Studio
Two harbours
Vladivostok sits on the Golden Horn, a bay named after Istanbul's. Sydney sits on Port Jackson. Both are harbour cities with a famous bridge across the water, and the studio is named for the pair of them.
Our games come from both places: the roads, forts and weather of the Russian Far East, and the bushfire country around Sydney. They run on Android, iPhone, Windows and in a browser, and you can play them all free: right here, on Google Play, on the App Store or on itch.io.
Mission
Make small, sharp games about real things, and treat the people who play them as grown-ups.
Vision
A studio where a two-person idea can become a finished, polished game in months, where every game plays free in a browser for anyone, anywhere, and where the money a game earns goes back into making that game better and more human.
What we promise players
- Every game plays free in your browser. No account, no install, no card.
- No energy timers, no loot boxes, no dark patterns. A purchase, where there is one, is a thank-you, a cosmetic or a head start, never a wall across the story.
- Your data is not the product. The games collect nothing they do not need; the privacy page says exactly what, in plain words.
- When you tell us something is wrong, we fix it. The harbour log on the home page is where you can see it happen.
- We tell you what is made by a machine and what is made by a person. Always.
How it is going (11 November 2026)
Honestly? Better than a week ago, and still worse than we would like. Eight games are in port, and three of them are now on both Google Play and the App Store: Fire Season, Punch League and Orbital Jump Reloaded, the rebuild of our 2021 phone game. Apple sent Punch League back with questions the first time and passed it the second.
The numbers are small. Our YouTube channel has passed thirty-six thousand views across a hundred or so short films, mostly about firefighting helicopters, Russian serfs, and things we got wrong and then fixed. Downloads are in the hundreds, not the thousands. Nobody has quit a day job. That is fine. This is a long voyage and the boat floats.
What is working: shipping, and listening. We took Souls & Estates to a developers’ meetup and were told, kindly, that there was too much to read and too many Russian words. Within two days every screen had icons and the terms were plain English. The same week the game learned to zoom from one village yard out to a map table of central Russia.
What is not working yet: being found. Eight good small games nobody has heard of are still eight games nobody has heard of. So we post every day, we answer every comment, and we keep pages like this one so that people who care how games get made can see how ours are.
Next: Souls & Estates gets a tutorial that opens its menus one step at a time; Fire Season gets a tutorial that does not need a manual; Punch League is learning to fight in 3D; the experiments get a page and a forum of their own; and the first human artist gets hired the month a game pays for one.
How we build
Built with AI. Steered by people.
We say it out loud: most of what you see here was made with AI tools, by a studio of two that could not have made it any other way. Here is exactly who does what.
The crew manifest
PeopleAI
- Design and rules 90%10% Every mechanic is argued over at a kitchen table and on a phone in a bus. AI drafts options; we pick, cut and tune. The feel is ours.
- Play-testing 100%0% A phone in a hand, headless simulations by the hundred, and friends who tell us the truth. No model plays a game for fun.
- Writing 55%45% Briefs, jokes and the history behind the games come from us; AI drafts the long text and the seven languages, and we read every line.
- Code 20%80% Claude writes most of it; we read it, test it, break it, and decide what ships. Thousands of automated checks run before a build goes out.
- Art and covers 15%85% Gemini and hand fixes. Some pieces we are proud of; some we know are not there yet. See the promise below.
- Music and sound 10%90% ElevenLabs makes the scores and the effects to our briefs. We pick, cut and mix.
- Voices 5%95% Radio chatter in seven languages, boxing corners, village elders: generated, then listened to by a native speaker where we have one.
Roughly how the work splits across our games today. Hover or tap a line for the detail.
The tools on boardGodot 4UnityClaudeGeminiElevenLabsBlenderGitHub
Why so much AI? Because the alternative was no games at all. Two people, no budget and a list of games we wanted to exist. With these tools a season of wildfires, a boxing career, a serf village over a hundred years and a road across Siberia could be built, played and shipped by a crew that fits in one car.
What AI is good at: the first draft of anything, and the thousandth. Code, a thousand radio lines, a cover in an hour instead of a week. What it is bad at: knowing what is fun, knowing when to stop, and caring. Those stay with us. Every mechanic is played until it earns its place. Every sentence you read was read by a person first.
We do not hide any of this in the credits and we never will. If a part of a game was generated, it says so. If you ask which part, we will tell you.
The promise
When a game earns enough, we rebuild its generated parts with people: artists for the covers and the worlds, composers for the scores, actors for the voices, writers for the words. Their names go on the game. The first game to pay for itself will be the first to get its crew.