Narrative & game designNarativni dizajn i dizajn igara
Narrative designer and game developer, credited on Rue Valley (2025). Games and narrative projects that treat systems as emotional language.
I’d say my career in designing narrative and games began in the early 2000s, with a group of friends, when together we made a board game whose subject was our friend and gave it to him for his birthday. “All of Aca’s Reincarnations” is still somewhere in a closet, played a handful of times, but it stayed with me as the first concrete attempt that led to an actual product. Games interested me so much that even my university thesis was devoted to the personality of RPG players. Still, a more serious entry into design would have to wait a few more years and a collaboration with CDOP, out of which came TriP — an educational board game about social entrepreneurship. A few years later, in 2018, I got the chance to try myself in the games industry, working as Community Manager on Warlander — a wonderful first experience of working in it, with wonderful people and wonderful ideas. Warlander sadly didn’t fare well, but I continued as community manager with a short stint on the mobile game Cryptic Legends. All the while I kept studying in parallel, taking courses on narrative and game design (among them a course with Ranko Trifunović, which I recommend with all my heart), and it all led to my part in Rue Valley, as a member of the narrative team — narrative designer and mental-health consultant (since the game dealt with psychotherapy and various adult themes, that role certainly mattered). Now I work on the themes that interest me and create the games I’d want to play and want to exist, still using Godot, but now boosted with AI. I’m aware of the resistance to it, and I fully understand it. On the other hand, I approach it as a tool, to help me with things I have no experience in — programming, setting up a pipeline, and the rest.Rekao bih da je moja karijera u dizajniranju naracije i igara počela početkom 2000-tih, sa grupom prijatelja, kada smo zajedno napravili društvenu igru koja je za temu imala našeg prijatelja i poklonili mu je za rođendan. „Sve Acine Reinkarnacije“ su i dalje negde u ormanu, odigrane par puta, ali su mi ostale u sećanju kao prvi konkretan pokušaj koji je vodio nekakvom konkretnom produktu. Igre su me zanimale toliko da mi je i diplomski rad na fakultetu bio posvećen temi ličnosti igrača RPG-ova. Ipak, ozbiljniji ulazak u dizajnerske vode moraće da sačeka još nekoliko godina i saradnju sa CDOP-om, iz koje je proizašao TriP — edukativna društvena igra posvećena društvenom preduzetništvu. Nekoliko godina kasnije, 2018. tačnije, dobio sam priliku da se okušam i u gejming industriji, radeći kao Community Manager za igru Warlander — i to je bilo sjajno prvo iskustvo rada u njoj, sa sjajnim ljudima i sjajnim idejama. Warlander nažalost nije prošao sjajno, ali ja sam nastavio svoj rad kao community manager kratkim radom na mobilnoj igri Cryptic Legends. Sve vreme sam paralelno učio, pohađao kurseve o dizajniranju naracije i igara (između ostalog i kurs kod Ranka Trifunovića, koji zaista preporučujem od sveg srca), i to je sve vodilo ka mom učešću u igri Rue Valley, kao deo narativnog tima — narativni dizajner i konsultant za mentalno zdravlje (s obzirom da se igra bavila psihoterapijom i raznim odraslim temama, ta uloga je svakako bila važna). Sada se bavim temama koje mene zanimaju i kreiram igre kakve bih i sam voleo da igram i da postoje, koristeći i dalje GODOT, ali sada pojačan sa AI-em. Svestan sam otpora koji prema njemu postoji, i skroz mi je jasan. S druge strane, ja mu pristam kao alatci, da mi pomogne sa stvarima sa kojima nemam iskustva, kao što je programiranje, formiranje pipelinea i ostalo.
That clinical grounding means I'm drawn to projects where the structural and the emotional are inseparable — where a resource system can mirror anxiety, or a branching conversation can enact the architecture of denial.Takođe sam i objavio roman START.EXE (2016) koji se teško može naći u slobodnoj prodaji, ali ako vas zanima, možete me kontaktirati radi kupovine.
Narrative designer and writer on the story-rich, time-loop adventure about mental health and recovery, released in 2025 by Emotion Spark Studio and published by Owlcat Games. I was brought in as a consultant for clinical grounding — shaping how the game portrays psychotherapy, trauma, and the slow work of change.
A deck-building life-simulation where the player's deck represents a therapist's identity — assembled across a career of training, life events, and clinical work, and read back as a retrospective.PC kartična igra pravljenja špila koja je i simulator življenja i bavljenja psihoterapijom — presek znanja, veština, ali i životnih događaja koji grade jedinstveni špil koji je sam igrač.
A strategy/simulation prototype that puts you in the role of a weapons manufacturer and dealer in a fictional world — where moral compromise registers as mechanical change, not just story. A playable demo is planned.Strategija/simulacija koja vas stavlja u ulogu proizvođača i prodavca oružja u izmišljenom svetu. Očekujte uskoro demo.
A board game about social entrepreneurship, designed with CDOP and a team of tabletop enthusiasts, supported by Erste Bank Serbia and Impact HUB Zagreb. Players run a social enterprise across its three pillars — financial sustainability, social good, and environmental responsibility.Edukativna društvena igra dizajnirana u saradnji sa CDOP-om, podržana od strane Erste Banke u Srbiji i Impact HUB-a Zagreb. Igrači su u poziciji da kreiraju svoje društveno preduzeće, bazirajući ga na tri stuba — održivosti, društvene korisnosti i ekološke svesnosti.
A card-based serious game for teachers, educators, and mentors that I designed to build cross-curricular competencies, connect school subjects, and turn a school's staff into one collaborating team. Its four suits — subjects, activities, supports, and challenges — anchor a professional-development seminar accredited in Serbia's national catalogue (ZUOV) and supported by the U.S. Embassy.Kartična igra namenjena nastavnicima, edukatorima i mentorima, u čijem sam kreiranju učestvovao kao dizajner. Vođena je idejom da poveže predmete, razvije međupredmetne kompetencije i pretvori kolektiv škole u jedan tim. Njena četiri tipa karata — predmeti, aktivnosti, podrške i izazovi — čine osnovu akreditovanog seminara za stručno usavršavanje (ZUOV), uz podršku Ambasade SAD.
Other game design with NGO and education partners, including Stories of Violence, an interactive online story on peer and gender-based violence.Rad na dizajniranju i pisanju različitih igara u saradnji sa NVO i pojedincima, uključujući „Priče o nasilju" — interaktivnu onlajn priču o vršnjačkom i rodno zasnovanom nasilju.
Story structure, characters and their motivation, the emotional flow of a story — not only in planning but in the writing itself. Backed by more than 10 years of experience in psychotherapy and more than 20 years of working with people through individual counselling and workshops. I’m always thinking about how to tie the story to the mechanics and back again.Struktura priče, likovi i njihova motivacija, emotivni tok priče — ne samo u smislu planiranja nego i pisanja. Dopunjeno sa više od 10 godina iskustva u psihoterapiji i više od 20 godina rada sa ljudima kroz individualni savetodavni rad i radionice. Uvek razmišljam kako da priču povežem sa mehanikama i obrnuto.
Pišem zato što je noć podnošljivija kada ujutru ostane trag od slova…
Start.EXE began as an idea around the same time the smartphone became widespread — something I only became aware of, well, more than a decade later. It took about four years to write and self-publish, but then it became a complete work, at least to me: an episode on the end of the world within seven days, like Genesis in reverse. That theme — the end of the world and the hint of something new being born — is something that follows my work and thinking to this day. In this particular book, the question is whether the death of the internet marks the end of our world, and it is probably even more current today than it was ten years ago.Start.EXE je nastao kao ideja u isto vreme kada je smartphone postao opšteraširen, to je nešto čega sam postao svestan evo, više od deceniju kasnije. Trebalo je oko 4 godine da se napiše i samoizda, ali je onda postao jedno zaokruženo delo, bar meni, epizoda na temu kraja sveta u roku od sedam dana, kao Genesis samo u obrnutom smeru. Ta tema — kraj sveta i naznaka rađanja nečeg novog — je nešto što prati moj rad i razmišljanja i dan danas. U ovoj konkretnoj knjizi, pitanje je da li smrt interneta označava kraj našeg sveta, i verovatno je danas još aktuelnije nego što je bilo pre 10 godina.
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