Nintendo, but fuelled by a drunk group chat
I own the creative experience and brand across WTF’s original games.
Underneath the ridiculousness, it’s built on familiar patterns. Years of UX design guided the creation of interaction models, flows, and UI systems that carry across every game — so no matter how weird the idea, it still feels obvious and easy to play.
Dumb ideas, executed brilliantly.
Most of our games ideas come from someone saying something unhinged then someone saying, "that should be a game". Ladyboy came from a team workshop — someone tapping a line of people behind doors in a red-light district. Hit the wrong one? Ladyboy. Game over. Hilarious, build it.
My role is taking that energy and turning it into something real. Locking the gameplay loop, shaping the experience, and building a world of characters and IP that ooze personality.
Think degen crypto bros getting stoned and playing video games at college, aka our demo.
This has pushed me further into game design. Using AI to accelerate asset creation and vibe coding, I build playable versions myself — testing pacing, risk, and reward early. By the time it reaches development, the core experience has already been heavily iterated and tested.
The impact is speed. With new infrastructure and this approach, what used to take months is now moving toward weeks.
The bigger play is our game engine — opening up our toolkit for other developers to build on, while bypassing the usual iGaming complexity like math models and compliance.
We’re building a chaotic, character-driven universe where every game feels unique on the surface, but connected underneath — designed to surprise, entertain, and reward.
Ladyboy — a chaotic 32-bit side scroller set in Thailand. Started as a joke, now a fully realised world where you play as a sex tourist while a crazy monkey throws beer bottles at you.
Royal Flush — flushing objects down a toilet for rewards. Completely stupid, tightly controlled under the hood using a plinko-style math model. Features include Poo Time and Plunger Time, all paired with deliberately horrific art.
Numbface — a Scarface parody with a hamster. Built around risk, satire, and pushing the line — literally. It’s the first cocaine-based crash gambling game. I tested everything from line sizing to tap-to-crush mechanics, with a hamster railing the line on cashout.
Lost My Marbles — a hex-based plinko game featuring a chaotic elderly woman, crossed with our Marble Racing League universe.
UGC introducing Fuji the chubby Japanese retro game fan
"I’m a menace to society" is the overwhelming feedback I get from friends.
This isn’t just a set of games — it’s a universe. It simultaneously contains some of the coolest and dumbest things I’ve ever worked on.
It’s the result of a bunch of crazy people being given the freedom to take risks — and trusting me to find the line.
Next projects.
(2026©)
