GAME DESIGNER
Gameplay · Narrative · Systems
I design worlds that react to everything you do.
This page is no exception — move your mouse.
This is the Sound Threshold System from PCB, my horror-action RPG thesis — running live, right here. Move slowly and the phantoms stay calm. Move fast and they hunt the noise.
IN THE FULL GAME: crouch = 1 · walk = 2 · run = 4 · heavy attack = 5 · special attack = 8 — every action is a stealth decision. Power always costs exposure. That trade-off is the core of my design thesis.
I'm a Game Designer finishing my MA in Hamburg, graduating August 2026. I don't stop at the design document — I build what I design. Every system on this page exists as working Blueprints in Unreal Engine 5, playtested with real players.
"The player should always feel like they could die. And always feel like they could win."
My thesis proves the two genres everyone said couldn't coexist — horror and action RPG — can, through systemic design where power has a cost the world can hear and smell. Playtesters felt afraid even while winning fights. That's the experience I engineer.
Available immediately — internship, working student, or junior full-time from August 2026. Anywhere in Europe.
DESIGNED LIKE MY PCB PROGRESSION SYSTEM — EVERY NODE CONNECTS. CLICK TO EXPLORE.
A hybrid horror-action RPG — both a 200-page academic thesis and a playable UE5 prototype. Investigating whether fear and power can coexist through systemic design.
A modular action RPG where a sentient toy named Niko swaps animal body parts to transform combat and movement. Built solo from concept to working prototype in UE5.
Every player action generates a quantified sound value. Enemies respond with gradient detection — precise at close range, directional at far range. You played it above.
Damage triggers a scent detection system that decays over time. Enemies track by smell post-combat — horror that persists beyond the fight itself.
Full UE5 Behaviour Tree with custom perception types. Patrol, Alert, Investigate, Group Alert, Combat. Enemies communicate and coordinate emergently.
Fully interconnected progression — no isolated nodes. Build identity emerges from the path taken, not a predetermined archetype. The tree above works the same way.
God of War-inspired combat with impactful readable hits. Combos, air slam, backstab, soft lock-on. Every attack is simultaneously a stealth decision.
20-scene screenplay. Every mechanic has a narrative justification — sound from phantom senses, blood from Nefarian bloodlust. Story is the system.
Thesis: PCB — a formal investigation into the horror-action RPG paradox using the MDA Framework. Delivered as a 200-page GDD and a playable UE5 prototype.
Professional 3D environment design and cinematics in Unreal Engine 5. Lighting, camera sequences, and final renders for commercial deliverables in a professional remote pipeline.
Four-year foundation in game design, 3D art, animation, and interactive media.
3D asset design and texturing for interior visualisation projects.
Junior · Working Student · Internship · Full-time from August 2026 · Europe-wide
hardik.rs317@gmail.comA hybrid horror-action RPG — and a formal thesis investigating whether fear and power can coexist through systemic design.
Phantom Clearance Büro (PCB) is a third-person horror-action RPG set in a dark fantasy world, 21 years after a pivotal celestial war reshaped everything. The player is Ragnar — a 17-year-old new recruit to PCB, the organisation tasked with clearing corrupted phantom entities threatening the last surviving city.
The central design question: can horror and action RPG coexist without one undermining the other? Horror requires the player to feel vulnerable. Action RPG requires the player to feel powerful. These philosophies are in direct opposition. PCB proposes a third path — systemic mechanics that sustain both simultaneously.
youtu.be/ZRcz_opvYRA · Full vertical slice demonstration
PCB's design is built on one central insight: power has consequences. The more aggressively the player fights, the more visible they become to the world. Every attack generates sound. Every injury generates blood scent. The world watches, listens, and smells what the player does.
Every mechanic in PCB has a narrative reason to exist. The Sound Threshold exists because phantoms were beings with heightened senses in life. The Blood Threshold exists because corrupted Nefarian spirits are drawn irresistibly to the scent of pure blood. Narrative and design are the same thing.
The world was created balanced — like a yin and yang. The division between Aeloria and Nefara is not simply good vs evil — it is a structural injustice built into the fabric of the world. To be born Nefaran is to be considered evil by definition.
Diana — Angel of the Heart — was sent by the celestial order as a gift. She bore a child, Amaris, whose prophesied destiny was Vargoth's death. In the war that followed, Diana sacrificed everything — casting the Shield of Aegis, a permanent barrier sealing the Forest of Lamora. It cost her life. It tore off Vargoth's arm. It saved the survivors.
"Be a good kid. Do what you love. Your mother will always be with you in your heart." — Diana's final words to Amaris
A new PCB recruit from Lamora City, born and raised within Diana's shield. Curious about the world beyond the barrier. His personality is shaped by player choices throughout the narrative.
Diana's son, hidden for 21 years by Fangrim. Living in Lamora City unaware of his full destiny. His suppressed power occasionally manifests. The prophecy remains unfulfilled.
Patient, strategic, and dangerous. Lost his arm to Diana's Shield of Aegis. Believes Amaris was destroyed. Still plotting 21 years later — the threat has never diminished.
The guardian who protected Amaris on the night of Diana's sacrifice. Has kept the boy's identity secret for 21 years. One of only two people who know the truth.
The game's narrative is established through a 20-scene screenplay covering the backstory 21 years before the game begins.
Darkness and light swirl together, forming the world like a massive yin-yang. Pure beings and evil beings look up at the same sky, separated by fate at birth. Ancient runes carve themselves into the air: AELORIA — Pure. NEFARA — Evil.
King Vargoth sits upon a throne of bone and fire. A prophet recites the prophecy: "The child of Diana will be the reason of the Nefarian King's death." Vargoth slams his fist down and begins building his unstoppable army.
Fangrim bursts through the door. Diana kisses the newborn's forehead. "Amaris." She records her voice into a glowing crystal, hands it to Fangrim. "Protect him." She spreads her wings and flies out to face Vargoth.
Diana gathers her last remaining energy. She casts her final spell — the Shield of Aegis erupts outward, sealing the Forest of Lamora permanently. The shield tears Vargoth's arm off. Vargoth flees. Diana dies.
Every survivor brings roses. A banner is raised: PRINCESS DIANA OF THE HEART. This becomes the foundation of Lamora City. Their hope rests silently in a hidden cradle — where baby Amaris sleeps, unaware of his destiny.
The thesis applies the MDA Framework (Hunicke, LeBlanc, Zubek, 2004) as its primary analytical and design tool — formal language for understanding why horror-action hybrids consistently fail.
A modular action RPG where a sentient toy named Niko swaps animal body parts to transform combat style. Built solo from concept to working prototype in Unreal Engine 5.
Rick's Factory is part of a larger project called Toy's Journey. The player controls Niko — a sentient toy who has escaped Rick's Factory, a place where toys are manufactured, modified, and discarded.
The core design concept: modular identity. Niko can swap animal body parts to fundamentally change how they move and fight. This is not cosmetic — each configuration creates a genuinely different playstyle, movement set, and combat rhythm. The player builds their Niko rather than choosing a class.
Prototype gameplay — modular body part system, combat, soft lock-on targeting, and character locomotion in Unreal Engine 5.