I see making video games, or games in general, as a way to reflect on my relationship with my past, my memories, and how I interact with the people around me. I enjoy pushing the boundaries of traditional video game narratives, applying them to creative projects that defy conventional categories.

Coming from Beijing's underground indie music scene, I started using TouchDesigner as a VJ for my own band and other indie bands, blending audio and visuals to craft immersive experiences. My work merges creative coding in Unity, music and sound generation, and text-generation algorithms to create poetic and playful experiences, balancing systems and artistic expression.

In the video game Lake Has No Tide, I explore text censorship as labor by placing players in the role of a censorship administrator. This exploration deepened when I collaborated with performance artist Kennie Zhou (@zhoukennie) at Trans Pecos, where we examined text censorship and the evolution of language from sound to contextual text and words.

In my in-development game River Vignette, I try to capture memories of the city I lived in for 17 years and the people I left behind, viewing them through a distant yet nostalgic lens of visuals and sound. Over the past year, I’ve been fortunate to realize how much more I can explore in visuals and technology by collaborating with DJs and performance artists, which has given me greater freedom to express stories through my creations. In shows like Cinderella, created by (@lore_._official), I designed audio-interactive visuals woven into familiar narratives, reinterpreting them in innovative ways.

My work emphasizes community, geography, social environments, and language—exploring how these elements shape individual and collective narratives and how they evolve over time. Whether it’s a game, a visual piece, an interactive experience, or music, I hope my creations carry a part of me, as a member of a larger community, as a representation, and as part of a larger narrative.