In this page, you’ll find:
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what I believe truly matters, when it comes to writing (and life);
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a summary of things I did as a writer and game designer;
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examples on how to be cringe, possibly;
- my CV for download.
May I have your attention?
French Thinker Simone Weil once said that “attention is the rarest and purest form of generosity.” We hurdle through an eerie, placental era of human life that tries to have us think of attention as currency. It is, as much as time is money.Attention is our time. It is our lives. As someone who seeks the attention of others, I steer clear of weaponised approaches to eye-grabbing. I believe in seeking relevance by offering as much of my own attention as possible to whatever I’m working on, whatever I'm helping bring into the world. No two stories, as I see it, should be tackled in quite the same way; every project deserves its own, singular kind of care.
This is what I try to live and work by.
Below, as in the other pages of this website, is some of what it has brought me.
A few professional experiences:
I write and design for a range of fictional projects, from film and TV to literature and interactive media. In recent years, I have developed and overseen the production of over 20 minigames for the children’s game show Rolê Gloob (Gloob channel, series 2021-22). Part of my job was ensuring the challenges were equally fun to play and to watch, meanwhile imbuing them with narrative context that fit the themes of the show – all within the tight deadlines of the Brazilian TV sector. After that, I said goodbye to TV and sought work-life balance elsewhere. I made the very informed decision to join the video game industry.Once here, I wrote, storyboarded and directed a team of writers and cinematic animators for the soulslike RPG Deathbound (Trialforge and Tate Multimedia, 2024), a finalist for Best Brazilian Game at Gamescom Latam in 2025. I also wrote and designed levels, quests and narrative systems for the action-adventure game NaÀra (Rebuliço Studio, expected in 2027). As both projects would show, I’m interested in mixing exciting worlds with in-depth character and theme exploration. I care deeply about writing and designing for younger audiences; it should capture attention, yes, but never by expecting little from youth. Good stories and good games should both give and require.
Before my leap into games, I was in the audiovisual industry. I conducted research for documentaries such as Curumim (Zazen, 2016); analysed and rewrote project proposals for funding submissions; translated screenplays; directed short films; and wrote many TV episodes and a feature film that has yet to see the light of day.
One of my most formative experiences was assisting teacher and screenwriter José Carvalho in his unrivalled narrative classes and commissioned fiction projects. I learned so much from him that it became difficult to keep to myself, and thus I occasionally impart the great pleasure of discussing the bittersweet craft of writing. I have given lectures, talks, and workshops at universities such as Roehampton, PUC-Rio and FAIXA, as well as in festivals and cultural centres like Caixa Cultural in Brazil. Topics ranged from narrative design to writing for film and TV. During lockdown, I launched the 22-episode podcast O Roteirista Insone, about screenwriting practice.
My projects:
Alongside industry and academic ventures, I’ve been slowly developing personal works. I’ve published seven short stories (in Portuguese), most collected in the books A Jornada (Lendari, 2023) and Sociedade do Crachá (Ases da Literatura, 2023). I’m working on my first YA novel, but the majority of my time is devoted to game projects. I recently released the free-to-play interactive fiction Waiting for Gondólf (2025), a satire of Samuel Beckett’s Waiting for Godot set in a fantastical, Tolkien-inspired world. I also developed Are We There Yet? (2025) with Jade Lin, a short game about a father, a daughter, and the videotaped memory of their last car ride.I currently work with developer Thomas Hunt on Oscar the Incredible Flying Ostrich, a 3D puzzle-platformer about a clown ostrich who dreams of becoming an acrobat. In all these recent projects, my goal is to experiment with the edges of interactive narrative, testing out ways to enhance the benefits of mingling authorship with player input. It’s a humbling exercise for a writer, letting go of so much control that players take the helm of sense-making, and this new habit has been bleeding into my way of thinking other mediums as well.
Since you’re still here…
If you’re another enthusiast of telling stories from the heart (interactive ‘or not’), with attention and an open heart; if you’re looking for someone to hire as a narrative person for games; or if you’ve lost your way in cyberspace and would like the company of someone equally lost, please reach out. You can email me or find me on Substack and Bluesky. I’m also on LinkedIn, sadly.Thank you for your attention.
last entry: 01 May 2026