Game Writing Portfolio

"You should be careful who you paint as enemies from the stamps and stripes on their shields, little Grasper. We’re not all painted the same."

Written for an RPG setting and story of my invention, this pokey little scene concludes a house-search quest phase and launches the player into an escape sequence. With a severed head, a pinch of betrayal, and a damsel decidedly not in distress into the bargain.

What happens when a curse-stricken wizard, a hooded stranger, and a woeful case of identity theft come to blows in a smuggler's shop?

This screenplay was written for a mock writing test to demonstrate pacing, tension, punchy dialogue, and characterisation (both of original and established characters) in a brief game cutscene of no more than three pages.

"I just wanna know what it was like before. I can't picture it, the Tide being real instead of just... all that, going on forever. All dead and frozen. I know you were there. When it went off."

Written for an action-adventure setting I created, this major cinematic kicks off the game's inciting incident and sets up its trajectory: to seek revenge and uncover a half-buried truth. With a darker tone, this meaty but tight screenplay demonstrates my understanding of dramatic tension, action, worldbuilding, and characterisation.

A branching confrontation about betrayal and the scars of war.

The past, bound with a voice you once knew, has come to confront you...

Inspired by the world of The Witcher books and games, this Twine piece delivers deep dialogue with meaningful branches and consequences. It also demonstrates my skills in writing both original characters/settings and established (even beloved) ones - a crucial tool in game writers' belts.

All's Fair has two versions: the full encounter, with story and flashback sequences, and an abridged piece that drops you right into the meaty stuff (with a few morsels of context).

An abridged, intro-skipping version of my prize-winning interactive-fiction game Faucon, which features three major story branches and demonstrates my chops in branching dialogue and narrative, as well as pacing, worldbuilding, and crafting strong character voices.

You can play the full version of Faucon over on the Games page.

Two sets of item descriptions for fantasy RPG and post-disaster action-adventure settings I created.

These reflect two different tones - humorous/playful and descriptive - and are inspired by the kinds of item descriptions that appear in games such as Baldur’s Gate III, Divinity: Original Sin II, and the Fable series.

Gravestones are a great vehicle for lore, loot, and lessons on why rooting around the dead's domiciles with a dig-before-reading approach is, frankly, asking for trouble.

Inspired by some of my favourite fantasy RPGs, I've created a sheet of gravestone flavour text in two tones - humorous and sombre - with extra environmental design and quest tie-in ideas.

Item descriptions aren't always inventory-only text, so I've written a set that reflects the kinds that might be spoken aloud by characters during gameplay or scribbled in their own versions of an in-game journal. These are across two perspectives - a student/person of interest and a detective - and written for an ‘80s detective/crime-solving game setting.

A character-sheet pitch for an NPC and possible party member in a fantasy RPG setting.

Complete with Bartie barks (how jolly).

A character-sheet pitch for a player character in an action-adventure game setting of my invention.

Finney's a tough young lass. She's on the hunt for her father's killer, and a place where she can finally settle the tug-of-war between the roar inside and the suffocating nothingness outside.

A detailed side-quest pitch for The Witcher II's second act (Iorveth's path).

Geralt's bardly buddy Dandelion has got himself into a scrape. Again. With Scoia'tael commander Iorveth's help, the witcher must uncover the truth about the mysterious forest shooter with a necklace of teeth who tried to take Dandelion out.

With three major branches to pursue, the quest proposal takes The Witcher II's quest-design philosophies to heart. It proposes a seamless new layer to Act II that's standalone but builds meaningfully on the chapter's core narrative tension and themes.

This pitch demonstrates my ability to create powerful and exciting new stories for complex RPGs that make maximal use of existing characters, mechanics, and other assets, with minimal resource cost across other studio departments.

A pitch for a magic system and tumultuous fantasy setting that revolves around the elemental tantrums of four magical Masters.

Centring the logic and philosophy of the magic system, the pitch also touches on the political, cultural, and geographical influences of the Masters' domineering presence in the world of Nassaeil.