Connect lore to gameplay.

Write in-game dialogues and texts.

Design the characters, providing feedback to the concept artist.

Voice-over casting and direction.

Brainstorm on game design with the game designer.

Pitch to publishers and narrative-related documentation.

Contribute in the decision-making process and project management, regardless of their connection to narrative.

Be the bridge between digital marketing and the team, occasionally covering the role of social media manager.

After pitching the game at the First Playable 2022 and First Playable 2024, I actively took part in the follow-ups and design-related decisions based on the game's reception. After the showcase to the public at the Milan Games Week 2024 and 2025, I've been documenting their feedback, including instinctive reactions, taking notes on the player's behaviour.

I've been working constantly with the game designer to improve the consistency of Imperfection. The results were highlighted on Final Round and Critical Glitch.

I've been optimizing the narrative pipeline to fit in the team's development process. Being an ambitious project waiting for funding and developed by a small, fully remote team, this involves a lot of trial-and-error and engagement regardless of the roles.

I completed the cast design based on the actors' styles and strengths to optimise time and resources: they have their artistic freedom, while also being provided guidance within a reasonable time span. You can read more here.

Been writing from linear to branching narrative, using Articy Draft:X for a smoother collaboration between me and the programmer.

All milestones are followed by a post-mortem with the team.

How to support  different people from different sectors. 

To reflect on the narrative pacing: from highly contemplative and explorative, to a dynamic FPS with strategic elements.

To perfect (pun intended) my skills on Articy Draft: X. 

The basics of how to write an editorial plan and align development and marketing necessities.

Constant commitment is golden. It's great to be present and making mistakes that I can own and learn from.

Researched on symbolism to better represent the characters.

Advice on the content and implementation of the dialogues in the game.

Gave distinctive styles to each character's speech.

Presenting the narrative of the game at the Checkpoint Conference on 28th of November 2024.

The dialogues progress in the intensity: from the introductory dialogues to the pressing doubts on faith the Saints struggle with.

The dialogues are divided in different auto-conclusive parts, the theme is maintained as the connecting thread: the player doesn't feel disoriented while reading them regardless of the order they read them in.

Based on the lore, research, and synopsis, each character was designed and fully developed based on their corresponding archetype and the essential style of the game (no cutscenes, complex animations, or fights between the Saints). 

For the conference, I suggested how to organise a comprehensive illustration of the process, aligned with the organizers' requests. I used a Milanote Board to collect all information, deadlines and brainstorming results, highlighting the keywords to use in the script.

There are many ways to tell a story about spirituality and religion, especially in games in which the player story will be part of the experience

You can have a complex, mature, and layered writing style in a game with essential, retro-gaming aesthetics and tools: this contrast will be engaging for the player who experiences both and seeks deeper meaning.

Work on three main dialogue and character development branches leading to three different endings.

Design quests according to the game pillars: music, friendship, time loops, depression, and nostalgia. 

I've given a distinctive voice to each player-character's attitude in order to clearly orient the player and enhance their sense of agency. 

I connected the three main behaviours to three endings: 

• the bad ending (that is connected to the negative and selfish choices); 

• the good ending (reflecting a more stoic and reflective view of the end of the world);

• the perfect ending (going way beyond just fighting the threat, but understanding the villain on an emotional level).

Started the quests from simple tasks, such as delivering food or checking on a pet, to a growing climax and variety of actions, giving the player the chance to build the main character’s personality.

The basis of branching narrative: how it can be incredibly fulfilling for the writer as for the player, but it has to be contextualised so that the consequences are always visible to the player. 

The main character and the scientist, her companion, improvise a ghost story together: combinations of keywords lead to over 50 different finales, all of them metaphorically representing the three endings of the game. We've called them the Ghost Stories, and I personally see them as my lesson on overscope and how to avoid it. 

This was my first commitment to narrative writing and design. I learned how much I enjoy it, how hard it can be, and how amazing it can feel.