Gaming is Life.
Binx is an independent studio that has been making games for over thirty years — and quietly building the technology behind other people's products for just as long.
We've been building games for over three decades. Originally Monkey Byte Development, our earliest work included PC and Mac releases in the 1990s — among them Galactic Patrol, a 3D arcade shooter published in 1998 and now back on Steam for a modern audience.
Games were never the whole of it. Across those decades we've built technology frameworks, engines and tooling, much of it shipped under other companies' names. That work continues today with behind-the-scenes platform development for health engagement company Healthtek Inc., which will also publish a set of wellness-focused games currently in development.
Our own slate is deliberately unalike. Necromancer: Ash & Bone, arriving Q4 2026, is a roguelike bullet heaven built around sixty abilities, three skill trees and twenty-eight artifacts. Bouncy Bean and Bouncy Brain, meanwhile, are chill physics toys about cooking soup badly.
We also build for livestream audiences. Crash'em Derby and Doodle WHAT?! are crowd-play games where the audience competes directly from Twitch chat.
Everything under the Binx name is self-published. No committee, no green-light meeting: if something seems fun, we make it and find out.
- Over thirty years Shipping games since the 1990s, originally as Monkey Byte Development.
- Self-published Everything under the Binx name ships without a publisher.
- Twitch-native Crowd-play games built on chat, not on an overlay bolted to the side.
- Players first Builds go to our mailing list before they go to storefronts.
We've never been precious about tools
We've been making games for over thirty years. In that time, the tools have changed far more than we have.
Every generation of development brought something new, and every one of them arrived with the same accusation attached: that it would hollow out the craft. Middleware would kill engine programming. Physics engines would kill animation. Off-the-shelf engines would kill the studio. Procedural generation would kill level design. None of it happened. What happened instead is that the work moved — up, toward judgment, taste, and the harder question of what is actually worth building.
AI is the newest tool in that lineage, and we treat it exactly as we've treated every tool before it. Our artists and developers wield it; it does not wield them. It sits in the pipeline alongside the engines, the frameworks, the DCC packages, and the thousand small utilities we've written for ourselves over three decades — used where it earns its place, discarded where it doesn't.
Nothing ships without a human deciding it should. Every asset, every line, every frame passes through the hands of the person whose name is on it. The vision is ours. The standards are ours. The accountability is ours.
We have never been precious about tools. We have always been precious about the work. That hasn't changed, and it isn't going to.
Watch us build the next one
Build notes, first access to unreleased builds, and a monthly drawing for our Steam catalogue. It's the most direct line into the studio there is.