Washline

From concept to rooftop

The piece was concepted first: a key-art sheet, a character turnaround and an environment callout board set the palette — terracotta caps, cream plaster, white linen, a slate-blue storm. Every named element in the sheets was then authored as a real asset.

Concept key art — the contract the piece is audited against

The same morning, live in the engine

Gray boxes before art

The whole game ran and was beaten as gray boxes before any art existed — feel (coyote time, jump buffering, asymmetric gravity, camera lookahead) and the level's fall-recovery routes were tuned where changes cost minutes. An automated player drives every build through all eight lines to a verified win on each audit round.

Blockout: the full level playing as gray boxes

The storm at 90% — rain, tinted world, meter nearly out

A Blender pipeline, rendered to sprites

The heroine is a rigged Blender character whose run and jump come from retargeted CMU motion capture, rendered to sprite rows. The washing lines are real cloth simulations — three wind phases baked into a flutter flipbook. Tiles, props, skyline ranks and the storm bank are all Blender renders packed into Defold atlases.

The instant-load signature

This lab exists to prove a real-engine game can be playing before a phone user loses interest. Every payload ships pre-compressed and is inflated in the browser, so any static host serves it optimally. Measured first-playable times, Playwright CDP network throttling:

Total transfer 1.82 MB (engine 976 KB + game data ~0.8 MB, gzip + RDO-basis textures). Measured headless on software rendering — real devices boot faster.

Real engine features, earned