Category Sector
Original games, app-lab projects, development diaries, playable worlds, and release notes.
10 articles
From the Death Star trench in 1983 to a neon pseudo-3D city in 2026, the question at the heart of every runner is still the same one. Five questions that separate a great run from beautiful wallpaper.
Read Article →I built a game bible that serves two masters at once. You can show it to a publisher. You can paste it into Claude at 2am and it knows exactly what to build. Here's the whole thing.
Read Article →A mafia RPG needs Italian cars. You don't drive them — they power your dice. Here are all 25 Krea prompts before I've even generated the images. Steal them. Careful who you steal from.
Read Article →We are building cabinets, not websites. Neon Leviathan is a maritime obsession piece—a ledger of costs where numbers become mood and mood becomes body count. The sea takes its share, and the whale is only the beginning.
Read Article →In The City, manipulation isn't crime—it's competition. HACK LOVE BETRAY is the interface where social engineering meets retro arcade.
Read Article →The core loop works. The mechanics are alive. Now the surface has to tell the truth. These are the prompts I use to get a game from almost-there to release-ready without redesigning it into something safe and forgettable.
Read Article →Dreaming up a game is one job. Building the systems is another. The last ten percent, where UI, release philosophy, platform choice, pitch, and polish all collide, is the part that feels less like design and more like finishing an indie film with no patience left in the room.
Read Article →Bones on black velvet. Your father's debt at the door. Pizza work, collections, heists, smuggling, snitch-hunting, laundering, gambling, pigeon racing, boss pressure, HEAT, RESPECT, and ugly little objects with stories attached.
Read Article →The arcade was the first place games became public. Not a screen in a bedroom, not a ritual between you and a machine — a loud room full of strangers, a quarter as the price of admission, and failure that everyone could see.
Read Article →A game in 1985 did not need to look real. It needed to feel real. The rest was supplied by the player, by the machine’s limitations, and by a culture that still believed imagination counted as hardware.
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