Interviews with Akshata Chitnis

My main goal with project was to initiate conversations in households regarding well-being, introduce and facilitate acceptance of healthy coping mechanism and allow kids to express themselves in a safe space that enables acceptance of each student’s varied coping capability.
The game design is primarily based on Play & Talk therapy strategies by playing out life experiences through the tasks in the game, I wanted kids to learn to cope without feeling judged. The game also has a major element of role play immersion. The idea was to allow students to play the role of warriors, to normalise the struggles faced by the strongest warriors and instil empathy for self and others. I developed the strategy of gamifying coping mechanisms to trigger imagination and problem-solving among kids while they express their warriors’ minds.

I hope to publish the game and bring it into the market. I also plan to study the cultural nuances of different regions with respect to academic stress and coping mechanisms to potentially target a global market in the future.

I completed the entire project from research to ideation and execution as part of my undergraduate thesis over the time period of 6 months.

The co-creation ideation workshops with young students and parents had helped me generate a range of ideas including toolkit designs, game design, virtual reality demonstrations and product designs. To better visualize and understand the viability of concepts, their Minimum Viable Prototype was created for user feedback. The feedback session revealed 'The Warrior in You' board game to be best approach to ensure behaviour change along with engagement. Since games result in dopamine secretion they are naturally engaging and result in low stress levels. The core structure of the game presents a challenge and repercussion system, providing instant gratification for reinforcing a behavior and consequences to deal with for negative conditioning.
I made certain pivots after the review such as simplifying the language, enhancing the warrior storyline with the help of game principles and behaviour psychology frameworks.

I intend to lease the production rights of the game to company to gain support in term of optimising the material, prints and packaging of the game as well as to advertise into a larger market. I hope to partner with a company already in the 'play' market segment to realise a collective vision.

I wanted to truly challenge myself through the project by further developing my knowledge and passion for behaviour psychology and exploring concept of gamification and game theory to bring about a positive social impact.

I was truly inspired by all board games I played while growing up. One of my favourite ones was called Life. I remember having some of the most fun conversations with my siblings, friends and parents while playing the game. The game was based around enhancing decision making skills while immersing in real-life situation in a light-hearted manner. This was my key inspiration to abstract academic stress related situations into a war scenario and build storyline, characters and tasks around it to ensure positive growth, habit forming and valuable conversations by the end of the game.

The primary target audience for the game are 10-12 year old school students as well as their parents. The game was designed to be a fun interactive family activity that is engaging for kids and adults.

'The Warrior in You’ create narratives that blend the fantasy world with real-life challenges students face today to channelise creativity. It also enables parents to empathise and learn the coping means suitable for their child. Thus, being impactful to trigger change in the attitudes of students and parents. Unlike most mental health education solutions, the game includes all stakeholders like students, peers, parents, teachers and school environments through experience sharing, group problem solving and game scenarios. Various video games have attempted to depict mental health issues through graphic visuals and sound design which can also emotionally trigger certain users. They are also often targeted towards young adults and can be disturbing for young kids. While other physical games, products and well-being assessment quizzes exist their key limitations is that they include questions about emotions felt, coping means used or anxiety levels; which need to be moderated by a therapist or someone with training to provide appropriate responses. The unique aspect of ‘Warrior in You’ is its approach to present scenarios that allow self-exploration of coping means to adopt healthy ways while normalising well-being struggles.

Considering the target audience of the game being 10-12 year olds, I noticed a pattern among their behaviour to be a better, stronger and smarter version of themselves. This was often reflected in their choices of games, story books or even drawings they created. As I began developing the game I decided to enhance this need by creating warrior characters. The game is set in a mystic kingdom were the players assume the role of warriors or fighters saving the kingdom from demons. The warrior characters were created by abstracting the challenges and strengths observed among the student personas.
The idea was to allow students to discover that they are all warriors in their own ways despite weaknesses and struggles. As a society we forward this image of a warrior being overburdened, overworked and often someone who does not care to own well-being. The game challenges this narrative and and teaches students the importance of prioritising personal well-being in order to be the best warrior. That's the story behind the name 'The Warrior in You', it is symbolic of the light within all of us that shines brighter as we learn to accept and cope with our struggles.

During the research phase of the project I used photo journal ethnographies, interviews and surveys as a way to gather data which I then collated, organised and synthesised for insights in applications such as Notion and Miro along with physical post-its mind maps to allow easy collaboration. During the ideation phase I relied on hand sketches and low-fidelity prototypes created using easy to handle materials like paper, clay, wires and lego models. To develop the final visuals of the game I used softwares like Adobe Illustrator and Photoshop. While I used 3D softwares like Adobe dimensions to visualise the 3D aspects of the game including palace backdrops and islands.

I believe the mystical war theme style along with warrior characters that every child and adult can relate to through their storyline and attributes make this work distinctive. The wide range of situations and challenge tasks builds an intrigue among players and allows them to channelise their creative imagination to explore different fate with every decision they make. This unpredictability and adrenaline rush of defeating demons in the game is the primary reason for players to return to the game. The aim of the game is simple: to empower students with healthy coping mechanisms to deal with stress by making them perform coping activities and enabling them to view the effects of their choices on well-being.

The project was co-created with young students, their parents and psychologists. Expert opinions and technicalities of coping mechanisms, play and talk therapy were incorporated by consulting with psychologists throughout the process. The game was also reviewed by Game designer and experts in the fields of game theory and psychology to evaluate the engagement and learning levels of the game.

Initially I was also advised to consider creating a digital video game over a board game. However I believe that in a topic surrounding mental health, technology can end up doing more harm through complexities of addiction and add barriers of less human connection. I therefore decided to build a physical format for the game with a hope to bring families together to sit around a table and have an open chat and laughter through the game.
However a lot of softwares and technological support went behind creating the actual graphics and model of the game prototype to be able to bring it into a physical model.

The study was conducted in Mumbai suburbs based on convenience sampling and involved around 133 participants through interviews and surveys conducted over various online and offline mediums. The study participants were- Students age 10-12 years, Students age 16-19 years, their Parents, Teachers and Child Psychologists. Students of progressing age groups (16-19) were studied to understand the pattern of academic triggers and their development into mental health problems. The participants were selected based on the age and user group criteria and included: 53 students, 30 parents, 25 teachers and 25 psychologists.
The process followed for the project was done in four interconnected phases- Data collection to Empathise, Synthesis to Define problem target, Ideation and Conceptualisation, Validation and Testing. Each phase consisting of milestones achieved through design research and thinking tools. The data collection phase focused on qualitative and quantitative research using tools such as desk research, user interviews, surveys, etc. The information gather in this phase was synthesised in the next to articulate a problem statement for ideation. The concepts then explored were reviewed with users, psychologists and game designers in the validation phase.

Mental health struggles and personal well-being are still such sensitive topics in our society. It was a big challenge for me to get people to open about these things and share their opinions.

The parents and psychologists I worked with during the project along with my truly supportive family inspired me to apply for an international design competition. Their words of affirmation and reflections on the value of my project to the society at large is something I hold really close to my heart. Applying for this competition was my hope and dream of putting the project on an international platform to help other such young students and their parents to constructively address academic stress.

The project truly helped me enhance my research skills. I was also able to develop my own framework based on human-centred design, rooted in behaviour psychology and gamification to drive positive change. The project helped me cultivate a resilient mindset to navigate through ambiguity to develop visualisations of challenges and insights at every step to align all stakeholders. I discovered the tools and methods to perform foresight research that allow me to trend map into the future by understanding systems and human behaviour to build aligned interventions for today.
I learnt a great deal about intervention adaptability by exploring how the game can be adapted in form of workshops and interactive movies for schools as well as for psychology clinics to ensure larger impact and business sustainability.

I have come across so many definitions for design over the years some quite technical while others quite logical. In the simplest of term design is a matter of purpose for me. Design, to me, is the powerful bridge that connects people and communities in the most genuine and empathetic way. It's a means to understand their pains, and uplift their needs to create meaningful solutions that empower and improve the world around us. Being a practitioner I believe it is essential to embody empathy and humility to put your users and stakeholders at the forefront to fuel creative and innovative solutions. The ideas of customer centricity and co-creation; simply put, ‘people’- their stories, psychology, emotions is what inspires me to connect and build experiences with them.

One service design that continues to captivate me is the Mumbai Dabba Service, also known as the Lunchbox Service. Dating back to the 1890s, this remarkable service is upheld by a network of 5,000 dedicated Dabbawalas who tirelessly cater to the hunger of over 200,000 Mumbaikars. What sets this service apart is its holistic approach, evolving beyond mere meal delivery. The Dabbawalas have ventured into creating comic books, spearheading food wastage initiatives, establishing a customer-centric website, setting up centralised kitchens, and even incorporating last-mile delivery of digital services. What truly makes this service extraordinary is its foundation built on people, culture, and the ability to adapt to changing needs. Instead of starting with a singular product or app, it flourishes by nurturing relationships, embracing cultural values, and responding to the ever-evolving demands of its customers.

My first work experience was in a non-profit organisation called Teach for India, where I worked as a communication designer. I conceptualised and delivered educational and creative communication materials to spread Brand & Marketing Innovation awareness on TFI initiatives as well as the book published by the director.

I am an extremely People-driven person. I feel the most creative when I am surround by good people, enlightening and heartfelt conversations and my little cup of coffee. As long as I have these three things I feel inspired to work, articulate and understand people’s or an organisation’s challenges and develop means to creatively and strategically address them.

Design for me, is not merely about the destination, but the exhilarating journey of research and strategy that leads to innovative solutions. I enjoy diving deep into user insights, uncovering hidden patterns, and exploring uncharted territories. The process of immersing in a world of data, trends, and human behaviour allows me to fuel the creative spark and open myself up to new perspectives. I relish the chance to challenge conventional thinking, iteratively refine ideas, and facilitate captivating experiences that deeply resonate with users.

Personally, I believe that the entire timeline of a design project is nothing short of a roller coaster ride and only in trusting the process and experiencing all of the emotions it elicits on the way, can you create a valuable outcome.
From the excitement and curiosity that builds at the inception, to the little joys you come across on the highs of discoveries and articulations, to the inevitable lows of ambiguity, to the burst of energies in the loops of ideas, iterations and experiments I try to absorb and sit through all of the emotions of every phase to guide me to my next step in the process. In the process of allowing myself to feel the emotions at the fullest do I find my sense of accomplishment and sheer joy to have gotten the opportunity to facilitate the ride!

When my designs are realized, a myriad of emotions wash over me, creating an exhilarating and fulfilling experience. It begins with a profound sense of excitement and curiosity as I witness the transformation from concept to tangible reality. Each step forward brings little moments of joy and satisfaction as I observe the design taking shape and fulfilling its intended purpose. Yet, I am also humbled by a touch of apprehension and anticipation, wondering how users will interact with and respond to the final product. The journey of emotions traverses through highs of validation and pride, knowing that my efforts have resulted in a tangible creation that positively impacts others. It is in these moments that I find a deep sense of accomplishment and sheer joy, knowing that I have had the privilege to facilitate the realization of a design that holds significance for both myself and its intended audience.

As a young service designer, I believe that a successful design is one that goes beyond aesthetics to integrate functionality, and meaningful experiences. It goes beyond solving a problem to create an emotional connection with users. A successful design anticipates and exceeds user expectations, addressing their needs while delighting them. It is accessible, inclusive, and sustainable, considering the impact on both individuals and the environment. I believe it should be iterative in nature to continuously adapt to the dancing landscape of the world trends and user behaviours. As a young service designer, I believe that a successful design is one that goes beyond aesthetics to integrate functionality, and meaningful experiences. It goes beyond solving a problem to create an emotional connection with users. A successful design anticipates and exceeds user expectations, addressing their needs while delighting them. It is accessible, inclusive, and sustainable, considering the impact on both individuals and the environment. I believe it should be iterative in nature to continuously adapt to the dancing landscape of the world trends and user behaviours.

Over the years I have read through various books and come across different ideologies that have helped me sculpt a few questions to help evaluate the effectiveness and impact of design projects. The first of which is simply asking the question- Is this really a problem we need to solve? Are we solving it for someone else and if so do they want us to solve it for them, are they aware of the problem, are there any pre-requisite conditions to be created or do they simply need us to support them in their journey as they find solutions? The next aspect of evaluation for me is the process used- What process was followed? How was a tradition design process adapted to address a particular challenge? How did it inform key design decisions? Did it involve the people, communities and organisations required in an ethical and valuable manner? Often people get trapped in an outcome driven mindset but to understand a good design it is important to learn the iterative nature of design through the failures experienced in the journey and how that paved the path to a stronger outcome. I also believe a good design project does not stop with creating a valuable outcome but must extend to developing metrics to evaluate the impact it brings to people and society at large. Since every project and it’s conditions are unique, impact can mean different things to different stakeholders involved. As designers it is essential to have a holistic understanding of the system we design with and for.

I believe, designers have significant responsibilities when it comes to society and the environment. As a designer we have a duty to create designs that prioritize the well-being and safety of individuals and communities. This includes considering accessibility, inclusivity, and ethical considerations to ensure equal opportunities and positive social impact. Designers should also strive to minimize the environmental footprint of their creations by adopting sustainable practices and materials, promoting circular economy principles, and reducing waste throughout the design lifecycle. I think it also expands to advocacy for responsible and conscious design practices. Designers should engage in continuous learning and stay updated on evolving social and environmental challenges, seeking innovative ways to address them through their work. Collaborating with stakeholders and actively involving users in the design process can ensure that designs truly meet their needs while respecting cultural and environmental contexts.

I think that the design field is undergoing a rapid and transformative evolution, driven by advancements in technology, changing societal needs, and an increased emphasis on human-centered approaches. Design is expanding its scope beyond traditional disciplines, such as graphic or industrial design, and is becoming more interdisciplinary and holistic. It now encompasses fields like service design, experience design, and design thinking, emphasizing the importance of understanding complex systems and designing for meaningful interactions.
As our world becomes more interconnected and complex, design will play a crucial role in solving global challenges and shaping a sustainable and inclusive future. We can expect to see a greater integration of emerging technologies like AI, augmented reality, and data-driven design, enabling designers to create immersive and personalized experiences. Moreover, I hope to see design continue to evolve towards a more inclusive and ethical practice, putting human well-being and social impact at the forefront.

I am truly looking forward to my upcoming Master’s Graduate exhibition in the month of July 2023. I am working with a team member and our presentation booth will focus on the challenges of Isolation in Old Age while exploring intergenerational interactions to establish connection. The project takes a unique angle of cultural, behavioural and technological influences on isolation and aims to co-create connection building rituals to address the challenge.

I come from a culturally rich sub-continent of India and grew up in the vibrant city of Mumbai. India's rich cultural heritage, with its diverse traditions, languages, art forms, and history, undoubtedly has a significant impact on design. The cultural heritage of India also taught me navigate the sheer diversity and complexity of the country by developing socially and culturally nuanced approaches to problem-solving and user experiences. The emphasis on community and interconnectedness in Indian culture influenced me to create designs that foster social cohesion, inclusivity, and spiritual well-being.
A major challenge arises from the rapid pace of development and modernization in India. Balancing the preservation of cultural heritage with the demands of a rapidly evolving society can be a delicate task. As a designer, I often faced the conundrum of incorporating modern elements while maintaining a connection to the country's cultural roots.

For the past one year I have been living in London, United Kingdom to pursue my masters. Being in a multicultural environment exposes me to a myriad of perspectives and design influences. It broadens my understanding of design principles, user preferences, and global design trends. Moreover, the UK's emphasis on sustainability and eco-consciousness has shaped my design thinking, encouraging me to prioritize environmental considerations in my work. Designing in a foreign country, I have also learnt to adapt to new cultural norms, design sensibilities, and user behaviours. I have learnt, it is essential to strike a balance between preserving my cultural heritage and understanding the local context. Language barriers and differences in design education approaches can also present hurdles, requiring me to proactively seek opportunities for cultural exchange and learning.

I like to work at the intersection of collaboration, co-creation and trust within an organisation. And the key to achieve this is through understanding the organisation or company’s core values, mission, people and culture. Being immersed in a company’s culture allows me to operate with a confidence to lead within my area of expertise in design. My motto is to co-create a ladder of impact with my team, organisation, users and stakeholder.

I feel truly grateful that the world is finally starting to see the importance of design as a discipline and having a design-oriented culture within companies. Designers have a key ability to see the intangible aspects of our world including human emotions, pains and experiences, passage of time or rather the changing landscape of a problem over time, and thus have a major role to play in a company’s growth and development. I think a key challenge we face today that restricts companies from hiring great talent is the numeric measurement metric of evaluating value addition. While the true magic of design lies in the ability of a designer to decode, articulate, align teams and develop ways to solve for the intangibles. To select a good designer a company should focus on how well a person can fit and build the company’s culture and the unique tools they use to navigate, react and overcome the roller coaster ride of a project.

Being a Service designer, I find great value in utilizing established frameworks such as the double diamond and lean start-up to guide my design process. These frameworks provide a structured approach that helps align my team and stakeholders towards a shared understanding of design goals and outcomes. However, I also recognize the need for flexibility and adaptation in order to address the unique complexities that each design challenge presents.
To enhance my design process, I often integrate additional methodologies and principles such as behavioural psychology, gamification, trauma-led research, co-creation and speculative design to create customized approaches for each unique design challenge. It enables me to navigate complex scenarios and create impactful and meaningful service designs.

I find this question especially complex to answer considering the fact that I myself am a young designer in this field. After completing my undergraduate studies I immediately moved across the globe to pursue my masters and diversify my knowledge and thinking in this field. My experiences till date have revolved around the range of part-time roles, internships, extra-curricular activities and programs, hackathons, conferences, exhibitions, awards and publications I have engaged in to develop my holistic design practice. I feel truly grateful for each and every opportunity I received till date that helped be become who I am today. Moreover I am glad I did not give up on my passion for design when things were difficult.
If there is one little piece of wisdom I would like to share it is, ‘Take the Leap of Faith’. We often ponder upon outcomes, worrying about the right time to do things, about waiting to be a 100% prepared to do a task but I have realised that in this attempt of self-preservation from failure we often end up losing more opportunities and experiences. There might never be a time we feel a 100% prepared, despite that it is worth taking the leap, for you will learn far more taking it than staying on the same side of the bridge.

I really like this question because I feel we do not really talk much about this. One of the most rewarding aspects of being a designer is the opportunity to connect with people and communities in a genuine and empathetic manner. Designers have the privilege of diving deep into the lives of individuals, understanding their challenges, pains, and needs on a personal level. This human-cantered approach enables designers to create solutions that truly empower and improve the world around us. The constant evolution of the design field also keeps designers engaged and continuously learning, as they explore new tools, methodologies, and emerging technologies. On the flip side, the work of designers can sometimes involve addressing difficult subjects and engaging with people who are facing significant hardships. This can place emotional burdens on researchers and designers, as they witness and interact with individuals who may be in vulnerable or distressing situations. Designers may encounter limitations in their role, where they may not always have the power or means to directly provide the support that users require. This can be a source of frustration and can weigh heavily on designers who genuinely care about the well-being of the people they work with. To address the potential negative impact on designers, it's important for organizations to create a supportive and compassionate work environment. This includes fostering a culture of care, providing resources for emotional well-being, and encouraging open dialogues among team members to share experiences and seek support when needed. It's crucial for designers to practice self-care and seek appropriate support systems to navigate the emotional challenges that can arise from their work.

The golden principles I live by in design is Do no harm. Often we do not consider the repercussions of our design in the grand scheme of things. I believe it is a designer’s job to evaluate the positive and negative impact of a design on society to effectively mitigate risks.
My design values I like to practice through every work is, having the humility to create an environment that facilitates change and empowers users, empathy to embed within the user's psychology, and a willingness to explore a range of possibilities across disciplines that yield positive outcomes for communities and organisations.

I believe the most important skills for a designer is empathy and being able to facilitate the actions in its regard. Throughout my journey, I've come to realize the significance of active listening, setting aside personal biases and preconceptions, and truly comprehending people's emotions, needs, and challenges. This invaluable asset allows me to connect with audiences on a deeper level. As a designer, I also embrace humility and perceive myself as a facilitator within the realm of change, where the true heroes are the users themselves. This mindset has transformed my approach, enabling me to design with and for people, aligning closely with their aspirations rather than simply designing for them.

As a service designer, I rely on a range of powerful tools to enhance my understanding and improve services. These tools include crafting personas, mapping customer journeys, behavioural maps, developing service blueprints, stakeholder maps, embarking on observation safaris, facilitating co-creation workshops, building prototypes, conducting service experiments, using storytelling techniques, and establishing service metrics and evaluation. By leveraging these tools, I gain invaluable insights into user behaviours and needs, identify pain points, and uncover opportunities for improvement. They enable me to collaborate effectively with stakeholders, test and refine design ideas, and measure the impact of service interventions. I enjoy online collaboration applications like Miro, Figma and Notion to bring these tools to life within a team working across borders and disciplines. Adobe suite has always been my go to software suite for creating engaging presentations, visuals for my projects, storyboard sketching, system diagrams and overall creative expression. As a service designer my bible is ‘This is service design doing’. The book provides practical insights, methodologies, and case studies to help understand and apply service design principles in real-world contexts. I think it is is a valuable resource for anyone looking to dive deep into the practical aspects of service design and leverage its potential for creating exceptional service experiences. Some of my other go to books are ‘Beyond the sticky notes’ which explores the mindsets and methods for co-creating with people and communities and ‘Show your Work’ a really interesting book for designers and their journey to self-discovery through transformative rules for being open, generous and brave to let people into your process.

This is a really interesting question and probably the first time I have been asked something along the lines. I usually like to have a schedule for my daily tasks and overarching goals. I like to dedicate a few hours of the day for myself, for my work, for my hobbies and for developing my skills or general knowledge. I manage my time by trying to find the right balance and compartmentalising different tasks. There are days when I do have to work or rather enjoy going the extra time to complete a project I am working on. I suppose it’s allowing yourself to take the time off post a hectic day do you find the strength to enjoy your work rather than it feeling like a burden.

I think it really depends on project requirements and goals of the project. I do not think there is a right answer to how long should a project last or how much should you achieve in a timeline. It is however valuable to first set the purpose and mission of the project with your team and then structure and design your discover, define, ideate and implement process to allow yourself to set realistic goals and timelines to support yourself, your team and most importantly your users throughout the process.

The most frequent question I get asked is ‘What is a Service designer? What do you do?’ It is a very tricky question to answer nonetheless and I always experiment with the ways I try to explain the other person, by first taking into consideration their background, experiences, age demographics. I often find it easier to explain what I do my painting them a picture or story or everyday experience they can relate to.
So if you are now wondering what Service Design is let me illustrate it for you-
You haven’t been feeling well lately and finally decide to get a doctor’s appointment for an expert opinion. You go onto an application, website or pick up you phone to call and request for an appointment. You are scheduled by member of staff at a preferable time to drop by the hospital. You go into the hospital and are seated in the waiting room where you are given a form to know your medical history. You could also be provided with some information brochures, magazines or other mediums to pass your time till your turn. A nurse might then assist you to the doctor where you learn more about your diagnosis and based on that you are directed to get the prescribed medicine at the pharmacy and follow-up on your condition.
Every interaction you had in this journey, with the people, devices like phones, tablets or kiosks, environments you were in like waiting rooms and pharmacy were all carefully crafted by a service designer to provide you the best experience. While you see this journey from a patient’s perspective, the service designer has similarly considered for the well-being and experience of the staff, doctors, nurses and other people involved in the back stage of the journey.

My most valuable and humbling work experience till date has been of a Design Researcher/ Ethnographer for Harvard’s Covid-19 study as one of the youngest researcher enrolled in the program at the time. As soon as the world experienced lockdowns during Covid-19 we all experienced drastic life changes. To navigate these changes in a structured manner I applied and was selected to participate in Harvard's International Covid research program. Being part of a diverse global team we were expected to conduct research remotely on people’s lifestyle patterns across age groups, professions and socio-economic settings. Considering the nature of brief and global conditions at that time our team naturally faced challenges around communicating through differences, technological barriers, collaboration and understanding cultural differences. To overcome these we held internal team workshops to come up with fun games on collaboration platforms like Miro to teach each other about cultures and how they influenced our research participants’ behaviours and also learn about each other methodologies.
A key challenge we experienced was staying positive and navigating personal stressors while collating emotionally triggering experiences of people during Covid. One of the ways I worked on was creating time-offs and debrief sessions with each other designed such that we could trust and rely on each other to share the mental toll and relax over our zoom calls by sharing our own yoga or dance routines to feel refreshed. This is truly my favourite team collaboration as we learnt and grew together by supporting each other through the most challenging times.

As I near my Master's Graduation I am actively looking for roles as Research and Strategy Consultant within the domain of Service Design. I hope to work in a diverse team with a supportive environment that promotes growth and learning. I am looking for an organisation where I can put my diverse background and skillsets to use and create positive social impact.

I love working collaboratively in a team. I believe no design problem solving project can be done single-handedly and it is through the support and guidance of people and communities involved can we create valuable outcomes. I have individually led my university and internship projects but have always enjoyed co-creating with users, other team members and stakeholders to be able to develop holistic solutions.

I am currently in the process of completing my Master’s thesis with a colleague. The project enabled me to explore and develop my own research method and tools as well as focus on strategic ideation rooted within behaviour psychology.
Interwoven is a project that explores the dimensions of isolation in old age with a cultural, behavioural and technological lens. Through a deep rooted understanding of human behaviour and social structures, we articulated a new outlook to study isolation arising as a result of innovation led self-sufficiency or increasing dependence on innovations and machines leading to stigmatisation of dependency on other humans being. The project addressed this issue through intergenerational collaboration.
The project is truly close to my heart as I got the opportunity to volunteer with a few great charities and old age homes based in London working relentlessly to support the elderly. I will always cherish the soulful conversations I had with people during the process.

I would love to be contacted via my Linkedin network: https://www.linkedin.com/in/akshata-chitnis/ or drop in an email at akshata2401@gmail.com

The challenge was to make coping mechanisms feel experienced, not taught. I used storytelling and game dynamics to disguise psychological learning within adventure. The “demons” in the game represent stressors, and defeating them metaphorically builds a child’s sense of agency. Each challenge or “battle” subtly draws from real-life coping strategies such as reflection, self-expression, emotional regulation, without labelling them as such. I also playtested the game with families, psychologists and game theory experts to identify when the game started feeling too educational to reintroduced humour, surprise, or creative challenges to maintain engagement. This balance helped children learn unconsciously while being fully immersed in play.

The project combined both quantitative and qualitative methods. I began with secondary research on academic stress, mental health interventions, and child development theories. Then, I conducted field interviews and observational studies with students, parents, teachers, and child psychologists to understand emotional triggers and existing coping behaviours. The age group 10–13 was my core focus, but I also studied 16–19-year-olds to trace how small stressors evolve into larger emotional struggles later. I collaborated with psychologists to validate the emotional depth and language of the game, ensuring it remained age-appropriate, non-triggering, and supportive.

The hexagonal islands act as psychological milestones in the journey. Each island represents a theme that mirrors real-life academic experiences like doubt, failure, expectations, or competition, moments where students often feel emotionally tested. The spatial pause between islands is intentional; it encourages players to slow down, reflect, and re-engage, much like how we process stress in real life through cycles of challenge, reflection, and recovery. The hexagon form itself symbolises strength, stability, and balance, subtly reminding players of the need for self-protection and emotional grounding when facing challenges. Practically, the hexagonal design also functions as a container for the battle cards, integrating storytelling, interaction, and symbolism seamlessly into the gameplay.

I focused on simplifying psychological ideas into relatable, experiential actions. For example, instead of teaching “cognitive reframing,” a player might draw a challenge card that asks them to turn a “negative event” into something funny or creative. The warrior’s strengths and weaknesses serve as proxies for emotional patterns, helping players recognise their own tendencies. Another example is, when faced with a challenge card that mimics a stressful scenario, they choose between healthy and unhealthy responses and see the outcomes unfold. This is the cue–action–result model at work. Over time, children begin to associate self-care and mindfulness with positive reinforcement. It’s psychology they can play, not study.

Each warrior was designed as a reflection of common child archetypes I observed during research, the empathetic helper, the confident leader, the quiet thinker, the creative dreamer. Their strengths and weaknesses are deliberately human, mirroring both admirable traits and emotional blind spots. When players read their warrior’s board, they see parts of themselves in those descriptions. As they play, they learn that every trait even weakness can become a strength when understood. It’s a gentle way to build self-awareness and emotional literacy.

The roll of dice and steps in the board with power ups and power downs are completely upto chance while tasks and decisions are strategic to a players choice. This mirrors real life, where we can’t control what situations maybe come up and happens to us, but we can control how we respond. The game encourages children to evaluate risks, make trade-offs, and adapt based on consequences. This builds flexible decision-making a core coping skill under stress. The element of unpredictability keeps them emotionally engaged while reinforcing that setbacks don’t define the outcome; perseverance and mindful choices do.

Families described The Warrior in You as a real “conversation starter.” One parent told me, “It’s a great way to bond with your kids every time you play, you discover something new about them.” The Parent’s Guide that accompanies the game was especially well-received as it helps parents reflect on their child’s in-game choices and what those reveal about their coping habits or emotional triggers. Children became deeply immersed in their warrior characters, and even their tone and confidence during play began to shift, making conversations around emotions feel natural and fun rather than forced.Teachers and psychologists also found it valuable as a non-threatening tool to introduce emotional literacy in classrooms. What’s been most rewarding for me is hearing that parents started reflecting on their own stress patterns while playing along!

The art direction was built around empowerment, not fear. While the concept of demons could have turned dark, I illustrated them in an imaginative way to ensure they feel playful rather than intimidating. Warm colour palettes, soft gradients, and expressive characters were used to keep the emotional tone light. The mystical world builds a sense of adventure, while the modern, relatable warrior designs ensure children see themselves in the narrative. Every visual choice was intentional to invite curiosity, reduce anxiety, and make well-being feel aspirational.

The long-term goal is to extend The Warrior in You beyond a board game. I envision a digital adaptation with adaptive storylines, plus school and counselling versions co-facilitated by teachers or psychologists. It can become a toolkit helping schools integrate emotional education into daily life, or families use it as a reflective weekend activity. Ultimately, I want it to evolve into a community-led platform where mental well-being is not a corrective measure, but a preconditioned skill, something every child grows up practising naturally.