[8] Accordingly, Admacadiam's early art products included diverse items like postcards, board games, decals, cards, and books.
[3][9] Many of these products were commercially unsuccessful and the company struggled until a meeting with educator David D. Thornburg at Stanford University[3] prompted O'Neill to relocate from London to Silicon Valley and to refocus his artistic efforts on interactive computer art.
[3][4] Working as co-designer together with Childware's Ramone Zamora for a short time, the first video game O'Neill became involved with was Atari, Inc.'s E.T.
[2] Fitting with Admacadiam's goal of making art accessible for the masses, the central consideration for Flyghts of Fancie would be the player's experience including aesthetic enjoyment[11] as well as reflective thought leading to meaningful personal insights.
[1][12] Unlike the vast majority of contemporary video games that emphasised frenetic action, violence, and the collection of points, Lifespan was a slow-paced and surrealistic pastiche of five episodes[13] that led the player through events representative of the human experience from childhood to death.
[1][2] Flyghts of Fancie's fourth game represented an ambitious joint effort with writer Dale Peterson to put the player in the mind of a dolphin.
[14] The final project under development by Flyghts of Fancie before it was shut down to allow O'Neill to pursue a television deal with Time–Life (as well as the production of video discs and satellite networking)[1] was a collaboration with cartoonist Gahan Wilson.