About // 03 character sheet

I do not start a course or a workshop from a list of topics but from what the participant should be able to do at the end. Only then do I assemble the activities, feedback and assessment, and adapt them to the audience, the time and the setting — from a university semester to a one-day teacher training.

I do not bolt educational content onto a game as a quiz after the fun. It has to be present in what the player does, what they choose between and what consequences come back. That is how I worked on Velvet Choices, Český spravodaj, SadOvo and Eco 2050.

I treat AI as neither a miracle shortcut nor automatic cheating. I use it where I can verify the output, and I slow down where authorship, personal data, assessment or decisions about people are at stake. In teaching and prototyping I therefore keep the generating of options separate from human judgement and responsibility.

As a digitalisation specialist I contributed around 2023 to preparing the primary-school curricular reform whose rollout has continued since 2026. I placed digital competences within broader learning goals and within what teachers and schools can realistically do.

I co-founded Vĺčatá and later served on its board. In InoŠkola — a project with a budget of roughly €150,000, 50 participating schools, two editions and 14 winning schools — I was the financial manager, responsible for training the trainers and for the methodological materials.

I design gamification as a system of rules, progression, feedback and social context. I examine what behaviour it encourages, whom it favours, and what happens when people start optimising the metric instead of the original goal.

I work in game studies as a researcher, teacher, organiser and maker. I am a co-founder of MU Game Studies, I teach the history and critical analysis of digital games, and I was long active in the Central European conference network CEEGS/DiGRA CEE.

I analyse a game or a media system through its mechanics, representations, arguments and consequences. I look at what behaviour the design encourages, what it makes visible or excludes, and how its rules meet their cultural and economic context.

I studied classical philosophy at UKF in Nitra and, at Masaryk University, political science, digital media, media and journalism. That multidisciplinary base lets me connect concepts, power, sources, audience and technological change within a single problem.

For me a good piece of scholarly writing does not begin with a quotation but with a problem worth testing. I formulate the question, look for sources capable of challenging it, build the argument and rework it through review until it is publishable. That is how I have written about game typologies and genres, the Slovak games market, gamification and AI in film education.

I have designed and co-created digital, board, city and educational games for schools, cities and non-profits. I completed my doctoral studies at VŠMU in 2024 with the ArtD. degree; its artistic core was the interactive educational project Velvet Choices.

I have visited more than 40 countries and work in Slovak, Czech and English settings. I connect history, politics, media, technology and culture with experience from sport, sailing, theatre and other interests, which widens the stock of examples I can draw on in teaching and design.

I work as academic guarantor and trainer of innovation-focused professional development for teaching and specialist staff in the EDU.CO programme. In InoŠkola I was also responsible for training the trainers and creating the materials they used with schools.

More than 50 talks does not mean one rehearsed speech repeated fifty times. I build a conference paper, a talk for parents, a university seminar and a teacher workshop differently; what they share is a clear question, examples chosen for that specific audience, and room to respond.

I have mentored students, teachers and game makers. Across roughly a hundred final theses I gave methodological and subject feedback aimed at helping the author strengthen their own argument and take responsibility for the result.

In Vĺčatá, InoŠkola and other team projects I brought people together around a goal they could understand and held the direction without a strong formal hierarchy. Snowboard instructing and skippering add to that experience, where clear, calm communication is directly a matter of safety.

Eight years in a drama club gave me a feel for pacing, voice and holding attention. I later put those skills to use in interviews, events and media formats including Save Point, the community station Rádio R and professional practice at Rádio Viva.

In Slovak, Czech and English I can teach, present, debate and represent a project or an organisation. That experience rests on long-term work in CEEGS/DiGRA CEE and FilmEU/AGORA, including international working meetings and travel.

I have worked in education for more than fifteen years: from children's camps and coding clubs through teacher training to regular university teaching. I keep the content up to date and adapt it to very different groups and settings.

I have been freelancing under the GamingGuru name since 2015. I combine consulting, game design, teaching, research, production and administration, and I am accountable for the whole course of a collaboration from agreement to handover.

I have taught at UCM in Trnava, Masaryk University in Brno and VŠMU in Bratislava. I have prepared and led courses in game studies, critical analysis of digital games, game history, media and game design.

I have supervised or reviewed roughly a hundred bachelor's and master's theses. Each one demands reading, methodological decisions, precise feedback, working to deadlines and fair assessment.

I am a co-founder of MU Game Studies and, since 2014, I have worked with CEEGS/DiGRA CEE in organisational, coordinating, programme and reviewing roles. The formal titles changed; the collaboration continued until 2025.

I have worked with children and young people at camps, in coding clubs, in school activities and one to one. Teaching computing to one young student for five years demands consistency and content that grows along with their ability.

I test ideas by building paper models, rules, scenarios and digital prototypes. I used this approach on educational, city and board games including Hraj sa Bratislava and Cesty mladého Corgoňa; testing early lets me adjust the system quickly to how people actually behave.

I use AI to design, code, test and debug digital tools. I break a problem into small verifiable steps, check each output against the whole, and hold the direction from concept to a usable prototype. That is how AkúHru.sk, course applications and the web and game experiments in the Lab come about.

For courses, training and workshops I build or adapt polls, quizzes, interactive materials, course websites and feedback systems. I tie every tool to a specific activity, decision or measurable learning goal.

I have hands-on experience with scripting, camera, sound, editing and publishing web and audiovisual content. I built it during my studies, in professional practice and on formats such as Save Point.

I have helped organise academic, community and educational events. That experience covers programming, coordinating people, venues and equipment, the international CEEGS conference, and support for schools and educational formats in InoŠkola.

In playtesting I am not interested in what the design was supposed to do, but in what people actually do with it. I watch decisions, mistakes and workarounds; when players' behaviour contradicts my intention, I fix the system, not the players.

I hold a snowboard instructor's licence and I have taught a very mixed group of people. On the slope it becomes obvious fast that the same explanation does not work for everyone: one person needs the movement broken into smaller steps, another a clear demonstration, encouragement or a brake. It is my most literal school of individualised teaching — a bad instruction shows up long before the end-of-course survey.

The snowboard is my first choice; skis are proof that you should not fall in love with a single tool. When the terrain or the conditions call for a different technique, I change footwear and get down the slope anyway. The same holds at work: the goal matters more than the favourite method, and the problem should not be bent to fit the equipment.

The skipper's course gave me more than a licence to command a boat. On the water you have to watch course, conditions, crew and safety at once, divide the tasks, and decide calmly when the situation changes. On board, crisis management cannot be postponed to the next meeting.

The bicycle is my most practical lesson in persistence: most of the time it is not about a heroic effort but about keeping pedalling when the road climbs and the destination is still out of sight. I use it mainly to get places — the outcome matters more than the statistics in an app.

Swimming is the backup skill to sailing. There is no elegance in it and no ambition to set records, but it covers the case where plan A stops floating. Even a one-point skill is worth having if it lowers the risk attached to a stronger one.

Golf is my newest training in concentration. In a single stroke there is nowhere to hide behind sheer volume of work: you have to slow down, set yourself up and repeat the movement precisely. So far it teaches me humility more often than victory — useful for someone who regularly teaches beginners.