In the oldest telling, the ophanim are the wheels that move beside the throne — covered in eyes, and the eyes never close. They do not speak. They do not sleep. They witness, and because they witness, nothing is lost.

That is the whole of our method. Before a line of code, before a frame of art, there is the watching — the long, patient, unblinking attention that most work is too hurried to pay.

We watch matches the way detectives watch a street: certain that everything means something, and that the meaning surfaces for whoever stays longest. Attention is not our process. It is our product.

So we made a studio of watchers, and we gave it the watchers’ name.