As you can see, this has been quite a journey! I consume a lot of lofi on YouTube and wanted something on my TV that wasn't a repeating scene. The stream follows the life of Maple (the fox) who is the town Radio host. Claude simulates her day, what she does, who she chats with, and what happens in the town in general. I love being surprised/delighted by the little things that happen. The residents' conversations are also generated based on what's happening in their world, so it's not just a collection of scripted animations/words.

I have had SO much fun with Claude code and making charming additions like changing weather/seasons/decor. I gave everyone costumes on Halloween lol... Today I spent the day perfecting the menu and items in the town cafe.

Happy to answer any questions! If you're interested in checking out the live stream, you can find it here.

I came into this one feeling really strong because of my work in Unity this year, and was completely unprepared for how much worse Opus would be in UE5 with C++. I scoped for a project I could finish in roughly 18 hours for a 4 day game jam. I spent more than a day fighting Opus on a single VFX and more than a day on combat animations, and both still aren’t right. Bugs I had night one are still in the build after handholding and vibe coding and fixing and it showing back up, etc. Really obvious bugs like ‘the player bends over awkwardly, gets stuck, and can’t move until they’re attacked.’ Game breaking bugs I’ve never seen from Opus in Unity.

Is Opus just not as good at C++ Unreal projects as it is in Unity? I figured it would probably be great considering the AI game jam and Anthropic sponsorship…

May post the game/trailer later for reference because I’m real disappointed and frustrated and need to vent :/

I want to share the game I have been working on since late July. It is a free beta, it still has rough edges, and I am looking for playtesters and honest feedback.

Graveharvest is a dark pixel-art idle game. You are a necromancer under a blood moon, cutting down the Living as they cross the field, or letting the Reaping do it for you. You raise the dead as Vassals who gather Souls every second, buy Rites that make every kill worth more, and when prices outrun your harvest you take the Long Death: the life ends, the Ichor you earned stays, and the covenants it buys make the next life climb faster. It is a long game, made to sit in the background and be come back to. Finishing it takes months, not an evening.

AI has been a life changer for me as a solo dev. I have always had more game ideas than time, and spending years on a single game was never something I could afford. Now I write the design, break it into tasks, and hand them to Claude. It feels like running a small team: a stronger model (Opus/Fable) plans and reviews, a cheaper one writes the code from tightly scoped briefs, and I make every design call and play every build. The engine is Godot 4.

Bugs constantly appearing, and especially thinking of ideas and aligning and visual assets usually needs me to step in. Two things kept the project from falling apart as it grew: over 1,600 automated tests that have to pass before anything ships, and a simulation kept separate from the visuals, so the economy can be tested and balanced without opening the game. I also learned that the AI does far better with something to look at. Even a rough mock-up beats a paragraph of description. Characters, icons and music come from asset packs (credited in the game). It is hard to believe how much game there is after less than four months.

I honestly do not understand all the hate AI-assisted games get. I think transparency matters, so I am open about how this one is made, and I will say so on the store page if it goes to Steam. But seeing the reaction some AI-assisted games get, I do have doubts about that. How do other devs here handle it?

What I would most like to hear about the game:

- the first ten minutes: is it clear what to do without being told?

- the pacing and the prices, early on and after your first Long Death

- any bug you hit, and anything that feels unpolished

It runs in the browser, and there is a Windows download too. It asks once whether it may share anonymous play statistics; that is off unless you say yes.

I look forward to your constructive criticism!

https://jbi2109.itch.io/graveharvest

After 500 bug fixes and 4800 messages with game community version 1.5 is now released!
P.S. Just released 1.5.2 which now works 3x faster than any other version.

Razdor is an open-source engine for Discord Times (Aterdux, 2004), a turn-based strategy/RPG. It plays the original campaign, community maps and mods by the original rules, and then adds the things a 2004 engine couldn't do.

How it was built

• Clean-room reverse engineering. The original executable was taken apart in Ghidra; every rule that maps and mods can see (battle, AI, map scripts, events, saves) was written up as a spec first and then implemented. The code cites the original's addresses.

• Diff tests against the original. The original runs under Wine, and a script mode replays the same inputs in both and compares the state step by step. By default Razdor matches the original exactly, bugs and imbalances included; every deviation sits behind an experimental switch that's off by default (16 of them right now).

• Rust + macroquad, about 190k lines, GPL-3.0. The game rules live in a separate module with no graphics dependency and are unit tested; the original's file formats (ini data, .DTm maps, its own picture formats, sounds) are read at runtime.

• Deterministic simulation: every game is recorded and can be replayed at up to 16×. The same determinism let us record the trailer's split screens twice with different graphics presets and get the same frames.

What you get

• ~11× the frame rate on the same GPU (RTX 4060, 1024×768, unlocked): about 2,000 FPS against about 176 for the original under Wine. A 200×200 map with 61 armies costs the game about 0.3 ms a frame. Load to first frame is about half a second.

• Any resolution and aspect ratio (the trailer is 21:9), refresh rates up to 180 Hz, a graphics preset ladder from "Original" (pixel-for-pixel the 2004 look) to "High" (light, shadows, water, weather, clouds instead of black fog of war, a living map), and a 2.5D view.

• Linux, Windows and macOS; Android and iOS are experimental, with a touch layout, graphics presets for weak phones and a battery saver.

• An in-game hub with the community's work: 327 maps, 29 campaigns and 25 mods.

Links

• Site and downloads: https://indicozy.github.io/razdor/

• Source: https://github.com/indicozy/razdor

• Wiki (English): https://indicozy.github.io/razdor/wiki/en/

• Trailer (Russian, YouTube): https://youtu.be/kHvM7Yv-2_4

I made LEVEL ZERO, a procedural Backrooms horror game that runs in the browser. Play it here: https://synapcore.itch.io/level-zero

HOW I USED CLAUDE

I built the whole game in conversation with Claude Code (desktop app, Claude Opus 5.5). I'm not a programmer: I did the creative direction, playtesting and feedback, and Claude wrote and debugged all of the code.

- Initial build: I asked for "something like the Backrooms, procedurally generated". Claude wrote the game as a single HTML file using Three.js:

- an infinite chunked maze generated from a seed;

- custom shaders for the lighting, fog and VHS look;

- procedural textures drawn in code;

- Web Audio for the fluorescent hum, footsteps and the entity's drone.

- Design iterations: I'd play, then describe what felt wrong. Some examples:

- "the sanity effect isn't noticeable enough" → Claude added colour drain, chromatic aberration, screen warping, VHS tearing, fake footsteps, hallucinated words and images, and music that degrades in stages (muffled, overdriven, then skipping like a broken tape).

- "sanity barely drops, there's too much almond water" → Claude rebalanced the drain rates and made bottles rarer.

- "it's too easy, add events, puzzles and lore" → Claude added:

- blackouts, a voice calling your name behind you, looping corridors and ringing phones;

- a code split into digits painted on the walls;

- a "lights out" breaker-box minigame and a radio you tune to get directions;

- 6 notes and 2 VHS tapes that teach the survival rules and unlock a true ending.

- Testing: Claude playtested in the Claude desktop app's built-in browser. It used temporary debug hooks to teleport to spots and trigger every ending and event. It also flood-filled 20+ seeds to make sure all items and the exit can always be reached.

- Bug fixing from my reports:

- camera jumps with the mouse → raw pointer-lock input plus spike filtering;

- fake doors standing alone in rooms → moved onto real walls;

- title cut off inside the itch.io frame → menu layout fix.

- Release: Claude added the English/Spanish language system and translated all the text and lore. It also packaged the itch.io zip, captured the screenshots by driving a headless browser from a script, and composed the cover art.

OTHER TOOLS

- Suno Pro: the 4 soundtrack tracks, made by me.

- ffmpeg: converting the music to MP3 (Claude ran it).

- Three.js r128 (MIT), VT323 and Special Elite fonts (Google Fonts).

- itch.io for hosting.

Feedback welcome, especially on difficulty!

Hi! It's a recreation of the original Heroes of Dragon Age. Initially, I was doing it by hand because I wanted to write code myself again in my favorite language, C (idk, I just like the language's constructs, and I'm a big fan of Jonathan Blow, Mike Acton, Casey Muratori, Per Vognsen, etc.). I really enjoy the process. But then I got stuck on some model animation and shader code. It needed to match the original closely, and that's hard to achieve without deep knowledge of this stuff. I feared that, in the end, I wouldn't be able to finish the project myself and would waste a lot of time trying... So I switched to AI tools again. I started making a lot of progress by throwing Claude Code / Codex at the original APK and game cache I managed to recover back in July. The results were trash initially, but after quite a lot of iterations and manual interventions, I managed to get it to look and feel kinda as good as the original.

Right now, I'm comfortably creating new content and fixing bugs using exclusively Opus 5.5 XHigh / Fable 5.2 with Medium / XHigh effort (without Ultracode mode), and I'm pretty happy that it can do stuff with minimal visual artifacts and logic errors, though I still control what it does and how it does things. I don't really look at the code anymore, except maybe a little for critical parts. I also generate some art in the game's style using GPT Image 2.6, as I have a Codex subscription too.

This project is completely open-source. I run an online server for the game, and it's completely free and will stay free forever. The server costs me like $5 a month, and the domain is like $10 a year or something, so... as a grown adult, I'm sure I can handle it, ahah.

I played this game when I was a kid. I spent a lot of my money on this laggy, trashy gacha game, but I liked its style and mechanics. Now, it feels great that I can modify it however I like, or however the players want, and make myself a billionaire in the game. But it kinda doesn't feel the way I wanted it to. Having developed it myself, I've unfortunately lost a lot of interest in it, but anyone who plays it can still get the full experience, I guess.

If anyone wants to try it, it's supported on macOS, Windows, and Linux. Soon, I'll start looking into making it playable in a browser too, but idk for now.

Anyway, you can find links to the repos, Discord, etc. on the project's website - https://hodareborn.com

Here is some quick gameplay from my entry for Unreal Engine AI megajam. Its my take in classic tycoon genre. It covers 7 decades and has lots of trains, cars and aircraft inspired by real ones from the era it covers.

Developed over three days. I managed to get quite a lot of stuff in, but there are lots I'd like to add as well!

Game was fully made with Claude Code - it handled all coding and 3d modeling (with Blender).

Music and sounds came from Elevenlabs, but it was also Claude Code that prompted them via their API. Textures are from locally run Qwen-Image and in small parts also OpenAI Images.

If anyone wants to try it out, the gamejam build is available for free at https://jazzkissa.itch.io/tetsudo

Hello everyone, I am a very private person, but I wanted to share my experience with Claude in the past 2 weeks. I have worked in game dev for the past 7 years on a proprietary game engine as a tool specialist. With the latest enhancements to Claude, I wanted to test out how far I can push it by writing a new game engine from scratch. I was quite surprised how Claude Opus 5.5 (on Medium Effort) was able to basically build it with my guidance. I haven't written a single line of code during this process. Additionally, I've only worked on it after work and on weekends.

The engine is built with a Vulkan backend, uses Jolt for physics, SDL3 for window management and many more libraries. It also uses a C++ UI framework I've built with Claude on the weekend before I started this project which I call Silky UI at this moment.

Some of the art is procedurally generated but I think man-made assets are still a completely different beast. I've used mainly Mixamo, Quixel Megascans (Fab) and Poly Haven and other CC0 assets. Same applies to sounds - some are procedurally generated, some are from Freesound (CC0), usually polished and cut up by Claude. All the vehicles in the video were generated with Claude besides the Bugatti EB110 which is from here: Bugatti EB110 by ᗩᒪE᙭. Kᗩ. licensed CC BY-NC 4.0, converted for the engine.

I hope you find my experiment interesting, I certainly did. Maybe I will try to make a proper game with it in the future, but for now I quite enjoy experimenting with the renderer and also with testing various UX / usability ideas in the editor.

Using some video references it’s not too bad still needs tweaking

My remaster of the Alien Breed 2 games now supports all four titles. You can play with a reasonably close emulation of the original or enable a bunch of modern features and graphics. Classic graphics only for Tower Assault, modern requires light placement on 50+ levels.

This is a Claude project that mostly used Opus Medium. One repo documents the game and produce an exporter to modern file formats, the other is the engine and consumer that imports the assets. DeepSeek was used a little early on when it was cheap but was not reliable. Claude has good knowledge of 2D graphics/systems and executed most of it without challenge. Adding netcode was quite painless but have to review occasionally for sources of desync. We agreed on LUA as a game engine such as Godot didn't give us anything we couldn't hand create/added more overhead then started with a skeleton of the game and slowly built up on top of it.

In hindsight starting with an emulator and dynamic loading might have been better but potentially I can do a lot more this way.

Lessons so far:
- Lock down comment and docs rules early. Enforce with tests,

- Agree structural scope as early as possible (e.g. netcode). Gameplay features and visual FX are easy to add on later but core systems take a lot of setup. We had to implement determinism and remove globals midway through the work.

- Optimization isn't too much of a problem with a repeatable benchmark but you start getting dead ends when the easy wins are done.

- Giving Claude a screenshot ability helps a lot with anything that touches visuals.

- Claude being able to read and understand every file type helps but it doesn't mean they won't still struggle to interpret things more abstract than code (misaligned sprites, audio pitch being wrong etc)

- Have a weekly check in with Claude about usage where it reads the session transcripts and tool usage to understand where you are inefficient.

Claude also edited this trailer from gameplay with suggestions from me! I titled the clips and gave it the main ideas.

https://vironi.itch.io/xenoblight

Original game files are required.

There is a new easy difficulty for Alien Breed 2 that reduces the amount of aliens and makes the first level more forgiving. Tower Assault gets a facility map to make it a bit easier to tell how the levels connect together. Restart Level rewinds back to your level start conditions so you can make another attempt without losing the whole game.

• Twin stick controls with gamepad support or classic directional controls.

Multiplayer:

• Online multiplayer with rollback netcode for two players with UPNP port request.

• Two-player viewport with multiple camera modes including dynamic split screen or full size views.

• More options to share beyond just credits.

Modern mode provides:

• 640×360 virtual canvas scaled by an exact integer to the display (×2 at 720p, ×3 at 1080p = 1920×1080, ×4 at 1440p, ×6 at 2160p). Pixel-perfect, square pixels throughout. 2.8× more world area than classic's 320×256

• Fog of war to let you restrict your viewable area to approximately the original games area.

• Audio system emulates the original four channel behavior via rules while allowing additional channels to play to avoid cut offs. Stereo emulation and distance based falloff for sounds are also simulated.

• Lightweight deferred-lighting mode. Flashlight with real polygon shadow-casting occlusion (not a fake cone) and wall-spill lighting. Static light fixtures are real dynamic lights (falloff, shadows), not painted-on brightness. Props (barrels, etc.) cast their own projected shadows.

• Modern alien pathfinding AI if you want them to be much more aggressive.

Classic mode provides:

• Authentic 320×256 viewport, pixel-aspect-corrected by 16/15 (the real PAL Amiga ratio) so it displays 4:3 pillarboxed 1440×1080 at 1080p. The non square pixel ratio is critical to not requiring letterboxing at modern resolutions, a strange coincidence.

• The original's flat, unlit renderer (no flashlight/shadows at all).

• Original HUD but full speed updates instead of being restricted to one column at a time.

• Accurate 4-channel Paula-style audio, including the original's channel-stealing behavior.

• Original pathfinding.

I'm a solo dev from Switzerland and just released Moundlings, a strategy game for iPhone and iPad. You lead a blue ant colony, swipe from mound to mound and try to take the garden before the red colony does. Everything looks like it's made of clay.

How I built it:

* Brainstormed the idea with ChatGPT and defined the first game assets.
* Wrote a developer briefing for Claude, which did the implementation in Swift with SwiftUI and SpriteKit.
* Made more assets with Grok Image and ChatGPT Image through WaveSpeed.
* Pulled the sounds straight from Envato Elements through their MCP.

The biggest challenge was playtesting. I needed enough rounds on every device to answer the questions that matter: does it feel good, does it stay varied, and how should the opponent get harder over time. My 8-year-old son loves it, and I also widened the test group through TestFlight. Getting other kids to test it on purpose was harder than expected, partly because the adults liked it a bit too much ;)

Classic is free, the full version is a one-time purchase. No ads, no subscription, no tracking, and it works offline.

[apps.apple.com/app](https://apps.apple.com/app/id6826520840)

If you want the full version, the code TGDFANPHR unlocks it for free until Nov 27:
[apps.apple.com/redeem](https://apps.apple.com/redeem?ctx=offercodes&id=6826520840&code=TGDFANPHR)

How do you handle playtesting? And how do you tune an AI opponent so it gets harder without feeling unfair?

Hello, community! I wanted to share a new map I’ve just added to Agentic Wars Conquest, my browser based multiplayer tactical shooter built with Three.js

The craziest part is that the entire Palm Beach map featuring a private tropical paradise, a mansion with a pool, and an iconic temple with a golden dome was designed and developed in just one day using Fable 5.2. It’s perfect for dynamic, mid range combat and controlling capture points.

You can play it for free, directly in your browser (no downloads required):

👉 agenticwarsconquest.com

What do you think of the result, considering it was built in record time? Let me know your thoughts and any suggestions for balancing! thanks in advance

I'm making a sall fantasy game and needed three shopkeepers for the same village. A potion seller, a blacksmith, and a general store owner. Simple enough, right?

I had the concept art ready, and they all looked like they belonged in the same game. I used Claude to help plan the AI character generation workflow before running them through Meshy's Image to 3D and dropping them into Unity.

Apparently, my village has no consistent anatomy rules.

The potion seller had a massive head, the blacksmith's arms barely reached his waist, and the general store guy looked like he'd wandered in from a completely different art style. Each model looked decent on its own, which somehow made it more annoying.

My first instinct was to open Blender and start fixing proportions. Then I compared the original drawings and realized I'd basically given the generator three different sets of instructions. Different camera angles, inconsistent head-to-body ratios, and poses that made the silhouettes harder to interpret.

So instead of spending the evening dragging vertices around, I went back and cleaned up the reference sheets. Same proportions, neutral poses, consistent framing, with front and side views that actually matched. I used Meshy's Multi-View option for the next pass so it wasn't guessing the depth from a single drawing.

There's still some cleanup to do, especially around clothing and accessories, but at least I'm approaching it with references that make sense now.

Turns out AI is pretty good at preserving the mistakes you didn't realize you put in the input.

Anyone making batches of stylized characters? How strict are you with reference sheets before generating, or do you just accept the Blender cleanup as part of the process?

Playable free in the browser: https://kedikatstudios.itch.io/royal-flush

The inspiration behind the game: https://variety.com/2022/film/news/titanic-crew-members-drugged-pcp-clam-chowder-1235465618/

This game was originally meant for a mobile submission for Epic's MegaJam, but we ran out of time. I'm quite proud of it anyway and would love to hear your thoughts!

Some stats:

- About 15 hours from empty folder to public itch.io page

- 49 prompts from me. Roughly a third were just "yes, upload it"

- 1,151 tool calls by the agent, 32 commits

- 6,197 lines of JavaScript (Three.js + GSAP), none typed by me

- 0 image or audio assets. Every texture is drawn on a canvas in code: the PS1 dithering, vertex wobble and 240p render are shaders, and the music is synthesized live including a public-domain hymn for level 3 (The song the band played as the ship was going down in the movie!)

- ~706k output tokens; ~278M tokens read, 99% of that cached context

Things that worked:

- Keeping one quality bar written down: "AAA game feel in a PS1 graphics package." Whenever something felt stiff (blocky shoulders, poses snapping), I pointed back to it, and the fix applied across every level.

- Having it build a headless autoplay bot early. Every level change was checked by the bot playing through it, which caught impossible obstacle layouts before I did.

- Giving feedback with reference images instead of adjectives. "Make the comics look like 1996 low-poly games" plus three screenshots beat any amount of describing.

Things that didn't:

- The first comic cutscenes looked amateurish and had to be rebuilt as 3D renders.

- Physics on the tilted level 3 took several rounds before objects slid in a way that felt fair.

Happy to answer questions about the workflow!

Mission 04, "Black Tide", from a VR island adventure. The whole mission was played in one go (about 10 minutes, plane to plane) and cut down to 1:45. Meta Quest / PC VR · in development.

In the clip:

- jump from the plane and steer the parachute with your hands

- climb a tree and snipe the beach guards from the top

- climb the submarine's tower ladder, holding on with one hand and shooting with the other

- dual-wield below decks and find out what happened to Ethan

- scan the beach through the periscope

- flood the escape trunk and swim out under the hull

- fire a flare so the plane picks you up

How Claude fits in:

It's a Unity project, and Claude Code (Opus 5.5 / Fable 5.2) works right inside it, writing C# and building levels from code. In this mission that's the submarine and its escape trunk, the periscope, the guards' sight and hearing (they can't see you through leaves, they hear your footsteps), the hit zones and the hand-steered chute.

What made it work:

- Claude can't wear the headset, so the loop is: I play, describe in plain words what felt wrong, Claude changes the code and tells me what to check next.

- For most features it also writes itself a test tool (a compile check that runs outside Unity, review scripts that load a level and report back), so it can test its work before I put the headset on.

- It keeps notes of the project's rules between sessions (like "you pick things up with grip, never the trigger"), so the next session already knows them.

Even this video was cut by Claude Code: ffmpeg on the raw NVIDIA recording, caption cards drawn by a PowerShell script, no video editor.

Happy to answer questions about the workflow.

I’m a solo developer from Ukraine building Nebulife. I direct the project, and Claude has written almost all of the code and tests. The game uses TypeScript, PixiJS 8 for 2D, Three.js for 3D, React 19 and Vite for the interface, and Capacitor to bring the same codebase to iOS and Android. It’s also available on the web.

Nebulife’s shared universe grows from one seed, while the server persists changes made by players. Its planets are fully procedural and use no textures. Players can explore star systems and planets, seed life, watch it evolve, and build colonies.

The attached gameplay clip follows a journey from a galaxy view toward a star system and a planet. It shows the change in scale, but it does not demonstrate persistence or evolution.

I’d be interested in design feedback: what would help players understand that a change they encounter in a shared world was made by another player?

For cost transparency, the US iOS app is a free download with optional purchases: Pro is $4.99 monthly, $34.99 yearly, or $99.99 lifetime, and Quark packs range from $0.99 to $12.99. The Android listing says it is free to play with ads and in-app purchases; prices vary by store and region.

https://nebulife.space

The game is built with a lot of help from Claude. I am a professional game programmer and work for an established company but for my personal project I wanted to see how far can I push AI workflows.

The game features:

Procedural prefab generation - phased out for voxel based models where available. Supports a generated and authored creation path.

Procedural track generation - builds and stitches together track fragments, and validates them for the ability to pass them, taking into account ship speed, maneuverability, jump range, and energy (“fuel”) drain along the length of the track, and takes into account collectibles that grant energy.

Difficulty ramp - the game has 5 “biomes”, 7 “zones” each, with increasing difficulty achieved by introducing hazards, obstacles and track mutators that make the track harder / unique.

Procedural music generation - it has a music director / composer that is fed with song structures, and it connects them together reacting to in-game events that contribute to “intensity” of the music. It supports different BPM and fancy time signatures. It harmonizes all the tracks (video lacks sound - even though it is „correct” I don’t like it yet).

Procedural instrument synthesis - all instruments work like a VST, support around 20 filters and processors, and 32 simultaneous voices.

Procedural SFX - baked on start.

Procedural engine sounds - simulated in real time.

It targets Steam Deck and Steam Machine with these performance goals (which it achieves):

- Sub 2 seconds game load time to ready the start menu.
- Sub 150ms track generation on play.
Instant replay of a failed track.
- 120FPS @ 4K resolution on Steam Machine with less than 1% frame hitches (upscaling from 86%)
- 90FPS @ 1280x800 resolution on Steam Deck with no frame hitches.

It started as a test if it could write a game like DOS game Skyroads (1993), with some mechanics from Race The Sun (2013) in 3 weeks. Then I showed it to a couple of people and they enjoyed playing it so it is stretching now into third month of development.

Here are the most popular posts from the last week!

1. I don’t know who needs to hear this, but never EVER disclose that you used AI for your game

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2. AssetCat: free & open source tool to search & browse game asset packs

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3. AI game development is moving so fast that I'm starting to wonder if I'm wasting my time building something ambitious. Anyone else feeling this?

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7. Streets of Nice - my arcade beat 'em up, playable on phones and desktop

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8. I packaged my whole “concept art → Blender → Godot → shipped build” workflow as a Claude Code skill. The goal is AI-made games that aren’t slop

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9. Fable 5.2 filmed and edited my game's trailer by itself. Here is the setup that made it possible

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10. I’m creating my own game with the help of Claude, and you can already play a very early version of it.

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MORS is a factory game on a 1:1 Mars: mine, smelt, belt everything together, then build trains, rovers and rockets and launch them yourself. The planet is real size, built from NASA's elevation data, so Olympus Mons is 21 km tall and a belt can run 98 km to the horizon.

Cost: free. Free demo on Steam now, and the full game will be free at release (4 Mar 2027): https://store.steampowered.com/app/4950970/MORS/

How I use Claude (Claude Code):

• Day-to-day coding in Godot: 61 of the 167 commits in the game's repo carry Claude as co-author. I design and review, Claude writes most of the GDScript, I play-test every change

• Performance: Claude wrote stress tests that lay belts kilometres long and measure frame cost. After the belt rewrite, 98 km of conveyor went from 26 fps to four lanes of it at 198 fps.

• Bug hunting: the drop pod's heat shield was floating a metre below the capsule. Claude traced it from a screenshot to the rig code and fixed it.

• Trailer and shorts tooling: Claude wrote scripts that play the game under Godot's Movie Maker (scripted cameras, flights, launches) and a Python assembler that cuts the footage and adds captions and narration.

Other tools:

• Godot (custom double-precision build)

• Blender for models

• ElevenLabs for narration in the shorts

• NASA elevation data for the planet

This one’s a kart battle game, not a racer. There are eight karts in a three-minute match, and every knockout is a point. The leader wears a crown, and stealing it is worth two. It runs in the browser on desktop or mobile.

How Claude was used: all the code was written with Claude Code. I went step by step:

• Driving first. It started as one kart on one arena. I kept asking Claude to tweak the feel until drifting worked: hold Shift through a corner to build sparks, then release for a speed burst.

• Arenas next. There’s a kitchen counter with hot cooktop rings, a study desk with a desk fan that pushes karts around, and a backyard sandbox with a sprinkler. Karts can get knocked off the table edge, so ring-outs count too.

• Items one at a time. Each one got its own round with Claude: homing soda rocket, bouncing beach ball, popcorn spray, jelly mines, chain lightning, a magnet that pulls karts in and blasts them, a bubble shield and a grow-giant squash. Balancing them so no single item ruins a match took a lot of back and forth.

• AI rivals. There are three settings: easy, normal and wild.

• Last: touch controls for phones, unlockable drivers as you level up, and stats saved in the browser.

Cost: free to play in the browser, with no sign-up or download.

https://vinish.dev/crumbkart-kart-battle-browser-based-game

I'm a solo dev making a game inspire by my childhood game Robbery Bob in 3D First person and adding my own twists and mechanics to it

What’s in the demo:

• 8 levels of sneaking into houses and stealing junk (lucky socks, a singing fish plaque, a rubber chicken...)

• Guards that patrol, investigate noises, open (and close!) doors, and search hiding spots

• Thief vision to spot guards, loot and keys through walls

• A pawn shop hub where you sell your junk, buy upgrades and play minigames

• Controller support and 8 languages

How Claude Code fit in: I did the design, levels, writing and art direction, and Claude Code helped me write the code and build tools (level checks, prop generation in Blender, a trailer recorder...). Happy to answer questions about the workflow!

Looking for playtesters! It takes about 30 minutes. Available on windows, mac and linux, I want real feedback, what’s frustrating, what's fun, what needs tweaking, etc.... Comment or DM me and I’ll send you the build.

Two projects made with the help of Claude I felt like sharing. One is a heavily modified version of the classic horror unity game, Slender and the other one is a more original game called Dead Zone, a zombie outbreak simulator, heavily inspired by an old flash game called Class 3 Outbreak.

Slender Trench Gun Mod: https://drive.google.com/file/d/1sISLITzFuAPDnK_ua8W0e78u3r4OyhEQ/view?usp=sharing

Dead Zone: https://drive.google.com/file/d/1VREhwygF0Dts3FXh8xGS8HJf2rdWPJmf/view?usp=sharing

YouTube channel: Dead Zone - YouTube

Hi, everyone.

I’m developing a game that simulates a D&D-based TTRPG—or rather, it simulates the Dungeon Master and the game table.

The actual players still need to meet up to play together around a computer running this software.

This is my first time trying to develop a game (with or without AI), and I’m using Anthropic’s Claude for this project.

I wanted to ask you all whether, in your opinion, the way I’m designing the game and using Claude is correct, or if different approaches would allow me to work more efficiently.

Basically, in Claude Code for Desktop, I’ve created 5 or 6 different sessions within the same project—all Worktree sessions—that almost always run on Sonnet 5.5 medium/high.

I oversee everything, with help from Claude Opus 5.5 in a separate Chat/Cowork project. Let’s say this acts as a “consultant.” It can’t intervene directly, but it shares suggestions with me on how to make the various Claude Code sessions work.

The 5–6 Code sessions each cover different aspects of the game: the rules and adventure engine, the narrator and his voice, the game interface and game board, the 3D models, and the game manual.

I’ve also had a Fable 5.2 session run through the entire game once or twice to review the graphics and code.

Do you think this is an effective and efficient system? Do you have any suggestions on how to improve it, or are there things that should be changed?

A big thank you in advance to anyone who would like to contribute!

I have been working on a game, using Claude, PixelLab and Godot, and its incredible how fast you can iterate, I have a games programming degree, and its been amazing to see how quickly I can put a game together.

Hoping to go live in Early access soon, but have been add a third act, and improving a lot of the UI and adding cutscenes etc, really trying to polish it up. https://store.steampowered.com/app/5553070/?snr=1_5_9__205

Claudes harness has been great, leading with a plan mode, and then auto mode, ive noticed I had to do a lot of work to balance the game, as it was either way to easy, or you needed to be a grandmaster at chess, and getting the AI look out of images, even pixel art is always a struggle. oddly the other part I had to be careful of, was Claude really wanted to keep adding features, even if I never mentioned them, which is interesting.

A week ago, I started in on the game I've wanted to build for decades - an infinite, procedurally-generated city, to serve as a sandbox urban fantasy immsim.

So far, I have the basic terrain generation with rivers and lakes. On top of that, I generate Voronoi regions for the basic blocks, with larger streets between them. Then I further break those up into sub-streets. From there, I have polygons to fill with features (buildings or otherwise). So far, I have three building types implemented:
- a residential building
- a mixed-use building (storefront on the ground floor, residential above)
- tall buildings
Every building can be entered, every window can be opened. The tall buildings have working elevators, and you can even get out on top of them (will eventually allow for jumping between elevators). All the buildings also have roof access.

I also generate occasional bridges across the water to connect streets on either side, including bridge towers that you can climb up.

There's also an explorable sewer system- find a manhole cover and head below. You can swim in water (there are stairs down from street level along the water), and every tree is climbable.

You can draw on any flat surface. This works great for graffiti currently, but will be the basis for some fun gameplay features (more to come later).

The whole thing runs in a browser, on mobile (with virtual joysticks), and in VR with webXR.

I've been thinking about this since my grad school thesis back in 2006, and built pieces of it here and there, but had always thought it was big enough that I'd never have time to actually pursue it. But thanks to Claude (and a bit of DeepSeek for initial planning), I'm way farther in a single week than I ever thought I'd be.

My general workflow was to hash out overall architecture with DeepSeek and save the results as a markdown file, then bring that into my repo's /docs/ folder and point Claude at it. From there, it was just a lot of back and forth in VSCode w/ the Claude extension.

If you'd like to try it yourself, it's up here: https://brackwater-game.com/

side note: really glad to have found this sub, as so many gamedev spaces are so incredibly hostile to AI based workflows.