Had a lot of fun upgrading gebdag's GTA2 RTX Remix mod. I'm not a programmer, so I built this with Claude/

What it adds: HD car textures with PBR materials, real glass, doors and dents, light improvements, blood puddles and mission voiceovers. The game is still a very solid experience.

Free and open source (MIT). Needs your own copy of GTA2, RTX Remix and an RTX card. Download and install steps are in the README:

https://github.com/kirmm3la/gta2-rtx-remix-upgraded/releases/tag/v1.3

Literally started on this today and quite impressed so far. Built a local version of effectively Meshy, but it's way faster, way more accurate than ive found with those other two. I dont think it needs a huge GPU to run it either. Ive got a 7900xtx. Im sure the nvidia stuff would run way better. It needs WSL also if your on Windows.

Been building this for my Godot games. Drop in a picture, get a 3D model. If it’s a creature, it gets rigged and its animated. Plus you can basically make infinite static models and blender can blow things up and hinges and whatever.

How it works

• Make: drop a picture (or a sheet and cut it up), name it, pick what it’s for: static prop, creature to rig, hero piece. It runs TRELLIS locally on my GPU. A prop takes about a minute, a detailed one a few minutes. I basically spit out a sprite sheet either a 2x2. v3x3 or even a 4x4.

• Library: everything is made, with turntable view, side by side with the source picture, re-rolls (another take), folders and export.

• Rig: put dots on the joints from front and side views, or hit Guess dots and fix whatever’s off. Then Build rig and test it on walk/idle/attack clips straight away. Works for two legs and four legs: the hound has its own 14 clips. So it basically gives you a ball park rig, so u can simply go move the bits around, or you can expand into blender and get more control over it. Plus it spins up from a predefined set some ok'ish animation. Is it AAA quality ? Absolutely not, is it good enough for a job that takes around 2 minutes per object? yeah i'd say so.

• Check rig bends it through hard poses and scores how well the mesh holds up. Even rigs hands, feet, toes, tails,

• Variants repaint the texture on the same skeleton and clips, so one hound becomes a hellhound, alpha, plague dog.

• Export gives a game-size GLB (~22k tris, 1024 textures, ~2 MB) with the skin and animations, ready to drop into Godot.

Everything in the pics was made with it: 30 models so far, a bog troll, a zombie hound and a pile of dungeon props. All this stuff i was just mucking around and got some RPG Dungeon style props.

I was working on a small Dungeon Crawler game, with the usual RPG grid inventory, and one neat feature was all the sprite cards you can spin up in 2d for items/weapons/armour you would move around in your inventory you use those sprite then the exact 3d prop is spat out of it, tweak it a bit, and your 3d character model can wear those exact bits spat out. So everything stays consistent.

Still rough in spots (arms-up poses squash the armpits), but it’s already saving me heaps of time. I just figured its a neat tool just started on. Happy to answer questions.

I put out a small topical browser game last week called RAM Altman. You play a certain tech CEO going round people's houses at night taking the RAM out of their PCs. After his comments about us keeping RAM in our own computers, he's earned it. The concept, jokes and art are all my own fault. He took all the RAM, there wasn't enough left for more pixels. Claude did the code.

People have been asking for things in the comments so I've been adding them. Someone wanted controller support with rumble and that went in the same afternoon. Yesterday someone asked for actual rams and goats. So now livestock, some with crowns stalk the neighborhood looking to bully CEO's.

It's all one html file, three.js for the voxels, and the music and sound effects are generated in code. If there's something you'd like to see added, say so and it'll probably end up in there.

https://ckxlab.itch.io/ram-altman

Previously, I posted demos that Opus 5.5 built from single prompt.
https://www.reddit.com/r/ClaudeGameDev/comments/1x7ylad/opus_built_an_hd2d_style_25d_pixelart_game_engine/
https://www.reddit.com/r/ClaudeGameDev/comments/1xjguuw/a_small_game_created_from_a_single_sentence_using/

This time, I tried gave Claude a reference image and pushed it harder through several rounds of iteration.
Here's the live demo of the floating sky city:
https://lumina-static-584822.gitlab.io/game.html?level=aurelis

You can also explore all the other demos and try out the map editor on the main demo page:
https://lumina-static-584822.gitlab.io/

The project is open-sourced here: https://gitlab.com/stubborn-hug/lumina
The project's Discord: https://discord.gg/FeNXqtbqgy

Previously, I posted a video showing how Claude Opus 5.5 created an HD-2D style pixel-art game engine and a small demo map—all in one shot:
https://www.reddit.com/r/aigamedev/comments/1wxabwk/i_honestly_didnt_expect_claude_opus_55_to_create/

The graphics looked so good that I felt it was worth continuing to work on the project. So, I open-sourced it here: https://gitlab.com/stubborn-hug/lumina

You can play the live dragon-slaying quest demo here: https://lumina-static-584822.gitlab.io/game.html?campaign=vanquish-the-evil-dragon
Press H to open Help, or ` (backtick) for the Debug window.

You can also find all the other demos and a map editor on the main demo page: https://lumina-static-584822.gitlab.io/

Everything was created purely by prompting Opus 5.5—no external tools, assets, or references were used.

The project's Discord: https://discord.gg/FeNXqtbqgy

In 2007, BlackBerry harshly refused to adopt the concept of smartphones that Apple introduced. This refusal for technological improvement left them in the dust and they lost everything.

Nowadays, a huge part of the world is like BlackBerry. People just don’t understand how useful and how much of the future AI for your personal projects is.

People are so anti AI that you genuinely question if they ever questioned how it’s actually used in game development. If you claim your game is made with AI assistance be assured that you’re not going to sell it.
Did you hear the recent Big Walk game disaster?
This insanely popular and liked game had a bug that slowed its running down to 50% during sunset and sunrises.
The studio asked the engineers how to fix this, the engineers said there is nothing that can be done.
They asked a chatbot and in a minute it found a 10 lines of code block that needed to be changed and now the bug was fixed. 10 lines of code, not even 0,1% of the game. That was the only time AI was used.
They disclosed this to the public and in one day the reviews dropped and people asked for refunds.

Guys, trust me on this, the general population doesn’t care.
It doesn’t care if you did the planning, the idea, the hours spent improving and polishing, the money you spent out of your own wage, they only care if you used AI.
For them it doesn’t matter if you never managed to learn coding and can’t afford a developer that will give you in 8 months a mediocre result.
It doesn’t matter if everything else is man made.
It doesn’t matter if only 0,1% of the game is AI made, they only care about complaining about the water usage (all while staying on social medias for hours on end which spends far more water than a normal use of a chatbot).

So, if you want my suggestion: nobody is pointing a gun to your head to tell the truth behind the development process of your game. Big companies literally encrypt and try to hide as much info as possible to the general public.
I’m not saying lie, I’m saying just don’t disclose it.
These people, just like blackberry, don’t understand. Time needs to pass for them to adapt to the change.

Never
Ever
Disclose
AI
Assistance

... among a bunch of other tricks. Hope you like it.

Hi.

I am working on a C++ game engine and various tooling around it and I would like to share first milestone with you all. About 13+ years of gamedev exp and some platform development experience so it was pretty easy for me to steer Claude. I wrote almost none of the code by hand. Claude Code (Opus 4.8 and 5.5) wrote the Blender/Python generation scripts, the local server and API, the web UI, cloud sync, and the relay/proxy. My job was architecture, security, and reviewing, and testing results

I just completed first version of the Asset Pipeline tool that anyone can use for free. 

Under the hood this is uses Blender and Python and the tool I made is pretty much a harness and convinience layer for your asset generation needs both via UI and API + proxy if you have team or a kid who you are making game with. You describe an asset, and your local Claude/Codex/OpenRouter agent drives Blender to produce a game-ready .glb with rig, animations, and colliders. You can do this from the UI or the API. 

My aspiration is to create a game engine for agentic world where anyone with their claude subscriptions can create high quality games and perhaps uncover new forms of entertainment. The engine itself will release later on Windows PC, and IDE will be replaced by API and Visual Gizmos.

If you have some ideas let me know, the system also supports auto updating, Il share some videos of the engine itself next week.

Free to use. Download from https://sinnon.net and perhaps incorporate it into your workflows.

It has auto self-updating harness so if you have suggestions let me know and Il try to add it.

Thanks!

Edit: The Asset Generator builds game assets on your PC for free; the optional subscription adds cloud sync, the public asset library and remote access.

(First, Don't worry, will remove some characters eventually)
Last time I posted this, a few people from /claudeai pointed that it's AI slop, that the ramps were optional, and that Nintendo's lawyers are on their way. Fair points, all of them. So here's an honest trailer.

What it actually is:

• An experiment, not a product. I built it in 5 days by vibe coding. I can't program, so I described things and Claude wrote the code. DeepSeek and ChatGPT stepped in as backup, mostly whenever Claude hit its usage limit (It was generous, but working with mutliple agents in a project like this is very consuming). This is not my first time making a game like this btw, but is the first time making sometthing 3d thanks to the new Claude skills on 5.5, While I have zero coding skils i know a lot about videogames or how they work, I know about technology and been using Claude for overy a year.

• 3D models: generated with AI, then fixed in Blender. By AI, too: Claude drove Blender through scripts, and I never opened it.

• Music by Suno.

• Made for TikTok LIVE: viewers join the race from the chat. At least that was the idea

• Up to 40 karts, 6 tracks (Italy with the Colosseum and the Venice canals, a desert with sandstorms, Halloween, Machu Picchu, the beach and the farm), and power-ups that are still in development.

• The ramps are no longer optional. Progress.

• The characters are placeholders and parodies, and they're getting replaced. Lawyers, please stand down.

Will I sell it? Probably not. Most likely I'll give it away for free. I learned a lot doing it, and that was the point.

Feedback is welcome, "awful" included.

So for the past few weeks I have been working on a custom 3D engine in Rust/wgpu.

Quick background

I'm a software engineer and I can use Blender, but I gave myself the challenge to not write a single line of code and to build an engine from scratch using Claude Code exclusively, just to see how far I could push it, and as a means to learn more about graphics pipelines and effects. What better training ground than underwater graphics!

The engine

The video was captured in realtime on a Mac mini M6, and the engine is also benchmarked on my Windows PC with an RTX 3070. I intend to support both Windows (Vulkan) and Mac (Metal) first, but who knows, maybe Linux too (it already ran headless on Linux during development).

One of the most interesting things about the approach I took, I think, is that everything is parameterised and exposed via a built-in MCP server. This opens up some potentially interesting emergent gameplay, or even a way for people to use Claude to populate and tune the look of an underwater scene. It's actually crazy how much control each subsystem's set of parameters gives over the look of a scene (the great white shark alone has 100+ parameters that can change its look and behaviour in realtime, but I've saving this one for a future video).

It is early stage, and yet so much has been achieved in that time, in just evenings and weekends. I'm pretty happy with the performance so far but always trying to find ways to optimise. My aim is 60fps at 1080p as a bare minimum.

What it can do today

Three render modes, switchable live: a rasteriser that runs on any GPU, a hybrid mode that adds hardware ray-traced sun shadows, and a full path tracer.

Path-traced stills and videos: pause the scene and the frame keeps accumulating samples and is denoised; the same path tracer renders videos offline (if you're patient), with a camera model that has aperture, blades and focus distance.

Fully procedural content: no model, texture or audio files in the repo. Meshes, textures, animation and ambient audio are all generated in Rust and WGSL.

An underwater look built from separate systems: caustics, god rays, the water surface seen from below, depth-dependent water colour and haze, marine snow, wakes, bloom, colour grading and sensor grain.

A living reef: schooling fish, rays, turtles, reef and tiger sharks, garden eels, anemones, seagrass and corals, plus a hero great white with animated jaws, gills and eyes.

Everything is a live dial: 439 parameters in 37 groups, editable in an in-game overlay while the scene runs, with presets you can save and load.

A built-in MCP server: 22 tools over stdio or HTTP, so Claude can take screenshots, add and remove creatures, change any parameter, move the camera and save or restore the scene.

Built-in capture: a guided camera tour and a free swim camera, one key to record a lap of the tour as a 1080p 60 fps video, and supersampled stills and videos from the command line.

Cross-platform and headless: Metal on Mac, Vulkan or DX12 on Windows, and it runs without a window for automated renders and tests.

Tested like software: roughly 4,300 tests, including golden-image comparisons and determinism checks.

Tech stack

Rust 1.95, wgpu 30, winit, egui and the official Rust MCP SDK. The project is a Cargo workspace of 23 engine crates and 4 game crates, about 480k lines of Rust (tests and comments included) and 48k lines of WGSL across 118 shaders. It started about seven weeks ago as two separate engines (a space one and an underwater one); the current consolidated repo has 1,564 commits over 27 days, alongside 91k lines of design notes, 83 builder briefs and 48 blind-critic reviews (each round of work gets reference pictures and a blind critic to iterate against).

I am so excited about the direction this project is taking. Every new model released by Anthropic also allows me to improve the engine and its subsystems.

I hope you find this interesting and inspiring, and I'm always happy to answer any questions.

Back with Engines of Hate, the mech RTS I posted here a couple weeks ago.

This fight wasn't played by me. Claude set it up and filmed it through a bridge I built into the Unity editor (an MCP server with a bunch of commands like spawn, order, play, record_clip):

- spawned the army right in the middle of the bug nests

- ramped the waves so the swarm comes from every side

- called down the orbital strikes

- set the camera and recorded the clip

It saved the whole setup as a script, so notes are cheap. I said "closer orbitals, zoom the camera" and it just reshot it. This is take 5 lol.

The part that saves me the most time: it checks its own footage before it shows me anything. It pulls frames out of the clip and looks for the obvious stuff (subject out of frame, nothing happening, wrong way up) so I'm not the one catching it.

I run it on 3 copies of the Unity project, so one chat can be filming a fight while others compile and test.

Happy to go into how the bridge works if anyone's building something similar.

Playtest is open on Steam: https://store.steampowered.com/app/5375880/Engines_of_Hate/?utm_source=reddit&utm_campaign=r_claudegamedev_1105

Hey guys, I'm making a rail shooter (like Star Fox) and documenting its development for those working on a game who want to learn more about the workflow.

In this video, I'll tell you about the development of the first boss, its design, its three phases, attacks, environment, etc.

Devlog Boss Fight: youtube.com/watch?v=NsZRfjOK_-Y&t

If you find these types of videos useful or entertaining, it would help me a lot if you subscribed, left a comment/like, or simply watched it. Thanks guys!

BTW this is made in Threejs, with Claude (Opus 5.5 in this case), the 3D character models are made in Blender.

I've been building a family of Claude Code skills where Claude makes game assets by writing code: no image model. Each one is a small JavaScript DSL with a live viewer, and Claude checks its own previews and fixes what it sees.

The five tools:

- pxl: pixel art (my fork of claude-pxl, adding hue-shifted shading, selective outlines and a lint that flags common pixel-art mistakes)

- vex: 2D vector art, with skeletal animation, Spine export, Tiled maps, particle effects and UI kits

- kiln: low-poly and voxel 3D, exported as GLB with animation, rendered in Blender

- loom: seamless PBR textures (albedo, normal, height, roughness, AO), which kiln models can now use directly

- chirp: sound effects and music, synthesized, with seamless loops and audio sprites

What's in the images:

- The Dragon's Hoard: a 3D vault in kiln where every surface is a loom material. Lava pit, torches, a dragon egg, gold.

- LAST CUP: one cyberpunk cafe, a lonely robot drinking coffee in the rain, made three ways (pixel art, vector, 3D) with a chirp soundtrack synced to the animation. The neon buzz cuts out on the exact frames the sign flickers.

- A pixel-art eldritch portrait, a forest platformer kit and the texture set.

The best part is the feedback loop. Every viewer has an annotate mode: paint on the art, pin notes, hit "send to Claude", then say "check the feedback". Claude gets the exact spot plus what's there. In kiln that's the 3D point and the line of code that built that face; in chirp it's the bar, the beat and which track is loudest. The portrait was directed that way, mark by mark.

All MIT:

https://github.com/uilianks/pxl

https://github.com/uilianks/vex

https://github.com/uilianks/kiln

https://github.com/uilianks/loom

https://github.com/uilianks/chirp

Big credit to crsolver for claude-pxl, which started all of this. Every tool shares its architecture: sandboxed source files, errors that point at the line, and a live viewer.

Which one should I push further?

Hello there, decided to try and post on this subreddit also, I have been posting for weeks on different subreddits and on my profile you can see every weekly progress made so far.

This is Week 13 of me posting this "dev log" so to say and explaining how I do things and talking about progress. While "exploration" mechanic was added one week ago, I was finally able to make it feel like a proper completely equal part to fishing segment of the game. And with "Ship in a bottle" collection done to 29 out of 40 total ships I'm happy how this progress.

Everything you see in this video (and do not see) was done with Claude Opus.

DEMO DOWNLOAD - FREE

Demo doesn't really have everything newest and most polished so you might not have ships in the bottles, that version is being kept for steam release which I will do once steam approves my ID verification (it already is exactly 1 month).

Zone 1 out of 5 (demo) is almost entirely done, some smaller polish parts and bug fixes are left.

What was done this week:

This week I added curios, rarest ship in the bottle is actually cracking the walls of the bottle when shooting cannons and all the items in zone 1 are adjusted manually where they gonna drop or how they are earned. etc. Some zones were a bit improved as can be seen in the video to not look too boring even though there is no gameplay there. Engines with their own sounds were added and can be seen when changed. Cabinet new 3D scene with collections was fully fixed in terms of lighting and small island dioramas were made. As I mentioned before 29 of 40 ships in a bottles were created with textures and added to bottles.

This time while still using Decisions.md like before that tags every decision in the game with [USER] or [PROPOSED] (By AI) And User ones have priority over proposed ones, helps with AI hallucinations in the project where AI can't gaslight you into telling you something was decided by you if it really wasn't (it has more than 350 decisions by now).

I switched workflow a bit. This time I tried doing something else instead of my old "manager" session managing other sessions and sending them tasks. I created "Effort" sessions (Medium to Max) and have Jev decide which tasks goes into which effort level and then just "manager session" sending it to different effort levels and doing it this way. Though this is polish stage and not much was done it is hard to say if this is more token efficient than before, in general I feel no difference in quality or token usage than with my previous workflow, though that is just subjective feeling, somebody could test it properly I guess. Jev basically scans every task I give to my Claude sessions and just decides which effort certain tasks deserve.

Models were made by TripoAI and Opus 5.5 via Blender MCP mostly for this week. It can be seen in the video. For example rarest ship that is inspired by Black Pearl and shoots cannons in the bottle was done in TripoAI then fixed a bit in Blender by Opus 5.5. I do not use anymore any other AI other than Claude Opus 5.5, no more Astra and didn't even try Gemini sadly, for now Opus is more than enough for my needs.

People have asked me how I make textures and those are either directly done by ChatGPT using OpenAI API key provided to Opus 5.5 or in TripoAI, those done in Tripo are 1k textures as I don't need any heavier ones as they take a lot of memory.

Total cost:

Claude Max 200$ x 3 = 600$
Astra 100$ x 1 = 100$
ElevenLabs x 11$ = 11$
TripoAI 20$ x 2 = 40$
OpenAI API credits 70$ = 70$
Other things I forgot about 100$ = 100$ (around)

Around 900-950$

Disclosure: I’ve been writing these devlogs since Week 1. Since Week 8, Tripo has been supporting them (paid collaboration + a gifted Max plan). That’s why my cost breakdown no longer includes Tripo (Except what I paid from my own pocked for first 8 weeks). If you’re doing this yourself, add their plan to the total.

Short description of the game:

This game (Nightshoal) is a real-time ocean exploration and fishing game set in the 1920s (1915-1930), in the time of rum-runners and less piraty pirates :D You have one boat and sail it around an archipelago, find fishing spots, catch fish with a timing minigame, fit them into your cargo hold (it’s spatial, so space matters, think Dredge and Diablo ), then go back to port to sell and spend the money on upgrades for your boat that let you reach further water. There are no character stats, the boat is your progression, though you can think of the boat as your character. Night is where it gets dangerous: big aggressive fish, pirates, squalls and fog, but nothing supernatural, just the sea. Besides fishing there is exploring islets and finding things, a collection of ships in bottles, 120 fish across 5 zones (one Legendary in each but for now only 1 zone is created) and a Cabinet at home where everything you collect ends up.

I've been working with Opus for while, this game started before Opus 5 ahaha, been rough ride, but here we are, this version of my game has new lighting system and started polish phase of world assets, still ways to go but I enjoy the process. Next I think I will work on the animations and skill effects, lot of rare and bosses still using normal mob animations.

Building Imperium since March, a single-player space 4X (colonize, design ships, research, win by diplomacy or war). Solo project.

The actual workflow: I write the design, the numbers, the balance calls. Claude implements it in Godot/GDScript. I test, find what's wrong, send it back. For the AI opponents specifically, testing also runs headless at volume, batches of thousands of simulated years, since a few manual games isn't enough to know if a change actually helped. Claude helps across the board - code (obviously), brainstorming and design iterations, system balancing, even assets production.

Where it's at: 21 species, 5 hull classes, 80 components, a 68-tech web, diplomacy with an electable Galactic Senate, six ways to win. 6 months of spending every waking moment working on this project and we are nearing the release. :)

Free demo coming very soon Steam Next Fest, Oct 19-26 (demo's free, full game's paid at launch).

Steam: https://store.steampowered.com/app/4806180
Discord: https://discord.gg/5nd8m4ySwN

Happy to get specific about the actual back-and-forth with Claude if anyone wants details.

Just wanted to get some feedback on a game we vibe coded, kept seeing fake ad games where it’s fun but the actual game is not what you played, so I wanted to just see if I could make one actual one on my own. Hope to get you guys’ feedback and suggestions, please feel free to let me know how to improve it! Claude Code made this entirely, it was a wonderful conversation and experience throughout, making fixes and brainstorming, something that I’ve always wanted to do, but would have never be able to achieve this if not for Claude. Thanks!

It plays in your browser, nothing to install: https://legpain.itch.io/hold-the-bridge-demo

Tap "Run game", then the fullscreen button in the corner. It's about 80 MB the first time, so Wi-Fi is best. If it's slow, pick "Low" graphics on the start screen.

Looking forward to honest honest feedback! Hold this bridge!

I’ve been developing this game solo with AI tools (mostly Claude, with some assistance from ChatGPT for troubleshooting) for the past year as a passion project while finishing grad school, and the Steam page just went live today! It’s a physics-based party brawler where you control your sword 1:1 with your mouse/right joystick and you can use every dismembered bone as a weapon.

Steam Page:
https://store.steampowered.com/app/5073210/BoneHeads/

If anyone's interested, this was my development approach! It's been roughly around 500 hours of development over the past year

I have 0 previous development experience, so I designed the game from the beginning with the approach of asking myself how I could work WITH the limitations of AI tools, rather than against them. That philosophy is what ended up informing so many aspects of the game. I wanted to build a combat game, but good combat needs good animation, and AI was not capable of that. I reflected on what a combat system without any animation could look like, and remembered this old flash game called Madness Interactive. In that game your hand and weapon floated Rayman-style, and they followed your mouse movement. I knew I could do something like that. I love sword fighting games, so I decided to lean into that. In Madness Interactive, there wasn't any real animation either - the characters' sprites just tilted.

My first prototype started with 2 cartoon knight characters with floating limbs. The characters moved with the foot sprites just shifting back and forth. I wondered that if I could get some level of animation from just moving sprites through code, maybe I could take it a step further. I learned about procedural animation, and that was a game-changer. I wanted to make a more realistic knight, so I generated an image of one and used Canva to cut up the character's body into separate PNG's. I made a body-ik puppet-style system with separate head, torso, upper and lower arm, leg, and foot sprites. However, the realistic knights just constantly looked disjointed, because there was no way to ever not have gaps.

Again, I needed to ask myself how I could stop trying to fight this limitation, and work with it. I realized that a knight character would never look good through this method, so I asked myself what type of character would look natural having some gaps in each limb. And that's when I landed on skeletons. Cartoonish skeletons having gaps between their limbs is a staple in media, so I figured it was perfect. Once I replaced the knights with these skeletons it looked so much more natural. I decided to make the body-ik more complex, splitting the legs into upper and lower leg sprites, and a separate pelvis and spine sprite. These changes allowed for me to really fine tune the procedural animation and get it looking better.

A design rule I had for the animation was that I never wanted there to be a single instance where sprites snapped/teleported at any point (i.e. in a lot of games return-to-baseline animations have some level of quickly snapping the character into place). I wanted every single movement to be continuous. The procedural animation system allowed for this (though it took months of work to get each animation perfectly smooth). One of my proudest mechanics is the step-based locomotion. Your character steps continuously with your movement input. If you let go of the input mid step, the foot naturally drops straight down. This allows for really dynamic postures. You can even pivot on one foot if you keep moving your input back and forth before the foot lands.

Dismemberment came as a natural extension of the skeleton characters - it wasn't an idea I had initially. And then using dismembered limbs as weapons followed soon after. Many of my ideas just ended up scaffolding on top of each other, all from that base of working with the limitations of AI.

Initially, when my partner play-tested the game, she would just wildly flail the sword with small movements and get a ton of hits. I wanted the game to feel skill-based and precise, so I had to figure out a way to take away the ability to just spam attacks. A stamina system didn't feel good. So I ended up making the sword a fully physics based object with inertia and acceleration, and based damage on the velocity of the sword. With the added acceleration, you couldn't flail the sword with short swings, because it now needed long arcs to get enough speed to actually do real damage. That took a lot of iteration to get it feeling weighty without feeling sluggish.

It took months to figure out a way to get horizontal sword movements to look good in 2d. For the longest time I actually had an inner deadzone the sword couldn't pass through, so you couldn't even do horizontal attacks. I eventually discovered the 2D animation technique of "foreshortening," where you make the object appear shorter and shorter until it crosses a midline, and then increases it's length again. That makes it look like the arms and sword are swinging outward across the body/toward the screen in 3D.

The collision system was one of the most difficult pieces and took months of trial and error and different methods to get it feeling good, especially the sword dragging across an enemy. Dynamic hit reactions using the procedural body-IK really helped add satisfying impact to hits.

Tl;Dr: Instead of deciding on a specific game idea and then trying to figure out how to make that with AI, I designed something based on the limitations of AI that it could produce competently.

Extremely heartbreaking, and no way to reach out for help. They just blocked me and my wifes accounts. 40 dollars down the drain and will have to look for a new ai.. such a shame there is no juance to these blockages. They just say you are blocked and thats it. I provided my us passport and everything. Be weary guys or your project might be put on hold abruptly

I'm building a cold, North Atlantic island in Unity: a place you could walk from the surf to a snowy summit, that should hold up at eye level next to good-looking games. The terrain is real elevation data from Lofoten in Norway, slightly modified and reshaped into a 4 × 5km island with a 1,000m peak.

The bigger aim with this project is a generalized procedural system, and this island is its test bed.

Apart from the terrain itself, almost nothing is placed by hand: rock, moss, plants, forests, even where the birds gather, all come from rules that read the island's height and water, so they can carry over to other islands.

Next step which is already under way is generating also the terrain (erosion, glacial valleys, coastlines, vegetation), with this real island as the bar a generated one has to match. Right now I'm finding out how far this way of building can go.

How it's made: I direct and judge, check the code to some extent, and Claude Code builds it. I set the look, pick the approach and algorithms, choose the reference images, review every change by eye, adjust parameters, etc. Claude writes the code, shaders and tools, tests and benchmarks its own work.

Right now this is still pretty much technical exploration, but the idea is to develop a game out of this eventually.

Terrain based on Nasjonal høydemodell DTM 1 m, © Kartverket (CC BY 4.0), modified.

Just decompiled and natively ported StarFox, StarFox 2 and Sonic CD to Windows, Mac and Linux, using Opus 5.5 without REA or similar skills.

Claude analyzed the games' roms, built high level hardware runtimes, and added quality of life improvements (resolution, framerate, audio, full controller support, etc.), Even going as far as editing the game's extracted source code to implement features (SuperFX overclocking, True16:9 in Sonic CD)

Projects are here, if you wanna try it out ;)

https://github.com/carlosrmz009/littleplanet

https://github.com/carlosrmz009/arwing

https://github.com/carlosrmz009/arwing2

Prompt was simply: Create a full decompilation of *GAME*, so it can run natively in my PC. Game ROM is at */path/*

This is getting insane bro 😭🙏

For context: I'm currently building some games (mostly 2d genre mashups) with Claude Code and wanted to try using one of the hundreds of asset packs I've collected over the past decade (mostly from Humble Bundle, but also the excellent Kenney all-in-one pack). But with ~100 GB of assets spread across 850 packs, navigating the asset library to find the right asset is surprisingly painful.

So I figured I'd build a tool (also with Claude Code, of course - Opus 5.5 specifically) to index, browse, and search my collection, as well as easily pull assets into my game (including a CLI tool and Claude Code skill to let it search and pull from the collection).

After a simple indexing pass, you can browse, search, and preview (including 3D and sounds) your assets in the web UI. An optional classification pass using local AI models enables meaning based search (e.g. finding images of a "person wielding a sword" even if the file is called something like "tile_1234.png").

A bunch of people on social media suggested that I share it, so I added some features, polish, and open sourced it on Github. MIT license, so do whatever you want with it. Hope it's useful to others as well. Let me know (here or via a Github issue) if you have any feedback or feature requests.

https://github.com/digitalhobbit/assetcat

There's also a video walkthrough linked from the README, in case you're curious what it looks like and how it works under the hood.

I'm about four weeks into developing a fairly ambitious 3D game using AI, and something has been bothering me lately.

Every day I see another game released that was apparently developed in a few days, sometimes even hours, using Claude or other AI tools. Some are clearly just tech demos with little actual gameplay. Some are pretty terrible, if I'm being fair. But others? Holy shit. Some are genuinely impressive. i recently saw a browser-based FPS that was apparently coded entirely with Claude, including the 3D assets, and it looked fantastic. Not just visually impressive, but actually fun to play. Sure, there was a little jank, but nothing that looked particularly difficult to polish.

Meanwhile, here's what I've been doing.

I'm building a game currently called Bloodlines (working title), a 3D organized-crime strategy/simulation game inspired partly by older games like Gangland. hTe idea is to build a living city where you start at the bottom of a criminal organization and work your way up. Eventually you're managing businesses, territory, crews, relationships, and a family dynasty. You can marry, have children, and eventually those children grow up and become part of your organization, with their own abilities and roles. It's not really about making one particular gameplay mechanic. It's about making all these interconnected systems work together to create an interesting world.

I've spent roughly a week on design discussions, documentation, and specifications, followed by about three weeks of development using AI coding tools and Atlas Cloud for 3D asset generation.

A lot of my development pipeline is automated. I'm not sitting there manually modelling every chair or writing every line of code. But I'm still spending considerable time reviewing results, solving problems, refining systems, and making sure everything actually works together. And looking at the scope of what I'm building, I could easily see another six months to a year of development ahead of me.

Which brings me to my question. "How the hell are people building and releasing these impressive games so quickly?"

Am I simply comparing two very different things? Are most of these games essentially polished vertical slices rather than fully developed experiences? Or are people genuinely figuring out ways to develop complete, entertaining games in a fraction of the time?

Is ambitious, long-term solo game development still a sensible pursuit when the technology is advancing this quickly? I'm not particularly worried about AI replacing programmers or artists. I'm using the technology myself, and I think it's incredible. What I'm wondering is whether the development landscape is changing so rapidly that, by the time I finish something I've spent a year creating, the tools will have advanced enough that someone else can create something comparable in a weekend.

Or maybe I'm looking at this all wrong.

Maybe the real advantage isn't how quickly you can generate a game, but whether you can design something people actually want to spend time playing. I'd genuinely like to hear from other people building games with AI, especially anyone working on larger projects. Are you deliberately keeping your projects small because the technology is moving so quickly? Are you building ambitious games anyway? Have your expectations for what constitutes a reasonable development timeline completely changed?

Or am I just falling into the trap of comparing my development process with everyone else's highlight reel?

Four days ago I posted here about Cruising Bones. I've got an update, this and more:

1. New game mode, Hearse Chase: the back door pops open, the coffin slides out, silver bones fly and you have to collect as many and stay on its tail. The Hearse Club rolls with proper escort limos

2. Cars now tilt with the slope of the road instead of sinking into the hill

3. Headlights are now properly attached to every car and move with it

4. New open-face motorcycle helmet pickup that fits over your rider’s cap

5. Steering, braking and hand-drag are back to their snappy, quick-turning feel

6. Touch controls (mobile) react faster: less delay between your swipe and the turn

7. Summit Sprint’s mountains are now three layers that slide past at different speeds for depth

8. Weather conditions now change the look and feel of a story, but also manipulate the game with different aspects to deal with during your line

Next up:

• More characters and gear to unlock

• Introducing a story and rivalry to enhance the game experience and let players choose their fate

• Keep polishing and bug fixing, I'm sure you'll spot them too 😅

• Add more drama to game modes, whereas now everything is basically a race with a few extra mission steps. I want a more deliberate animation and active experience where things like the Hearse Chase feel different and more chaotic than just a squad race.

• 1001 other things haha, feel free to suggest things!

Alpha still free to play on cruisingbones.com