Credits

The photographs, the ambient score and the studio work on the postcard wall — the wordmark, the brush lettering, the mandala and both studies — are mine, drawn in Procreate; the score composed in Ableton Live. Location data is stripped from every published photograph.

The world, the systems, the puzzle design and the playtesting are mine. The GDScript is written with Claude Code under my direction and review rather than hand-authored, and four pieces of art in it — the boots, the backpack, the carved stairs and the opened chest — were drawn by Claude Code through Aseprite rather than by a person or by an asset pack. The game's own credits page says both. Every pack above ships no licence file except Case Portman's and GameDev.tv's; the rest were read off each pack's itch page and quoted verbatim next to the art in the game's repo.

The world design, the systems and the soundtrack are mine — the score composed in Ableton Live. The code is written with Claude Code under my direction and review rather than hand-authored, and I would rather say so than let a portfolio imply otherwise. No AI-generated art appears anywhere in it.

The world, the level design and the writing are mine, and the water and sky are shaders written for it.

Sailing and wind physics, weather, currents, tides and the living-water ecology are my design, and the toon water is a shader written over the FFT simulation credited above rather than a replacement for it.

Cover as a resource you spend is my design: which weapons erode what, how fast a wall stops being shelter, the arena layouts built around that, and the bots. The voxel destruction engine doing the carving is Terabase Studios' addon above.

The nectar chain, the pollination loop, the flight tuning and the playtesting are mine. The C# is written with Claude Code under my direction and review rather than hand-authored, and the world was laid out with Bezi, an AI agent inside Unity — the game's own CREDITS.md says both. The wing hum is not a recording; it is generated in code.

Lane pathing, three-tier elevation, hero abilities and the data-driven faction economy are mine.

The grid and crossing systems, the wisp's movement and dash, the brazier and toll logic, Charon's Ledger and the original soundtrack are mine.

The arena, stadium, Wheel of Destiny, HUD, particles and the cel look are procedural code and shaders; the battle and title themes I composed in Ableton Live. The tops are listed here for the same reason they were disclosed on the jam submission: AI-generated art is never presented as my own work.

Written from the primary sources. Design and writing are mine.