Studio Expansion

Whilst during solo-development there will inevitably be bleed between roles, Roberts as Creative Director will still look to the expertise and support of a Lead Narrative Designer, Lead Technical Artist, Director, and Producer during final development.

The Creative Director’s ego is tied to the output of Banshee Project Alpha, not that of the individual.

2026 into 2027 is dedicated to branding and social media presence during creative and technical R&D/benchmarking; as such building a chain-of-evidence — now essential for IP protection and authenticity in a Generative-AI dominated status-quo.

Roberts is not anti-AI but believes the usage for high-compute logarithmic programs lies in interpolation (such as Ray Reconstruction), not generation. 2027 onwards will be dedicated to finalising narrative and mechanics. Engine adoption to coincide with publisher post-pitch/investment.

The initial aim of Banshee Interactive is not to complete an independent project, nor to distribute a low-fidelity asset, but to ascertain the limits of hardware, software, and market feasibility for the Creative Director’s intended vision.

The direct goal of current efforts is to produce a AA+/AAA- pitch deck, with intent to fund a world-class skeleton studio to produce a vertical slice.

Banshee Interactive may currently be founder-oriented and commercially pre-revenue, but aims for seven-figure founding investment, and mid-eight-figure game development on Banshee Project Alpha.

Banshee Project Alpha is credible for funding of this amount due to IP rarity as a primary source fiction with industry-leading creative pedigree.

Roberts wishes to attain this through incorporating in Japan, utilising industry-standard Kabushiki Kaisha parent and Godo Kaisha subsidiary delegations.

Japan is chosen due to economic stability, talent procurement, precedent in intellectual property defence, and global market interactive-medium prestige.

Roberts is aiming for JLPT N2 proficiency within this timeframe.

The reason to supplement Japanese development in Thailand can be separated into economic and creative.

Economically QoL and wages are disproportionate, therefore able to entice international talent and utilise local craftsmanship, land ownership costs and much more without inherently using extractive practises.

Banshee can pay domestic workers extremely well, and international talent will walk away from a finished project with far more disposable income than if centred in the US, Japan, or Europe.

This is especially pertinent due to the photogrammetry-first nature of Alpha, where expensive technical labour is not needed for the lion’s share of creation.

Craftsmen who literally built the environments in-game wishes to model can replicate full biomes at anything from 1:16 to 1:1 scale, which merges the creative with economic.

Creatively Thailand is an untapped resource of cultural iconography and distinct locations, with Hollywood choosing it for titles such as: The Man With the Golden Gun, Only God Forgives, Jurassic World, and The Creator amongst others.

Led by a Thai Creative Director (with all ownership benefits of Thai citizenship) and incentive to bring Thai culture to the world via Alpha, this is an irreplicable arbitrage play that would be impossible in other low-cost environments.

Please note:

Dialogue has been opened with Steamworks, Valve Corporation — as the largest open customer-facing storefront — to proactively address nomenclature protocol in compliance with anticipated entity transition for Banshee Interactive from March 6th 2026.

As of September 2026 private conversation has been instigated between Banshee Interactive and a major CVC regarding the future of the medium.