KEDRA

GAME DESIGN • NARRATIVE DESIGN • WRITING

she/her

ABOUT ME

I'm a game designer and writer based in Lithuania, and most of my design work starts from the story.I was going to be a teacher. I got two years into an education degree and even made it as far as a kindergarten job before realizing I'd rather write. Thirteen-year-old me knew this already, between the fanfiction and the anime music videos. I suppose I just paid tuition to test the theory.
She had the process down too, and I haven't improved on it since: a curated album on repeat, then a plot in shorthand I'd be embarrassed to show anyone, and dialogue last, once I stop guessing. It's rigor, more or less, built on a lot of superstition.Off the clock, I'm usually following a story somewhere, whether that's a book, a weekly D&D table, or a story-heavy MMO. Angela Carter, Inio Asano, and Mark Kozelek are longtime favorite writers.

I'm open to narrative and game design, script editing and QA.

"INTERIM"

Eight years of night shifts at a convenience store, waiting out the dark. Interim is a psych-horror visual novel about what it takes to not think about Her, hundreds of kilometres from the place you left behind, and about the paramedic, Mia, who keeps stopping by and making it harder to stay alone. Let Mia in and the walk home gets stranger. The city starts to warp, while the memories begin to contradict the lie you've lived by.Your choices shape how you face what's coming: avoid, deny, perform, or tell the truth.

My Role: Creative Director & Narrative Designer

Freelance for FLUXO Games • Aug 2025 - Aug 2026

  • Wrote the standalone demo as the sole writer on the game, around 8,000 words and roughly 45 minutes of reading in a single playthrough. Additionally, another ~2 hours of the eventual 5-hour script is written, but unreleased.

  • Set the visual and audio direction across backgrounds, character design, UI and sound, briefing each artist from a reference set built for their specific part of the game. Wong Kar-wai and Doyle became references for using color and framing as emotional language, while Kiyoshi Kurosawa guided how dread could be built through sound and silence.

  • Designed a choice system based on coping responses that accumulate across five acts into four endings, which meant writing most scenes conditionally: the goal was to keep the flow consistent amidst any combination of choices, so a player who fawns for three acts and then turns cold still sounds legible.

  • Developed two of the characters through extensive research: emergency medicine and firsthand accounts for the paramedic, and clinical material on dissociation and trauma responses for the MC, which became the basis for the game's four-mode choice system. I then built the game's Kowloon-inspired city with the same approach, distorting it to fit Interim's themes.

  • Wrote and designed the pitch deck taken to publishers, built on target audience research and comparative analysis of comparable titles, alongside the creative dossier documenting the game's structure, direction, scope, and intended PEGI 16 / ESRB M rating.

PERSONAL PROJECTS

"GOD DAMN THE STARS"

IN DEVELOPMENT • OCTOBER 2026

A ~10-minute Bitsy game set inside one apartment, where you pray every night to a greedy god so the person you’re desperate to save gets well.I started this as a small visual design exercise, pushing Bitsy as far as I could while getting my first real go at 1-bit pixel art. Most importantly, I wanted to see how much of a story I could tell just by changing the world around the player, without spelling everything out in the text.