LUNARSPARK is a porcelain atelier on the lunar highlands. We don't develop; we throw. Each game is a vessel of anorthosite clay, spun on a zero-gravity wheel and fired in a crater-mouth kiln. The interaction is the thermal shock of lunar night; the win condition is a glaze that reflects Earthlight without a single crack. A title is complete when it rings like a tuning fork in the vacuum.
A vessel thrown in 1/6g, its walls impossibly thin. The player's interaction is the thermal expansion of the glaze as lunar night falls. The win condition is a bowl that reflects Earth's blue glow without crazing. Based on a Ming dynasty form, but fired in a vacuum.
Fired in a kiln built into the rim of Tycho. The vase must survive a 300°C temperature swing every 28 days. The player's interaction is the slow cooling of the clay. The win condition is a glaze that develops a "lunar crackle" pattern without structural failure.
A set of five porcelain bells, tuned to the frequencies of deep moon-quakes. The player must arrange them to resonate with the lunar interior. The interaction is the silence of the vacuum, broken only by the chime's ring. The win condition is a chord that sustains for one lunar day.
Our magnum opus: a vessel that is never removed from the kiln. It undergoes a perpetual 28-day cooling cycle, its glaze shifting color with the lunar phases. The player's interaction is a single touch during the cooling phase. The win condition is a glaze that never fully sets, remaining in a state of eternal, slow cool.
LUNARSPARK occupies a pressurized dome on the rim of Tycho Crater, in the lunar highlands. Six potters work in rotating shifts, throwing vessels in a 1/6g environment. We don't use electric wheels; we use a slow-spinning turntable powered by a lunar rover motor. The clay is anorthosite, ground from the local regolith. A game is a vessel, and a vessel is a record of thermal stress.
A title begins as a lump of raw regolith. We add water (a precious resource) and throw it on the wheel. The interaction is the slow cooling process; the win condition is a glaze that survives the 28-day lunar night. If it cracks, the vessel is ground back into the regolith. The moon provides the clay; the potter provides the spin. The vacuum provides the glaze.
The atelier keeps one rule from the 1972 Apollo 17 log: *the vessel must ring true in the vacuum*. The mark is a tiny, perfectly formed bubble in the glaze, a testament to the zero-g firing. The moon provides the silence; the kiln provides the heat. The glaze provides the light.
Can throw a vessel with walls just 0.5mm thick in 1/6g. Created The Earthlight Bowl. Claims the lunar clay has a memory of its molten past. Hasn't felt Earth gravity in eight years. Her wheel is a repurposed rover gyroscope.
Tends the crater-mouth kiln, managing the 300°C temperature swings. Fired The Crater-Fire Vase. Refuses to use digital thermometers — "the clay tells you when it's ready." Sleeps next to the kiln during the long night.
Tunes the porcelain bells to the frequency of deep moon-quakes. Composed the 28-day chord for The Seismic Chime. Can hear the difference between a shallow and deep impact. Says the moon is a bell that is constantly ringing.