Selected work

A Mac game library with a different technical route where each game needs one: Wine and DXVK for Windows games, WebKit for a web-based game, and a native engine for the original Blade Runner. Graphics, audio, controls, saving and loading after a new launch have been confirmed for nine games on the test Mac. The public website carries the test notes and a waitlist; the app is still being prepared for distribution.

Bandpit began as a shared songbook. The next gig is now its starting point: date, venue and lineup lead to a public event page, promo artwork and a working set. The same arrangements run in Live, either scrolling to their musical duration or moving one section at a time at the conductor’s cue. Public artist pages, EPKs, booking enquiries and fan updates keep the work connected after the show. I own the product design, implementation and operation.

A narrative point-and-click game set in Helsinki's Kallio. An unreliable protagonist wakes in a park toilet and lives one day in a city that refuses to react to him. Passers-by do not look. Doors are locked because they are doors. Nothing confirms his fears as supernatural. Too normal, then slowly wrong. The game is now built in Unity, with Blender environments and Ink for the narrative. AI-assisted by design: I specify, curate and approve, the models produce. The ambition is Disco Elysium, which is an absurd thing to say out loud, so I say it quietly and keep building.

Finland's job marketplace. I own the product end to end: how the site looks and reads, the marketing around it, what gets built next, and how it performs. Nine years in the same house, from marketing designer to marketing manager to product owner to CPO, which means I have built or rebuilt most of what I now steer. The work I am proudest of there is unglamorous: we took control of how every job ad is classified, so ads became findable without the employers posting them having to do anything for it. Applications are up 110% since 2022. Lately most of my attention goes to AI, applied where it removes real friction rather than decorating a broken process. A six-person team does the building. I am responsible for it.

Showtimes for independent cinemas across Finland, from Helsinki to Kemi and Karkkila to Kitee. Each field is read from a cinema's own site or left empty. No ads, no cookies, and not a single request to a third party. It replaced an earlier version of my own that asked a language model to guess showtimes out of scraped markdown, which is how I learned what that costs.

My own knowledge engine, and the place where I try things before I trust them anywhere else. Everything I read, buy, own or owe ends up in one plain-text vault. I send an article to a Telegram bot and it comes back as a source page, cross-linked to every person and idea it touches. I photograph a bookshelf and the books appear in inventory. The weekly digests write themselves overnight. On top of that sit a dozen dashboards: investments, spending, subscriptions, a 3D shelf of every book I own with covers pulled from library archives, and a lending register that emails whoever borrowed a book once it has been out two weeks. None of it is clever for its own sake; it is a way of noticing what I actually consume and what it costs me. Markdown underneath, so it outlives every tool I used to build it.