from games alone. I grew up in a family of architects, which meant travel was a constant part of my life. Buildings that told stories through their structure and materials. That upbringing taught me to read spaces instinctively, to notice how light falls through a window or how a corridor can make you feel small. Art has always been a companion to that, feeding my sense of composition and visual storytelling. Film brought it all together — through cinematography I learned how framing, lighting, and atmosphere can carry emotion and guide an audience without saying a word.

Before diving into games, I built a foundation in film that gave me a cinematic perspective I bring into all my work. Throughout my studies I've thrown myself into every discipline the field has to offer, from 3D modeling and texturing to shaders and programming. I've always believed that understanding multiple sides of production makes you a stronger collaborator and a sharper designer.

What I keep coming back to, though, is level design. No matter the project or the brief, I find myself most energized when I'm thinking about space — how a player moves through it, what they notice, what they feel. Lighting plays a huge role in that for me, guiding the player's eye and setting the emotional tone of a place. All of those influences — architecture, travel, art, film — converge in environmental design, and that's exactly where I want to grow. I want to build spaces that don't just function well, but stay with the people who play through them, the way Rapture has stayed with me.