The studio consists of Tim Rogers, Brent Porter, Michael Kerwin, and Nicholas Wasilewski and has produced five games: Ziggurat (2012), TNNS (2013), Ten by Eight (2013), Tuffy the Corgi (2014), and Videoball (2016).

[1] The team formed during the development of Ziggurat, which began with an idea Rogers had while playing Angry Birds about pushing back a swarm of bats by shooting projectiles at them.

Rogers put out a call for artists on Twitter with a submissions request of "fan art of the Japanese box art of Phantasy Star II", and Action Button artist Brent Porter replied in under an hour with an entry Rogers called "incredible".

After six months of hiatus, Rogers rekindled development and the team finished the Ziggurat,[2] which was released in February 2012.

[2] Rogers has continued to use the "Action Button" brand name for his YouTube channel, on which he publishes long-form games criticism video essays.

[6][7][9] It won a Destructoid Editors' Choice Award,[3] and Time magazine picked the game as one of the best for the then new high-resolution third generation iPad.

[14] Pocket Gamer's Mark Brown likened it to both and further compared it with Alleyway, Arkanoid, and Super Hexagon with a "telekinetic power" to alter the ball's direction apart from the panel (as in Shatter).

[11] Ten by Eight, stylized as 10×8, is a puzzle video game by Action Button Entertainment where players match tiles.

[17] Martin found the timed mode's length to be "perfect", but suggested that the Vita's screen was less so, recommending a tablet release.

[17] He compared the minimalist soundtrack to Kraftwerk, and noted that players uninterested in high scores would not stay interested for long.

Using solely one analog stick and one button, players control triangles that shoot projectiles[1] to knock a circular ball into the opposing team's endzone.

[1] Polygon's Tracey Lien discussed their process as "chasing a certain purity" and mentioned the strong role of strategy in playing the game.

[19] Reviewers all cited Videoball's minimalism both in aesthetics and gameplay, and compared the game with the skill and strategy of football and basketball.

[18] He compared the player's controls to that of Asteroids and contrasted its simplicity with the 100-hour onboarding process for League of Legends,[18] having learned Videoball after "a couple minutes".

As the player-character Tuffy is constantly running, the player can only jump and change direction[20] by pressing any button on either side of the screen.

[22] Game Informer's Jeff Marchiafava wrote that the platformer was "hopelessly difficult", as it required a "level of perfectionism only speedrunners possess".

[23] He added that Tuffy was both what he "loved and hated" about the video games of his youth, between its 16-bit era art, tight platforming controls, "unforgiving" gameplay, and "reliance on rote memorization" of path through the level.

[23] Marchiafava added that gameplay trends had forgotten these types of games for a reason, and concluded that he "never warmed to Tuffy" despite his interest in "punishing retro platformers like Spelunky and Super Meat Boy".