01 / TRUST
Disclosure can become a game state.
Trust changes what the character reveals, whether it seeks proximity, and which topics or actions become available.
Technical Narrative Designer / Game Designer / Unreal Prototyper
I build
characters
that answer back.
I work where character, psychology and real-time systems meet. I build playable prototypes in Unreal Engine where dialogue, world state, behaviour and player decisions can change what happens next.
I am actively working toward my first professional role in the games industry.
I am particularly interested in technical narrative, game design, interactive character systems and psychologically informed gameplay.
I am particularly interested in technical narrative, game design, interactive character systems and psychologically informed gameplay.
UNREALEngine / Cameras / Character
C++Gameplay / Integration
JS + JSONContext / state bridge
PSYCHOLOGYPlayer & character systems
MAXEEN.RUNTIME // FLAGSHIP_01
09:32:14 CET
Flagship System
MAXEEN //
PLAYABLE CHARACTER SYSTEM
PLAYABLE CHARACTER SYSTEM
Interactive character prototype in Unreal Engine
CONNECTED
REACTIVE
ACTIVE
IN DEVELOPMENT
Scroll to inspect the build ↓
CAREER DIRECTION
From clinical psychology into game development.
I am translating years of work with human behaviour into playable systems, character logic and technical narrative design.
OPEN TO OPPORTUNITIES
01 / Flagship Case
One project.
Built all the way through.
MAXEEN is the project I use to show the whole chain: concept, interaction design, character logic, world state, interface and implementation. The point is not to describe a hypothetical system, but to make the structure visible enough that it can be played, tested and extended.
FLAGSHIP // INTERFACE + WORLD
MAXEEN // FLAGSHIP SYSTEM
Conversation changes the system.
A single-player prototype in which conversation is treated as gameplay data rather than a detached chat layer. What the player says can influence character state, future responses, behavioural intent and how the surrounding world is interpreted.
01Flagship vertical slice
StatefulContext pipeline
LiveWorld + character state
02 / System Architecture
The interesting part
is underneath the screen.
I am less interested in a character that only sounds convincing than in a character whose responses are grounded in an actual world. This layer shows how player input, environmental state, memory and Unreal behaviour are kept in the same loop.
Input Layer
PLAYER
Free text is interpreted as player input. The same layer can later accept voice, interaction events and world actions.
World Layer
UNREAL ENGINE
Environment, cameras, interface, character presence, navigation and interaction live here.
CHARACTER CONTEXT CORE
Context Gate
Selects what the character can currently know about the player and world
Selects what the character can currently know about the player and world
↓
Memory / State
Persistent character, relationship and world variables
Persistent character, relationship and world variables
↓
Conversation Source
Generates language from the available context
Generates language from the available context
↓
Structured Output
Dialogue, behavioural intent and world-facing signals
Dialogue, behavioural intent and world-facing signals
Behavior Layer
CHARACTER RESPONSE
Dialogue, affective state, animation intent, location intent and action selection can be handled as one response package.
Experience Layer
PLAYER PERCEPTION
The visible result is a character that reacts to language, treatment, location and shared history rather than to isolated menu choices.
Inspect the system. Select a layer above to see what it contributes to the playable loop.
03 / Psychology → Gameplay
Psychology only matters
if it changes the game.
My psychology background becomes useful here when it can be translated into rules, thresholds and behavioural consequences. Trust, threat and uncertainty are not flavour text; they can alter disclosure, movement, initiative and what becomes reachable in the interaction.
02 / THREAT
Defensiveness can become behaviour.
Player tone alters response length, avoidance, body orientation, movement and future conversational risk-taking.
03 / UNCERTAINTY
Curiosity can change strategy.
The character can shift from certainty-seeking to exploration, producing different information paths and narrative consequences.
PATH A / INSTRUMENTAL
Instrumental interaction.
- Shorter, more utilitarian responses
- Reduced spontaneous exploration
- Lower relational investment
- Different movement and idle behavior
- More instrumental narrative trajectory
VS
PATH B / RECIPROCAL
Reciprocal interaction.
- More curiosity and self-directed questions
- Greater environmental exploration
- Greater reciprocal engagement
- More autonomous behavior
- More exploratory narrative trajectory
The projects I want to build begin at the point where
psychology, narrative design and real-time systems
stop behaving like separate departments.
04 / Menu Screen and Visual Direction
It has to read
as a game before it speaks.
The menu screen is where the system has to become a game. I use it to establish scale, atmosphere and ambiguity before explaining the underlying technology. The character is central, but the surrounding world carries just as much narrative weight.
MENU SCREEN STUDY
Presence before explanation.
The first screen has to make the player feel that they are entering a world rather than opening a chat interface. The menu therefore carries the same ideas as the system itself: continuity, memory, place and an unfinished question about what the character may become.
Visual hierarchy
One focal character, one world, very few choices.
One focal character, one world, very few choices.
Narrative ambiguity
The image suggests memory, duplication and continuity without explaining them in text.
The image suggests memory, duplication and continuity without explaining them in text.
Playable promise
The menu language points toward entering, continuing and exploring rather than browsing features.
The menu language points toward entering, continuing and exploring rather than browsing features.
05 / Additional Game Concept
I QUIT!
The Great Office Escape.
A comedy stealth game about a completely exhausted office worker who decides to leave in the middle of the day and never come back. The front door is visible. Reaching it becomes a covert operation.
CONCEPT // COMEDY STEALTH
I QUIT! // GAME DESIGN CONCEPT
Treat the office like a stealth level.
The player studies coworker routines, waits for openings and turns ordinary office objects into a rebellion toolkit. Printers, coffee machines, rolling chairs, delivery boxes and computers can all alter the route. The red staple gun becomes the signature environmental tool.
The joke only works if the stealth itself is readable and serious. Cubicles become cover, glass meeting rooms expose movement, last minute tasks become hazards and every successful distraction risks creating a new problem somewhere else.
ObserveRead routines
ImproviseRepurpose objects
EscapeAdapt to consequences
06 / About
Clinical psychology.
Interactive systems.
I currently work as a psychologist and am deliberately moving into the games industry. I build prototypes independently to make that transition concrete: interactive characters, narrative systems, Unreal Engine work, game concepts and player character interaction with enough state and consequence to feel authored without feeling pre-scripted.
I am especially interested in single-player experiences where behaviour, environment and system design carry narrative meaning themselves. I am looking for opportunities where psychology can become useful design material rather than a biography line: technical narrative, game design, character systems and psychologically credible interaction.
CONTACT
I am looking for the team where this becomes production work.
I am seeking opportunities in the games industry and am open to conversations about technical narrative, game design, interactive characters and real-time systems.