My focus now is Multiverse Engine — my own engine in C++ and Direct3D 12, built to power Multiverse, a dimensional-exploration game. Around them: whole console generations — N64, GameCube, Wii, Dreamcast, PlayStation and more — brought into real per-eye VR, and major systems of No Man's Sky reshaped from the inside.
The mission
Front and center: Multiverse Engine and the game it exists for — both in active development behind the scenes, with more to share as they grow. See where it's headed →
Released · Open source
Each one is a real per-eye stereoscopic fork — the whole game renders in the headset, not on a flat screen floating in front of you.
Super Mario 64 Co-op DX with full VR support. Online multiplayer, per-eye stereo, a world-locked HUD.
View on GitHub →Mario Kart 64 in stereoscopic VR. Netplay is in the works.
View on GitHub →Star Fox 64 brought into per-eye VR with OpenXR — motion controllers, a world-space HUD, and a 3D sky dome. Early, in active development.
View on GitHub →In development · Flagship
A standalone Nintendo 64 emulator I'm building with native OpenXR. It already runs — flat, and rendering inside the headset — but true per-eye VR isn't wired up yet. This is an early, in-progress build.
Also in development
In development · The foundation
Multiverse began in Unreal Engine 5 — and UE5 showed me exactly where its ceiling sits. The game lives past that ceiling. So it's getting a foundation of its own: Multiverse Engine, written from scratch in C++ and Direct3D 12. My renderer, my editor, no middleware, no borrowed source.
Twenty years of pulling shipped engines apart taught me how they work — and where they all make the same trade-offs. This one gets to make different ones, shaped around the things Multiverse can't compromise on.
And to be unmistakable about it: Multiverse Engine is 100% original code. Not a UE5 fork, not built on Dreams, not resting on anyone else's runtime — those are touchstones for how it should feel, and nothing more. Every line here is mine.
A tear in reality isn't a trick here. The architecture is built so the world beyond a rift renders live — its own light, its own fog, its own sky. General-purpose engines fake that; this one is shaped around it.
Building worlds should feel the way Dreams on PS4 felt — instant, tactile, alive. It's growing into a full VR editor: reach in and shape a world by hand, frictionless — no baking, no waiting. You sculpt the real thing and watch it answer.
The baseline is physically-based light. Every dimension's look — grade, fog, palette — is dialed on top, so one world can be painterly and the next raw, from the same scene.
VR isn't a roadmap item here — it's arriving now, built on the same per-eye obsession as my retro-VR forks. Flatscreen and VR are two views of the same world, never a port.
Already running
Inside the engine
The standalone game · On Multiverse Engine
Shares a name with my No Man's Sky project below — but this is a separate, brand-new game, built on my own engine.
Not a No Man's Sky game — but it draws deep inspiration from it and aims to be far more: a flatscreen & VR dimensional-exploration game where space travel bleeds into interdimensional travel.
Prerelease-NMS wonder and mid-century sci-fi, blended with liminal spaces and a found-footage feel. The multiverse is the character — unstable, merging, alive. Presence and awe over progression — no XP, no checklists.
The clip — Thallume — was a throwaway test from the game's UE5 chapter: could that prerelease-NMS feel be evoked using none of Hello Games' content or code? It could. The real game looks and plays differently — and it now grows on Multiverse Engine. Its HUD is built from scratch — a quiet nod to prerelease-NMS design principles. It stays out of your way.
“The portal is where infinity becomes small enough to perceive.”
The multiverse is the character
Dimensions aren't separate levels — they're layers of one multiverse, bleeding into each other through rifts: jagged tears in reality, never tidy doorways. You never know whether the next room is more familiar, or more alien. And every rift is real — the world beyond renders live through the tear. Not a skybox. Not a screenshot. A live window.
What it feels like
Four layers, one world
Warm, analog, painterly — the feeling of stepping into a Chris Foss canvas. Never cold, blue, modern sci-fi.
Strangeness baked into the biology itself — impossible materials, scale that won't resolve, life that defies classification.
Empty pools, corridors that never end, the quiet sense of being watched by the place itself.
Impossible lavender-to-magenta skies, colored fog that blends everything, the analog grain of a half-remembered dream.
Alien wonderlands
Golden-age sci-fi, made walkable. Each dimension is its own painting you can stand inside.
A field guide to impossible things
Surrealism isn't a filter laid over the worlds — it's grown into them. A growing field of specimens, rendered from the Multiverse’s own art pipeline.
What it isn't
A journey into the unknown
Some dimensions are calm and mesmerizing, others quietly uncanny — and a few are genuinely unsettling, the way the deep Backrooms are. Wonder leads, but it isn't the only thing out there. Golden-age sci-fi, liminal spaces, the Backrooms, prerelease No Man's Sky — they all share one pull: venturing into the unknown. That's the heart of it.
You see it all through found footage — a recording device carried through impossible places. The camera isn't a game camera; it's a physical object. It breathes, it sways, it catches fragments of the next world bleeding through like VHS interference. You don't manage systems or read menus. You just exist somewhere you don't want to leave.
What feeds it
The Multiverse stands on the painters, films and places that taught me what wonder looks like — golden-age sci-fi, surreal naturalists, and the quiet dread of liminal space. The stars drifting behind this text are my own: procedural, grown from shader math — a small continuation of that lineage.
Chris Foss, John Harris, Tim White, Roger Dean, Richard Powers, Syd Mead, Moebius
Ernst Haeckel, Codex Seraphinianus, Fantastic Planet, Gandahar
The Backrooms, liminal spaces, found-footage
Dreams (PS4), prerelease No Man's Sky (2013–15)
Named artists are credited as influences only — each painting belongs to its creator. The mood studies above are style references. The starfield is original to the Multiverse.
Fan project · No Man's Sky
My No Man's Sky project — not the standalone game above. Same name, different beast.
A fan project that overhauls No Man's Sky from the inside. I'm fundamentally rewriting its core engine systems — terrain rendering, shaders, procedural generation, the whole visual pipeline — through ten years of reverse-engineering at the assembly level, with no source code. This isn't modding; it's engine reconstruction.
On top of it runs a live GUI to reshape the universe in real time, a modular plugin system, and deep modding — systems the base game never shipped with. No Man's Sky runs on Hello Games' own engine, Skyscraper; I work inside it, rewriting the parts that don't fit Multiverse and adding what was never there.
In a single month it gained 220+ programmable shader effects, an optional Film Gate that makes the game look painted, procedural cosmic creatures built from shader math, solar systems with up to 20 suns, hundreds of new star types, and a custom Terrain Array Texture Editor.
It's written in C++ and assembly at its core — with Python, and some tools in C#.
Dev log · June 2025 · NMS Multiverse
One month inside No Man's Sky's engine, documented — rewritten terrain rendering, 220+ shader effects, procedural cosmic creatures, perspective fog, and the dev tools behind them.
Devlog
Progress notes from inside the build — posted as I go.
This is the log — short notes from inside the work, posted as I go. Engine progress, rift experiments, the things that break and the things that finally click.
If you want to help keep the lights on while the multiverse gets made, there's now a support section right here on the site. Nothing gated, nothing sold — it simply buys the hours that move the engine forward.
More soon.
Multiverse began in Unreal Engine 5, and UE5 showed me exactly where its ceiling sits. The game lives past that ceiling — so it's getting a foundation of its own.
Multiverse Engine is written from scratch in C++ and Direct3D 12 — 100% original code. My renderer, my editor, no middleware, not a line sourced from UE5, Dreams, or anything else. The whole thing is shaped around the one idea it can't compromise on: rifts.
A tear in reality isn't a trick here. The world beyond a rift renders live — its own light, its own fog, its own sky. Not a skybox. Not a screenshot. A live window.
Twenty years of pulling shipped engines apart taught me how they work, and where they all make the same trade-offs. This one gets to make different ones.
Support the work
I'm one person building a game engine and a game from scratch — and regularly porting retro and flatscreen games into real, per-eye VR. What support actually buys is the thing that moves all of it forward — time. No paywalls, no locked dimensions. Just fuel for the work, and your name in the credits when it ships.
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