I am a game artist and art director with 15+ years in the industry — not a traditionally trained engineer. I directed a team of AI agents to build the rest.
VEIL & CO., the world's most celebrated century-old textile company, is hiring. A year ago your sister walked into this building and never came out. Now it's your first day.
SEVEIL turns corporate life into a roguelike deckbuilder: performance reviews, overtime requests and forwarded emails are your cards; the weekly calendar is your map. You fight colleagues, defeat them, then recruit them onto your team — spending their energy, managing their loyalty, and climbing toward executives whose boss fights are built around the way each of them rules.
Health and sanity are resources you can burn. At VEIL & CO., everything is a resource. At the table, you are your own final bargaining chip.
The core visual decision: the player never looks at a game UI — they look through VEIL & CO.'s internal software. Menus are personnel systems. Combat is a daily standup. Team management is a personnel archive with clearance levels and sealed files. Horror comes from restraint: surveillance chrome, archival typography, and the quiet menace of a company that logs everything.
Every screen is diegetic corporate software — clearance stamps, encrypted chat, audit trails. The interface itself is the world-building.
Painterly, fashion-conscious portraits carry the emotional weight against noir photographic environments — warmth trapped inside a cold system.
No gore, no jump scares. Dread is built from HR language, gold-on-black accents, and what the archive refuses to show you.
SEVEIL is a solo project in the sense that every decision passed through one person. It was not solo in execution — I ran it like a studio, where the staff happened to be AI. Shipping web-first was equally deliberate: it was the fastest medium to put a playable build in front of real players and start learning.
Art direction · character & UI design · key art · game & systems design (118 cards, 6+ archetypes, boss mechanics) · narrative & world-building · production planning · Steam page & marketing copy
All engineering (web + desktop builds) · rendering passes and iteration in the art pipeline · localization drafts · test automation — executed by AI agents under my direction, review, testing, and release control. I'm not a traditionally trained engineer — I don't need to type every line to own the engineering outcome.
The interesting problem wasn't getting AI to produce — it was getting AI to produce to a quality bar, without wrecking what already worked. My answer was to manage AI agents the way an art director manages a team: written standards, scoped assignments, and hard gates.
▶ PLAY — 2:15
Not "an artist who uses Midjourney" — a director who converts AI into reliable production throughput while personally holding the quality bar, across art, code and copy.
Concept, characters, UI systems, game design, narrative, marketing assets and store copy — one coherent vision carried from first sketch to playable, distributable builds.
Frozen baselines, scoped branches, gated releases and clean handoffs — the habits of someone who has led teams for years, applied to a new kind of team.