game making circle
We build games the way a luthier builds instruments -- slowly, by hand, with attention to the grain of the material. Each project begins as a question: what would it feel like to inhabit this particular world? The answer is never written; it is built, tested, rebuilt, and felt.
MiRiS is a circle, not a company. The distinction matters. A company optimizes for output. A circle gathers around a shared obsession. Our obsession is the moment when a player forgets they are pressing buttons and begins to simply exist inside the thing we have made.
The best code disappears. The best design is invisible. The best game is a place you remember living in.
Every workshop has its rhythms. Ours is the rhythm of prototyping and pruning -- building quickly to discover what works, then cutting away everything that does not serve the core experience. This is not efficiency. It is honesty. A game should contain nothing it does not need.
An audio-reactive exploration where landscapes form and dissolve in response to sound. The terrain is the music; the music is the map.
A time-manipulation puzzle game where every object remembers its past states and can be rewound independently. Causality is the player's tool and enemy.
A procedural narrative where trees grow stories. Each branch is a choice, each ring is a year, and the forest is a civilization's memory rendered in wood.
The workshop light stays on.