Room 1Moon
Enemies patrol until they hear you, see you or take a hit. A crumble platform is the only way over the pit, and a gap you can walk past drops into a secret chamber.
01Origin
One screen, drawn in 2015.
I drew it in Photoshop: one screen, 240 × 160 pixels, the size of a Game Boy Advance. For eleven years I wondered how it would play. In June 2026 I pulled its layers into Claude and started building.
2015 · the file2026 · the game
02Sprites
Every move, put together live.
The Titan is drawn in parts. The game assembles them while you play, and this page does the same, from the game's own rig file.
03Game feel
Every number in one table.
Every gameplay number lives in one table of 400 entries. A note like “floatier jump” is one value, tuned live inside the game.
The sniper broke the game through free ammo, not damage. Destiny's own ammo caps fixed it: 14 special rounds, 4 heavy.
The pit took nine fixes and I still fell through. I had it rebuilt on two rules: catch at 170 px, kill at 300.
- The freeze on a slamhitStopBig
- 0.07 s
- Camera punch on heavy hitscamKickBig
- 18 px
- How far a hit pushes youplayerHitKnock
- 240
- Of 100: only the shield regeneratesshieldMax
- 30
- Wait, then refillregenDelay · regenRampTime
- 5 s · 10 s
04Rig Studio
A tool to stop saying “a bit to the right”.
Placing pixel limbs by description failed, so a week in I built Rig Studio. Every limb is a layer, placed frame by frame, and the game draws those exact coordinates.
Six working days, alongside the game. The studio and the game share their compositing code, so the pose you set is the pose you play. The whole Moon is 48 tiles drawn in it too.
What it outputs
IdleRunMelee
Lab · ToolRig Studio, the case study
Coming soon
05Three rooms
Three rooms down into the dark.
Horde is an open arena. Stage is three rooms, each built to teach or test one thing.
Room 2The Descent
A lift through seven waves, 226 Hive. One at a time felt easy, so now they burst from both walls, bigger and faster at every stop.
Room 3The Warren
Pitch dark. You carry 280 px of light and every shot carries more. Dead ends, sealed chambers, and the Ogre in the last one.
06Bosses
The Ogre comes apart.
The Ogre went from grey boxes to an AI stand-in to my own Photoshop cutout: 14 parts on a skeleton the game solves every frame. A puppet, not a sheet, so it can come apart.
This is the game's own Ogre, at true size next to the Titan and the Knight (redrawn, not in the game yet). Make it stomp, then shatter it.
07Phones
Phones, in progress.
On a desktop it plays with a keyboard. On a phone it runs, but it doesn't play well yet. This is what the touch version has so far.
No input rewrite
The phone pad sends keyboard events, so no game code had to change.
A stick, not arrows
Arrow buttons felt wrong in the hand. A floating stick appears wherever the thumb lands.
Hits at any frame rate
At 20 fps, bullets skipped over enemies. Now they test the whole path.
08Next steps
What comes next.
I'm working on the mobile version: the touch controls run, but the game doesn't play well on a phone yet.
After that, run, jump and super frames for the Hunter and the Warlock, drawn in Rig Studio. Both already play; each is drawn in one pose.
June to September 2026. 43 days, a game and the tool that draws it, one designer directing Claude Code.
An unofficial fan project. Destiny, its names, weapons, sounds and the Hive are Bungie's. Not affiliated, not for sale.