Polydina Flynt – Grotesque Spec Fic, Open Source Art Worlds, and Machinima Mayhem.

Relics that feel like they were borrowed from the old Chinese man’s store in Gremlins, and original games that play like '90s retro colliding with Silver Age comics — if they were rewritten by Don Hertzfeldt, Brendon Small, and Brandon Cronenberg.

Hi, I’m Polydina Flynt.
Most things are CC BY or open-source.
✍️ Read. 🎮 Play. 🧠 Hack reality

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Polydina Flynt is an independent fiction-maker, media artist, and cult worldbuilder based in Aotearoa. For over a decade, he’s freelanced across writing, design, and experimental storytelling—crafting everything from punk zines and machinima to psychological horror screenplays and open-source games.His creative journey started in the most unlikely place: the back of a truck. At sixteen, after dropping out of high school, he spent a soul-crushing season helping a truck driver on daily rounds. Bored out of his mind, he was dragged to a careers expo and stumbled across a booth for television, theatre, and radio. That moment of epiphany sent him back to school to earn university entry, then on to Aoraki Polytechnic, and eventually to a creative writing degree specializing in screenwriting—with merit in short fiction.Polydina’s work blends visceral honesty, surreal worldbuilding, and countercultural critique. He fuses body horror, sad comedy, and gonzo narrative theory, often working in CC BY and open-source spaces to share his process and invite collaboration. His fiction leans experimental, his games are glitchy and raw, and his visual work channels a DIY punk aesthetic with a literary twist.---
Polydina Flynt – Daily Creative Focus Breakdown
1. 🧠 Novel Writing
Writing a grimdark/post-noir body horror suburban sci-fi novel or short story cycle, exploring trauma, transformation, and suburban dread through warped speculative fiction.
2. 🎬 Screenplay Development
Drafting a surreal, B-sci-fi-inspired screenplay—action-adventure meets philosophical absurdity—blending the tonal chaos of Kotcheff/Brendon Small with the cerebral grit of Carruth, Cronenberg, and Don Hertzfeldt, as if co-scripted by Hal Hartley and Glen Duncan.
3. 📚 Zines & Short Fiction
Producing short stories, mini-essays, and recorded dialogues for zines that explore nerd culture, subversive art, digital theatre, and existential musings.
4. 📖 Comic Writing & Production
Writing scripts for indie comics, including layouts and pencils (occasionally). I also digitally colour select pages and post behind-the-scenes process content on YouTube.
5. ✏️ Daily Drawing Practice
Creating three daily sketches:
o Dynamic figure/mecha practice
o Machinima character/concept art
o Graphic novel development (time travel, dragons, military corporatism; 50pg deadline by November)
6. 🎭 VR Theatre & Interactive Design
Writing and designing theatrical pieces for VR and interactive digital spaces, with past sales in narrative and spatial design.
7. 🕵️ AnzirTech Mystery Acts
Expanding a hybrid format of TTRPG x LARP x immersive theatre, producing modular narrative experiences (like ARGs meets dinner theatre).
8. 🎮 Game Dev Learning
Studying RPG Maker XP and GameMaker Studio to produce open-source narrative game assets and prototypes for indie and community use.
9. 📹 Video Editing & Creative Journaling
Editing behind-the-scenes content, vlog essays, and devlogs that document my process across writing, design, and worldbuilding. These videos mix lo-fi storytelling with philosophical tangents, sketchbook insights, and cult project teases.

From the absurd brilliance of Don Hertzfeldt to the elegant savagery of Park Chan-wook, my creative compass has been shaped by those who stretch form and emotional depth alike. Peter K. Chung taught me that style can be philosophical—his work is sensual, cerebral, and strange, a blueprint for adult animation that doesn’t flinch. Bruce Timm distilled myth into clean lines and kinetic grace, while Brendon Small and Chris “OneyNG” O’Neill proved that juvenile humor and metalhead madness can become deeply personal world-building tools. Per-Olav Sørensen, Christian Alvart, and Dennis Gansel all demonstrate how European storytelling can be both stylish and psychologically incisive, with Oliver Hirschbiegel layering that unease into political dread. Maxime Alexandre lights nightmares with poetic precision, while Anna Mantzaris animates awkward silences into small, devastating truths. I study them all not as genres or labels, but as compass points—unafraid, original, and emotionally layered.