Singapore · est. 2026

Alec Rhony

A studio for things that don’t exist yet.

The thesis

Abundance has made attention the only scarce input.

The marginal cost of producing anything in our media has collapsed. The cost of being worth returning to has not moved at all. We treat that asymmetry as the whole of the opportunity.

It follows that volume is a losing posture and durability is a winning one. A catalogue of four things that people finish is worth more, commercially and otherwise, than forty that they abandon. So we optimise for half-life rather than throughput, and we accept the slower compounding curve that comes with it.

Premise

Cheap production is not an advantage. Everyone has it.

Consequence

The scarce input is the willingness to finish properly.

Position

Fewer things, built to be returned to, across several media.

What we believe

Three things we are not willing to argue about.

A story is a system.

Plot, economy, interface. Different surfaces, the same discipline underneath. We design the machine first and let the feeling fall out of it.

Form follows the telling.

We choose the medium last. A thing becomes a book, a game or an hour of footage only once it has told us which it needs to be.

Finish slowly.

Nothing ships until it stops arguing back. We would rather miss a window than add to the pile of things that were nearly good.

Disciplines

Five capabilities, deliberately overlapping.

We are generalists by conviction rather than by accident. The transferable part of this work is structural, and structure moves between media more freely than most people assume.

01

Narrative architecture

Structure before surface. We design the shape of a story the way one designs a system: states, constraints, consequences, and the places a person is permitted to change the outcome.

02

Systems design

Economies, progressions, incentives. The invisible scaffolding that determines whether attention compounds or quietly leaks away.

03

Interface and interaction

The surface a person actually touches. We hold that legibility is an ethical position before it is a visual one.

04

Verification

Primary sources, checked work, claims we are able to defend in public. Being right is a feature with an unusually long half-life.

05

Craft and finish

The final tenth that nobody requests and everybody notices. It is almost never the thing in the plan, and it is almost always the thing that is remembered.

What we are working on

Four of them, in four different worlds.

We are not ready to name any of them. What we can say is how each one reaches you.

01

Something read

Long-form, on paper and on screen. Ten of them to begin with, then more if they earn it.

02

Something played

Thirty hours of it. Illustrated, scored, and willing to remember what you chose.

03

Something solved

It looks like a puzzle. It is also a confession, if you work through it in the right order.

04

Something watched

Documentary. Built on filings and transcripts rather than opinions, which are cheaper.

How we work

A method, in four movements.

  1. 01

    Premise

    We start from a question we cannot answer. If we already know how it ends, it is not worth the year.

  2. 02

    Shape

    We build the smallest version that is capable of being wrong, and then we find out whether it is.

  3. 03

    Pressure

    We break it deliberately, in front of people who owe us nothing and are under no obligation to be kind.

  4. 04

    Release

    We ship when it stops arguing back. Not before, and not very long after.

Constraints

The work we decline, and the reasoning behind it.

A studio is defined more precisely by what it refuses than by what it accepts. These are not postures. Each has cost us something.

  • Work that must exist by a date more than it must be good

    Deadlines are a constraint we respect. They are not an argument.

  • Briefs where the answer is already in the brief

    If the conclusion is settled, what is being asked for is production, not judgement. Others do that better and cheaper.

  • Anything we would be unwilling to claim in five years

    The test is not whether it works now. It is whether we would put our name beside it once the context has gone.

  • Scale pursued for its own sake

    Growth is an output. Treated as an input it reliably degrades the thing that produced it.

Where this goes

A library of worlds, each one finished properly, and none of them in a hurry.

We are building slowly and on purpose. There will be more here when there is more worth putting here.