I run AI the way a producer runs a studio. I decide what gets made, set the bar, make the calls and ship. Claude does most of the typing. The judgment is mine.
This gallery is the evidence: 58 finished pieces in 7 months, spanning 3D games, literary adaptations, documentaries, business simulations and a few deliberately absurd instruments. Each one has its own repo, its own address and a working build you can open right now.
The range is the point. The same operator who ships a 3D open world also cuts a documentary with sourced figures and turns a salon’s pricing into a game.
Shtick City, Turn the Camera Home, Spider Tree
Gatsby, Hemingway, Salinger, an original novella
Cinemas, salons, woodshops, campaigns
October 7, The Poop Index, The Medium is the Midrash
Steam rooms, producer group chats, urinals
Apollo 11 console, a field olfactometer, an iPod
Range only matters if the pieces hold up. Five that show how far one idea gets taken.
No. 01 · Shtick CityWest Campus, Austin, on a Friday afternoon in September 2006: towers, co-ops, the Hillel office and a clock running down to candle lighting. It started as one line, “Make me a playable 3D game like GTA, but it’s set at Texas Hillel in 2006,” and became the biggest build here.
No. 02 · Kotel QuestAn 8-bit adventure through Jerusalem’s Old City: markets, strangers, wrong turns and a quiet ending at the Wall. It runs offline, installs to a phone and lives at kotel.quest. Small scope, held to a high finish.
No. 25 · October 7A film for the third anniversary of October 7, with all 1,205 names, a source for every figure and a list of claims deliberately left out. Four companion shorts followed, from Dawson’s Field in 1970 to an attempted hijacking in 2026. Animation is the easy part. The judgment is the work.
No. 27 · The Medium is the MidrashMcLuhan’s media theory run across three thousand years of Jewish text, from the voice at Sinai to the hyperlinked Talmud page. It began as a podcast idea in 2024 and is now two films, a reader’s guide, a series plan and four short explainers.
No. 18 · The Fall SeasonAn outdoor cinema watching the radar, a salon chain setting prices, a custom woodshop in Houston, a council campaign in San Antonio, a crew in North Jersey. I sit with how an operation actually works, then turn its decisions into a game owners recognize on sight.
Claude is my executing agent. The work that makes these good happens before and after the code.
One clear sentence about what this is and who it’s for. Most of the pieces here started from exactly that.
Format, tone, scope and the bar it has to clear. I push back until the thing is actually right.
Claude writes the code, renders the frames and runs the pipeline. I review the output, not every keystroke.
Every piece gets a repo, a domain and a deploy. Nothing lives only in a chat window.
For owner-led businesses that want AI doing real work: how jobs come in, how decisions get made, how the week runs. I map the operation, design the system and stand it up with agents that do the work.
For people with a story, a community or a cause that deserves a better format: an interactive retelling, a short film, a game built for one specific audience. I take it from idea to something people can actually open.