- designation
- SIGNAL // LOCK
- classification
- Experimental tactical signal interface
- author
- Selim Senin
Architect / Founder — Wall Corporation - origin
- Spatial-interface and pattern-recognition experiment.
- status
- Active // public archive
▒ Field notes
SIGNAL // LOCK began outside the games discipline — inside an architectural practice studying spatial systems, repetition, thresholds, and attention.
The radar interface emerged from that research: a frame, a rotation, a moment of recognition.
It is not a shooter. There is no enemy. The operator reads incoming signals and locks them before they decay.
▒ Wall Corporation
Architecture studio. Focused on spatial systems, signal structures, and interface experiments.
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Why a credits page on a free game matters
Most free browser games ship without crediting their developers. Portal monetisation incentivises anonymity — credited developers attract talent away from the portal — and most indie web games skip credits because no one expects them. Signal//Lock keeps a full credits page because the people who built it are the single most important thing about the game. The audio engine was designed by one person, the polar rendering by another, the stage mechanics by a third; each contribution is traceable and named.
Open-source dependencies are credited even when their licences don't strictly require it. TanStack Router and React are the framework spine. Tailwind CSS handles the SEO-page styling. Several smaller utility libraries handle physics and audio primitives. The complete dependency tree is visible in the repository if you know where to look; the credits page is the human-readable summary.
Influences and references
Games
Missile Command (Atari, 1980), Tempest (Atari, 1981), Asteroids (Atari, 1979), Dangerous Waters (Sonalysts, 2005), Endless ATC (browser, 2018), Pico-8 demoscene (ongoing) for the procedural-audio ethic, and Hyperbolica (CodeParade, 2022) for the commitment to a single visual language across an entire game.
Books and papers
Skolnik's Introduction to Radar Systems (3rd ed., 2001) for the radar physics; Urick's Principles of Underwater Sound (3rd ed., 1983) for the sonar physics; the Rad Lab Series (volumes 1, 2, 24) for the historical radar engineering; Wickens & Hollands' Engineering Psychology and Human Performance for the workload modelling that informed saturation-meter tuning.
The CRT itself
The visual language descends from Tektronix oscilloscopes of the 1960s, Marconi marine radars of the 1970s, and the green P39 phosphor that defined both. Several developers on the team own working CRT hardware and reference it directly during rendering work; the persistence curves in Signal//Lock are calibrated against actual phosphor photographs.