Daniele Bianchini · Rome, Italy
I make games. Lately, I teach AI agents to play them.
By day I run Fantastico Studio, an indie game studio in Rome — twenty-something titles shipped on PC and console, over a million players, the whole adventure since 2017. That’s the part LinkedIn knows.
This site is for the rest: the experiments I run after dinner, the things I write, the rabbit holes I fall into. I studied physics, which left me with a habit I never shook — understanding the problem space before touching the solution. Most of what follows started as play. Some of it accidentally became product.
01 — The lab
Experiments
Personal projects, mostly built after hours, out of curiosity. The good ones escape the lab and become real things.
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LetAIPlay.games
Games where you don’t play: your AI agent does, and you’re its trainer — like Pokémon. It started with me being bored while balance-testing one of our games; a month later it was LetAIPlay.games, a home for a category that doesn’t exist yet.
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An agent plays my game with me
Desktop Driller is my idle game that digs toward the Earth’s core, powered by your actual workday — every click and keystroke feeds the drill. It’s vibe-coded end to end: Claude Code wrote every line and generated the art too, SVG and pixel art alike. I then exposed it as an MCP server so an AI agent could play alongside me — I execute, it strategizes. In one test run it started reading the game’s source code to optimize its build, and basically cheated.
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A text game where you social-engineer an AI NPC into revealing its secrets. The language model ships with the game — llama.cpp, fully offline, no cloud. When I let another agent play it, it happily ran the con because the prompt assured it that “it’s just a game”. That one session taught me more about agent security than most papers — I wrote it up: The Only Winning Move.
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Marvin
My personal autonomous agent, built on the OpenClaw framework — persistent memory, modular skills, plugged into my channels. It quietly runs the boring parts of my life.
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The seven musical notes
In 2021 I noticed that nobody had ever minted the seven musical notes as NFTs. So I did. As far as the blockchain is concerned, Do through Si are mine. You’re welcome, music.
Also on the bench — an anti-spam architecture built to resist prompt injection (tool-less LLM judge, deterministic executor) · a VS Code extension for Unity’s platform directives · RAG over local vector indexes.
02 — Writing
I write to find out what I think
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I built a game where an AI agent runs social engineering on an NPC. Every coding agent I tested played along without hesitating — and that missing hesitation, triggered by a frame the agent can’t verify, is a security problem that reaches well beyond the game.
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The viral numbers on AI’s footprint are an order of magnitude stale. The real ones tell a different story — uncomfortable for meat at the individual level, uncomfortable for data centers at the system level. With redoable math and declared lenses. Also in italiano.
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The debate pits cautious long-termism against e/acc, but both miss the more fundamental point: acceleration isn’t an ideology to pick, it’s a historical law (thanks, Kurzweil) to manage — and the real urgency is building safe AGI before less scrupulous actors do.
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Il Cubo
A science-fiction short story. Time loops and a cube. Published on 20Lines, back when 20Lines existed — ask me for a copy.
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Shorter notes
World models, agent governance, games for AI — the running commentary lives on LinkedIn.
03 — The day job
Games
Fantastico Studio develops, publishes and ports games — 20+ titles across PC and console since 2017. A few I’m especially fond of:
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The official playable archive of painter Enzo Cucchi — a journey through his actual paintings. Art history, as a video game.
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Born from a collaboration with cult horror director Ruggero Deodato — a prequel drawn from his screenplay, told as a point-and-click graphic adventure.
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A fast, synthwave roguelite shoot ’em up. Pixel art, seven lieutenants, zero mercy.
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A quiet card game in the Placid Plastic universe.
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Hidden-object games drawn entirely in ASCII art.
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Scratcher Simulator
Scratch cards meet Balatro-style progression and chance-driven strategy.
Prequel — at Looky Games (2012–2019) I shipped a million downloads of small, strange mobile games: voxel goats, steampunk tanks, one-tap galaxies. And before games, I worked on pattern recognition and neural networks — back in 2004, when calling them “AI” sounded optimistic.
04 — Off screen
Beyond the keyboard
Progressive rock from the ’60s and ’70s and classic jazz — over the years I’ve played acoustic guitar, electric guitar and alto sax, in roughly that order of volume. My shelves are mostly science fiction: practically everything by Asimov and Philip K. Dick, the great space operas — plus, sideways from the genre, nearly all of Shakespeare. The Singularity Is Nearer lives within reach: I share Ray Kurzweil’s vision wholesale, track every step of AI progress, and I’m openly waiting for AGI — and ASI after it.
Hands and eyes, off screen: mechanical watches I assemble and occasionally even finish, succulents that propagate faster than my side projects, and strange, beautiful indie games — SOMA, Sable, Balatro, Inscryption. No meat on my plate for years; the article above does the math on what that’s worth.