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Discord: ms.dysphoria

Hey there! I go by the name Vespera and I am a multi-disciplinary artist. Over the decades, I have explored and taught myself a wide range of fields: from digital painting, photo manipulation, and UI design to 3D modeling, programming, music composition, and game development, to name a few. My primary medium is music and I have been composing since around 2010; created many pieces, and as many pieces as a ghostwriter. I used to be a pianist but had to quit due to an injury, and recently took up the viola as my new instrument of choice.

Guided by a can-do spirit, I embrace a hands-on, do-it-yourself approach and value self-reliance above all else. I believe that nothing is truly impossible for those willing to put in the effort: the only real impossibility lies in never trying. This mindset is what ultimately shaped me into a generalist.

For the past five years, I have dedicated myself to game development and design as my primary profession. Working as a freelance ghost developer and designer, I have contributed to a wide variety of projects, stepping into whatever roles were needed and handled nearly every aspect of development and design.

When it comes to games, in my eyes, they are the pinnacle of artistic expression, a medium that unites many art forms into a harmonious masterpiece, and the very thing that drew me to this field. I see game creation as the most complex and delicate of crafts. It is godlike: building a universe from the ground up, laying the foundations, defining the laws as pillars, and then shaping the world with forms, colors, sounds, and countless stories waiting to be told.

Ms. Dysphoria

I've been composing tracks and producing music for over sixteen years now. I have created so many pieces that I have long since lost count. Some were released, some were lost, some were ghostwritten away, and most remain hidden: finished, unfinished, scrapped.

My music, as the name suggests, is composed of dysphoria. It comes from places where distress has no clean language. Despair, sorrow, trauma, yearning, entrapment, heartbreak. What cannot be spoken directly is instead carried through melody, distortion, repetition, and silence.I play the piano, the guitar, and mainly my custom viola with a cello string, which I call minicello. I have used FL Studio since 2010; we have practically grown up together. I'd sing once, but gradually stopped as it became more and more apparent that my voice did not truly represent me. Eventually, I took down those pieces, and music became my only medium for verbal exchange. I have been living as a mute for a long time, waiting to get my voice back. That is also how I came to use vocal samples from the distant past: letting them sing and become my voice.

Atmospheric Metal / Experimental

“Eternal Return” draws inspiration from the idea of eternal recurrence: the notion that time is an infinite loop in which the same moments repeat over and over, exactly as before, for all eternity.

In this experimental compilation, I intend to resurrect many old movies and radio broadcasts as pieces designed to loop forever.

I am open for suggestions on public domain movies and broadcast for the next pieces.

Neo-classical / Dark New Age

"XII" is a compilation of piano tracks I composed between 2013 and 2025.

Progressive Rock

Will be added in time.

In this example, I set out to create a hybrid rendering system by combining 2D URP with 3D elements. I utilized Sprite Renderers within 3D space to achieve a layered parallax effect while reserving full 3D rendering for the character model. I integrated 3D MeshRenderers into the 2D URP lighting system through a script calculating light to maintain visual coherence, bridging systems that are not natively compatible in order to expand flexibility and reduce dependence on 2D animation.I created a post-processing pipeline by programmatically accessing and adjusting Volume Profile properties at runtime. This enabled dynamic control over graphics parameters, including chromatic aberration, exposure, bloom, saturation, LUT application, SSR, and such.To exemplify, visual effects can be tied to environmental conditions: gradual bloom intensification during sunrise and sunset, or inducing a state of intoxication visually through chromatic aberration, bloom, and bokeh/Gaussian or DOF.

This one is a weather system I created as part of my original framework. The system manages environmental lighting in 2D, sky elements, ambient audio, wind direction and intensity, and fog parameters through coordinated transitions. They are handled through linear interpolation for seamless blending.Rain dynamically adjusts a wetness parameter, which other modules interact with and behave accordingly to maintain environmental coherence. As an example, the sound module instantiates random splash sound effects, with volume and frequency depending on the wetness parameter.Wind behavior is propagated to shaders via a global wind intensity parameter, enabling real-time object movement through shaders for consistency in atmospheric conditions.Environment configurations are stored as Scriptable Objects, allowing profiles to be created with ease.

In this example, I implemented 3D hair physics within a 2D URP environment by utilizing Unity’s demoteam.hair package. I created and groomed an Alembic hairstyle for the character and fine-tuned its simulation parameters to achieve stable real-time performance. The mesh was also integrated into the 2D lighting system through a light calculator script.The hair system was integrated with the existing weather framework, propagating wind intensity and directional data to ensure consistency with environmental conditions.The result demonstrates my approach to extending engine capabilities beyond default configurations.

This example showcases an interactive notebook system I designed to replace traditional quest and document trackers in favor of a more immersive experience. I find it effective to reduce reliance on conventional HUD elements and instead convey information through visual and auditory cues within the game environment for better immersion.

This prototype from my early days demonstrates a generator control system that manages the light sources and electrical appliances designated in its object array. All state transitions are handled using linear interpolation to create a natural feel.

This example showcases a prototype rotary phone system I developed in my early days as part of my framework.Available numbers were stored in an array and mapped to corresponding audio clips to be used in puzzles.

While my previous framework relied on the 2D URP lighting system with 3D integration, in this alternative rendering implementation I utilized 3D URP lighting for SpriteRenderers within a 3D environment. I created a custom Shader Graph for Sprites compatible with 3D URP lighting. It automatically generated normal maps using the main texture as a height map. Multiple material presets were created and assigned contextually, eliminating the need to create normal maps or configure materials per asset, effectively streamlining level design and saving time, which was the main priority for this system: utilizing SpriteRenderer as a component was more practical than using planar meshes with MeshRenderers due to the simplicity and efficiency of Sprites.This example also showcases several supporting modules from the framework. The door system integrates volume post-processing effects with teleportation logic to create seamless transitions between areas. The interaction system instantiates buttons into the world and renders the targeted object through a dedicated camera and RenderTexture. A typewriter module handles progressive text generation, while the audio system leverages AudioMixer with exposed parameters and filter components (e.g., low-pass, reverb, echo), synchronized with a room module that manages environmental settings.

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This prototype implements a Morse transmission system using a dictionary-based encoding structure to convert text input into timed signal output. Characters are translated into dots and dashes, with controlled delays between letters and words to replicate authentic transmission.Signals are conveyed through synchronized lighting effects and a visual output based on the LineRenderer component, while word separations trigger static noise to make cues more accessible and enhance the atmosphere.The transmitter includes a world canvas interface, allowing direct player input.

This prototype was inspired by the physical marble game as well as The Labyrinth Plus!, distributed with Windows XP Plus.To replicate the core gameplay logic without relying heavily on complex mesh construction, I studied and utilized Stencil Buffers to render holes on planar surfaces. This allowed holes to be placed directly on flat geometries, simplifying level design significantly. Collision logic was adjusted so the ball would fall through designated stencils.I created a grid system for block placement and developed a ScriptableObject-based configuration system for levels that replaced environment objects dynamically. The system was designed to generate randomized outputs, introducing variation each time a labyrinth was constructed. Mesh variations for blocks were assigned from arrays, with random rotation and theming applied. Configuration settings also controlled the skybox, background music, ground textures, and labyrinth frame for visual cohesion. For the ground trail, I found it better fitting to make use of Sprite Shape and utilized it to create the trails.

This demonstrates a pet system I developed for an unofficial community server. Spawning a pet instantiated a control HUD that also included an input field for the pet's name, which allowed users to control their pets' behavior through in-game chat by mentioning the name and the action. It also involved threshold logic for movement, changing states between walking and running to catch up to the user, as well as manual placement and rotation of the pets for screenshots.I also introduced rate-limiting and integrated it into the HUD, serving as a cooldown between animations so they could play out properly. This was accomplished by using a radial mask for the UI elements.The movements and actions were synchronized across all clients using the platform's native server implementation. The client dispatched a message to the server side, which would be shared with other clients in the same room. This native system allowed features to be implemented using client-side logic without the need to make adjustments on the server.

In this example, I developed an animation mixer system for an online social game. The system utilized AnimationState to target specific bones, allowing certain animations to override base animations for selected bones and their hierarchies.Crossfade transitions were used to ensure smooth blending, along with a slider for adjustment of animation weight.Data was dispatched to the server and distributed across other clients within the same room, enabling custom emoting in the environment.I designed the HUD in a way that dynamically instantiated animation buttons from a client-side list. Button generation was driven by naming conventions: animation identifiers were parsed to generate display text by removing internal markers, replacing underscores with spaces, and applying proper capitalization. If the corresponding AssetBundle contained icons named using the same internal animation name, they were automatically utilized in the UI. This streamlined the workflow, allowing new animations to be added simply by updating the list and including an icon with the same name in the bundle.

The following example is a character editor and modular asset system I've designed and developed as a prototype for an MMO game. The system is built around a ScriptableObject-driven database, allowing categories, subcategories, and their associated content to be easily defined and instantiated dynamically at runtime. By structuring the system this way, new customization options can be added without modifying the code, enabling scalability for content-heavy projects.The editor supports multiple interactive components, such as, selectors, sliders, color pickers, and item-based assets, all linked through a consistent ID-based architecture. This allows both indexed naming and explicitly defined configurations, supporting flexible workflows depending on the use case. UI panels are generated automatically based on database entries and can be changed between grid and vertical layout, making the system suitable for both parameter-driven customization and item selection.A key focus of the system is enabling non-programmers to work efficiently. Through configurable MonoBehaviours and structured data, designers can extend content, define defaults, and attach additional customization layers (such as color, opacity, variations) without engineering involvement.As extra details, I've utilized coroutines for the interface animations, setting anchors and altering transform scale to introduce simple but effective visuals. As for the lighting, I created arrays including tricolor palette and intensity, and created a coroutine to handle scene lighting in a smooth transition, changing the outside, inside and reflection light simultaneously. As for character randomization, I stored each selector, slider, color selector and item in their respective lists upon instantiation and assigned randomly. Directly utilizing editor elements in such a manner removes the need to synchronize the displayed parameters throughout the editor. Besides these, it utilizes ScriptableObject naming for label display, nulling the need for another string variable while also enforcing proper naming in the editor. For the slider behavior which starts filling from the middle, the script disables Unity's default fill bar for cases where slider has negative minimum values, activates two custom ones and utilizes and drives Image's fill amount parameter to create better fitting visuals.Overall, this prototype demonstrates a scalable and modular approach to character customization and asset management, prioritizing maintainability and workflow efficiency. It reflects my focus on building systems that reduce technical overhead while remaining flexible enough for complex customization requirements in live-service environments.

2D Design

Level Design

Artworks painted in Clip Studio Paint and Photoshop. No AI was used in the making, and I can always livestream as proof of work.I've been involved in photo manipulation and digital painting as a hobby for over a decade. However, due to recent advancements in AI image generation, I’ve shifted my focus toward other fields. I still engage in 2D design mainly as an editor, adjusting visual assets, correcting artifacts, and ensuring visual consistency.

Level design created for 2D URP in Unity Editor. Sprites were sourced from royalty-free real-life photographs, processed in Photoshop, refined, adjusted, and made transparent before being placed in a 3D environment, creating visually seamless parallax maps fitting for tilted perspective camera to enhance immersion.I complement my maps and improve them through custom-built shaders, particle effects, and coroutines for special effects.

3D URP variation with my original Lit Auto-Normal Sprite Shader

UI Design

Composition

Created in the Unity environment with 2D/3D URP. I designed, developed, animated, and created levels for the main menu from scratch. The examples displayed above are my first three attempts at creating functional and graphical user interfaces. Instead of the native animation feature in the Unity Editor, I mainly make use of coroutines to handle the GUI logic and visuals.

FL Studio has been my favorite digital audio workstation since 2010. I compose using a MIDI keyboard or the piano roll, while working with VST plugins and effects. I can compose in any genre, including classical, rock, medieval, new age, and synth. I have several albums and I am also present on SoundCloud, Spotify, and Apple Music. For other works: Music.

3D Texturing

3D Hairstyling

When it comes to texturing, my specialty is skin, alongside various facial features: eyebrows, eyelashes, makeup, tattoos, scars, and skin imperfections. I have created numerous textures and maps for character customization in several social games. I mainly work with real-life photographs, morphing and reworking them into usable textures for 3D models while using quality enhancers to retain texture details during morphing. In addition to that, I also prepare blendshapes through 3D sculpting, or morphs, for face customization, and I am familiar with shaders.When the shader at hand supports multiple maps for character customization, I prepare all assets separately according to the requirements of each supported layer.

Hairstyling is my specialty in 3D modeling. I have created many customizable hairstyles for various MMO games. They are mostly designed as low-poly, typically ranging from 5,000 to 10,000 polygons. My workflow for creating hairstyles includes building with hair cards or morphing provided hair meshes to fit the character models, optimizing polygon count while ensuring smooth topology for animation. I fix visual artifacts, adjust UV maps, prepare textures, and create tricolor gradient masks for coloring customization. I refine weight painting to ensure clean and glitch-free animations, add blendshapes for hat compatibility, and create LODs for optimization while retaining blends.In addition to all that, I am also experienced with hair physics: I can groom and fine-tune simulated hairstyles.

3D Clothing

3D Prop Design

While I’m not experienced in modeling wearables from scratch, except for accessories, I have worked on plenty of meshes, and I am able to modify and prepare game-ready assets. The examples above aren't my work, but rather meshes I was tasked with integrating. My workflow involves morphing, preparing item masks to hide body parts to prevent body clipping, setting up UVs for maps, creating RGB color maps or setting up elements for in-game coloring customization, weight painting clothing accordingly (e.g., skirts requiring a delicate approach to ensure smooth animation without clipping), and adding blendshapes when needed for customization (e.g., skirt length, cap length/width, and form variations for wings). In the end, I can integrate any kind of wearable.

Besides hairstyles, I also create 3D props. I use reference images to replicate objects in a 3D environment. While organic modeling isn’t my strength, I make do with hard-surface modeling.My workflow prioritizes speed, aiming for artifact-free results with clean maps and normals, without spending unnecessary time on overly fine topology for static objects.

Website Design

2D Animation

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I am familiar with basic rigging, puppet animation, and video editing, mainly using After Effects and Filmora. However, I am only able to handle basic tasks, as this is not a field I have spent much time on.Below is my most recent work, Wendy the Wendigo, which I designed from scratch and sketched on skin paper for a tattoo, painted, animated, edited as a video, and voice-acted, along with the timeline as proof of work.

Integrity Verifier

Bulk Replacer

Extracts file records from a root directory and compares them with another directory to detect missing, excess, or mismatched files. Useful for keeping files synchronized across clients.

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Functions similarly to Notepad’s Find & Replace, but operates on file names and file contents across an entire selected directory, while offering optional inclusion of subdirectories.

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Backup Automator

File Shredder

Backs up specified files or folders at set intervals, while offering optional compression to reduce file size. This is particularly useful for databases and projects, as well as games and game servers that lack native support for multiple save files.

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Attempts secure deletion to reduce recoverability. While not guaranteed on all file systems, this tool is useful for bulk deletion of files via naming convention or content-based imprint with key codes in emergency. (e.g. delete every file with the string [113] in it)

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Cryptic Transmitter

Advanced Rich Presence

A basic open-source, real-time, peer-to-peer chat application with end-to-end encryption. It was developed as an experiment. It opens a port to establish a connection and transmits direct messages without needing a third party. It is designed with people wanting full control and transparency in mind. Either VPN or IPv6 is suggested due to the restrictions of CGNAT, if present.

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A custom Rich Presence system for Discord. It supports animated buttons, text, and images, and it can be designed through the use of available prompts without requiring any coding experience.

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Automated Whitelister

Anti-Whitelister

A server-side application. It listens on a designated port and receives encrypted client authentication requests. It verifies request authenticity and, if valid, adds the client’s IP address to the firewall whitelist. Repeated invalid requests, potentially originating from botnets, are ignored, rate-limited, or blacklisted, helping to protect critical ports. This system can be integrated into launchers or games, with a method call executed prior to connecting to the game server, ensuring safer player connections.I do not consider myself a cybersecurity engineer; this was a makeshift solution I developed long ago while dealing with DDoS attacks as an administrator, and it proved to be effective in the environment and ensured server stability for years.

A software tool that mimics requests to Automated Whitelister and throttles it using proxy servers by continuously sending valid requests. This results in specific ports being opened for the proxies on the server, enabling a denial-of-service scenario. The tool relies on reverse engineering to replicate the authentication method and makes use of a proxy list to initiate the attack. It is an experiment in how I can exploit my own security systems.

Rich Presence

Plugins

My projects, Discord Integration for Unity Editor and Advanced Rich Presence, are useful for designing custom Discord Rich Presence profiles, including animated elements, prompts, and timers. I can create dynamic and animated Rich Presence integrations for games, applications, and even individual user instances within the operating system. For unsupported or outdated clients, I can implement Rich Presence through external applications while handling communication via IPC and ports.

A BetterDiscord plugin (currently outdated - no longer in service). It customizes letters, numbers, symbols, and even space width, essentially functioning as a character converter. This was my first attempt at developing a plugin for software and my first time with JavaScript, a language I initially knew little about aside from its similarity to C#. It can work on older versions of BetterDiscord.

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Bots

Webhooks

A Discord bot built with WPF and C#. It can send messages in servers, display and handle direct messages, join voice channels, convert text to speech through a voice synthesizer, and stream audio files. When provided with an API key for ChatGPT and the behavior is toggled on, it can respond to user messages.

I utilize webhooks to transfer information from applications. The example shows an in-game security system that detects and reports user activity, such as chat messages containing profanity or the presence of blacklisted processes, by sending an alert to a designated Discord channel and tagging staff members.

Group Design

Embeds

I design Discord servers using emojis and a variety of Unicode characters, create banners and icons for roles to enhance visual presentation, and also handle the backend. I also make use of Discord Markdown to create organized updates and changelogs.

I design embeds in various formats to deliver announcements and information in clear and visually appealing ways while being mindful of cross-platform differences (e.g. mobile displaying embeds differently) and optimizing for the best outcome.