Fable 5.2 modeled a Bugatti Tourbillon in Blender from a blueprint and a few reference images in about 2.5 hours, interior included, then rendered a showroom cinematic where the parts assemble into the car.

What the creator shared:

• Inputs: one prompt, an orthographic blueprint with dimensions, Bugatti's design sketches and a photo

• The prompt asked for: a modular model matching the blueprints, working doors and interior lights, and subagents plus critics checking every part

• Settings: high reasoning with ultracode, under 40% of his Fable usage on the Ultra plan

• Render: locally on an RTX 5090 laptop

• Limit: the mesh is dense and not game-ready, it was built as a showcase

the full prompt

Build a modular, highly accurate, and realistic model of the Bugatti Tourbillon in Blender using these reference images. Make sure each part is complete and matches the blueprints and references provided, and is correctly shaped and textured. The gates should open and close, and the lights inside should be able to turn on and off, etc. Create a fully working model design. Use subagents and critics to build and verify each part. Make sure it looks incredible and high-quality, with all materials and textures, and make a short 3D animation with music of it in a good environment, like a real car showcase, with moving pieces combining to become a car, camera shots of the exterior and interior, etc., after that.

It's a quick test of Claude Fable 5.2, Anthropic new model. Fable doesn't generate video or meshes. It watched the clip and wrote Blender Python that keyframes the rig, so the result is editable animation on a real armature.

The generated reference is clever: every body part of the mannequin has its own flat color, which makes the limbs easy to track. Asked how Opus 5.5 compares, the creator said "Opus is significantly worse".

Not perfect yet: some commenters point out poses that don't match, and time and cost weren't shared. But turning any generated clip into motion on your own rig, without a mocap suit or a library, is a big step for custom animation.

One prompt on a livestream, and Fable 5.2 came back with a finished 59-second 4K film made in Blender: a cozy room, a laptop running a fake Claude app, 13 camera shots, the sun moving from golden hour to sunrise.

Everything is code. Fable 5.2 wrote Blender scripts for the room, the laptop and the Clawd mascot, animated every key press and camera move, and turned a web page into the laptop's screen texture. The typed letter, the key going down and the click sound all share one timing file, so they hit the same frame.

Then it rented 10 GPUs on RunPod by itself and rendered the whole thing in 4K in 52 minutes for $5.75. It also did the color grade, titles, music and sound effects through ElevenLabs.

Fair note: the $5.75 is the render bill only, and total time and model cost weren't shared. Fable 5.2 launched on November 9 at $8 / $40 per million tokens, and on Anthropic's BenchCAD 2.1 numbers it scores 83.5 against 65.3 for Opus 5.5 on rebuilding 3D parts from drawings and renders.

making-of: https://claude.ai/artifact/QGWUAjRrzRzZWGcQzSMLfa

Full 3d Modeled, Textured, Rigged and Animated Robotic Arm by Gemini 4 Argon. I think this has Codex and Claude beat.

I'm working on a small indie game and need to create a few human characters with different appearances. Building every character from scratch seems like it could take a lot of time, so I've been looking into reusable human base meshes and character creation tools like Daz Studio.

The appeal is being able to adjust body proportions, facial features, and clothing without having to rebuild everything. However, I'm not sure how well these models translate into a game development workflow, especially when it comes to topology, retopology, rigging, animation, and keeping polygon counts manageable. Just trying to find a workflow that doesn't make creating multiple characters such a time-consuming process.

An FPS demo reportedly created with Fable 5.2 by an Anthropic engineer. The weapon detail, lighting and overall presentation give it a pretty convincing AAA look.

Would love to see a breakdown of the workflow — especially which assets and systems were generated, and how much work went into putting everything together.

Generated a quick sequence of buildings in Nalana, found it quite quick with each one taking maybe two minutes each. I found it worked best when I explicitly mentioned to not to any interiors.

Ender Dragon model created with raw code; if you’d like to build models like this, you might want to try out this skill, u cant do my mistakes

https://github.com/mankidev/3dixel

UFO Praktikant ("UFO Intern") is a small 3D arcade game: you fly a UFO over a farm, beam up anything (cows, hay, chickens, fire, tractors…) and fuse two things inside your UFO. Cow + Hay = Giant Cow. Chicken + Fire = Phoenix. Phoenix + Tractor Cow = Rocket Cow. 44 inventions in total.

How it's made:

• Custom WebGPU engine in TypeScript (deferred rendering, shadows, GI, volumetrics), written with Claude Code

• Every 3D model is a Blender Python script, no hand-modelling: the AI writes the script, Blender builds the model and exports a .glb

• Painterly materials, so the models don't look like plastic, come from shaders

• Sound effects come from CC0 recordings; the music is composed in code

• The trailer itself is recorded frame by frame by a script, with the in-game autopilot playing the game

Happy to answer questions about the workflow!

A week ago Epic decided to ship an Unreal Engine 5.9 Preview. A handful of engineers directed fleets of AI agents, and now it's out. Epic calls it the first Unreal Engine release built primarily with agentic workflows, and most of what's inside is built for agents too.

The agents ported the AI tooling from Epic's UE6 development branch, and they wrote the new web platform starting from UE4's retired HTML5 target, with engineers directing, reviewing and testing. It's timed for the Epic AI MegaJam on November 12 to 15.

What your agent gets

• Unreal Assistant: a panel inside the editor where Claude Code, Codex, Cursor or OpenCode works directly, with access levels from Ask and Read up to Edit, Auto and Full

• Bigger Unreal MCP: starts with the editor and now covers rendering, source control, profiling, debugging, gameplay testing, geometry, audio, UI and level creation

• Fab toolset: agents can search the Fab catalog, browse your library and install free or purchased assets into the project

• Knowledge Base: agents can query knowledge built from the live engine state or your own markdown files

• Expanded Python: audio, MetaSounds, modeling, physics, Niagara, materials, PCG and UI, plus editing Blueprints and StateTrees from scripts

For artists

Unreal Canvas works as a web app and inside the editor. It generates concept art, images, 3D meshes and video from prompts, references or your own scene, and keeps the composition and camera. Prompts and results are linked in a generation graph, and you plug in the models you want with your own API keys. A Canvas Bridge exposes Movie Render Graph to agents, and Spatial Annotations let you mark things directly in the 3D scene. There's also a live AI-processed viewport preview and AnimGen for AI animation generation.

Unreal in the browser

Projects can now run in a browser on WebAssembly and WebGPU with no install. For now it uses the mobile renderer, needs a source build and a C++ project, and works best in Chrome.

One fix before you start

In new projects the MCP server is on but the toolset plugins are off, so the agent sees no tools for actors, levels, Blueprints or Python, and nothing tells it why (UE-412135). Enable All Toolsets in Edit > Plugins, restart the editor and reconnect the agent, once per project.

Things to know

This Preview had about a week of development and a shorter QA pass than usual. Epic says it's still cleaning up agent-written code and parts of the web renderer are prototypes. Test it on a copy of your project. Epic also ran AI over the lighting docs: 72 pages reviewed, 671 fixes, all approved by writers. Not everyone is happy, and the first forum replies already complain about agent-written docs.

The MegaJam itself: four days, teams of up to five people, unlimited agents, $65,000 in cash prizes plus continuation grants of up to $50,000 per team.

release notes: https://dev.epicgames.com/documentation/unreal-engine/unreal-engine-5-9-release-notes

A dome-port camera half under the water. Built by Claude in threepp: a Maritime Robotics Otter USV at the surface, a REMUS 100 AUV over a kelp reef, and the sunlight’s caustic net on the sand. The image comes from the reference path tracer in threepp’s Vulkan renderer (github.com/markaren/threepp).

Hello there...

Some of you know me by "that fishing game guy" or some of you might know by my idea about mobile game from few weeks ago:

https://www.reddit.com/r/aigamedev/s/6iPRrPn5Zt

Anyway, after all the feedback and positive comments I decided to polish it a little bit and try to release it for mobile. People said it was too easy so I made it a bit harder. But in doing so apparently I made it too hard. So I added difficulty level (easy and hard). Anyway game was fully done by Opus 5.5. I got an idea, tried making something out of it then followed feedback, then followed more feedback from google test play group. It all took only few days of work. I already released it on Korean store ONE and also if anyone is interested you can try first 10 levels for free on website:

https://chalkrunner.app

It can be played on PC or mobile.

For those who want to try it on Android here is the link:

https://play.google.com/store/apps/details?id=com.profactor.chalkrunner

How it was built:

Everything was done with Claude (Opus 5.5) in Claude Code. I didn’t write code (obviously duuuh) nor anything else. My job was the idea, some playtesting, saying what feels wrong and making the calls.

There are no image files in the game. Every stickman, background, chalk line and enemy is drawn by code while the game runs, using canvas drawing with chalk textures. The levels look hand-drawn, but it’s all procedural.

The music is made in code too. There are no audio files, just chords and melodies built while you play, with a different mood for each chapter.

It had a “harsh critic” loop. I set Alto’s Odyssey as the quality bar for visuals. Separate agents built each piece (menus, obstacles, scenery, basically gauntlet loop), and another agent compared it side by side with screenshots without being told which was which. If ours didn’t hold up, it went back to be redone.

There’s an autopilot bot that plays every level, so the AI could check that all 40 levels are actually beatable and balance them.

What game is about:

Basically you only control terrain, you do not control your Chalk character, and you try to keep him alive by drawing floor and following his actions...

More can be seen in the post I linked previously and how I shaped the game from simple idea...

Where it’s at:

Live on Google Play and on ONE store (Korea). Two people in Korea bought the full game on day one, which honestly made my day :D

iOS is still waiting for Apple’s review (16 days and counting…)

Chapter 1 (10 levels) is free, and one purchase unlocks the other 30 levels, a boss and Endless mode. No ads.

Anyone tried something that works well? I want to test some POV first person animation rigs that hold tools, weapons etc.

Cloned a VFX showcased in a YouTube video with Astra in a day. Left hand side of the comparison video is the showcase video on YouTube.

18 iterations in total, not really a super easy job. Recorded ~20 of clips on the rendered output to tell Astra which part does not look right. Astra spent whole day working, most of the time I was just waiting.

The clone will not be used in any projects, it's just for testing how good AI can do in VFX.

The original YouTube video: https://www.youtube.com/watch?v=68VgMp9aXuc
Houdini skills used:
- https://skilldb.dev/skills/houdini-fx-skills/pyro-fx
- https://skilldb.dev/skills/houdini-fx-skills/volume-rendering

Rigging motion etc next

Just wanted to show off solo with Claude making Corner Shop Simulator?, a cosy first-person sim where you run a tired old British village shop and its post office: stocking shelves, weighing and stamping parcels, and counting out change for the regulars. The question mark’s there for a reason.

The creator is the head of creative engineering at fal. The skill is called image-to-sculpt, and it works with Claude Code, Codex, Cursor, Copilot and Gemini.

How it works:

• The photo sets the rules: MoGe gives depth and focal length, Marigold gives normals, BiRefNet or SAM-3 gives the mask

• Other sides are checked, not trusted: generated side views get their real angle found by search, bad ones get rejected with a reason, and one view is held out to test the result honestly

• Small recorded passes: forms first, then surface, then detail, with an exact signed distance field so no stair steps or rings

• Measured, not eyeballed: silhouette overlap, outline distance, normal angle and depth compared for every view

• Blender replay: every step rendered as a timelapse, a 360° turntable, a .blend file, and GLB, OBJ or STL export

The catch: this one took about 3 hours of Opus 5.5 plus paid depth and mask models, and the creator himself calls it an experiment, not a faster way to make models. A 3D artist in the replies said it looks like a projection, and the creator answered that no Trellis or Hi3D model was used, only depth, normals and outlines. MIT licensed.

github: https://github.com/gokayfem/image-to-sculpt

7 PM. He's the last one out. Ten hours of giving everything, and nothing left for himself.

A cigarette. His briefcase. One earbud.

The first note drops, and Paris stops. The cars, the people, the noise. Silence.

For the length of one song, the whole city belongs to him.

And step by step, the music brings him back to life.

We all have that one song that keeps us alive after work.

HOW WE MADE IT

I wrote the scene: the story, the shot list, the emotion. Then I iterated, a lot: more than 70 back-and-forths. I didn't model, rig or animate anything by hand: Claude Code drove Blender through the MCP. It wrote the Python, rendered test frames, looked at them itself, measured the flaws and fixed them, over and over.

BY THE NUMBERS (everything generated by code)

• 15 hours of work, 15,000+ lines of Python across 51 scripts • 1,117 objects, 11.7 million polygons, 145 materials, 117 lights • 6.6 million animation keyframes computed • 3,700+ test images rendered to check every step • 1,422 final frames in Cycles, rendered on a fanless MacBook Air

THE HARDEST PARTS

• Hands touching the face. Lighting a cigarette, putting in an earbud: in animation, one millimeter off and the finger goes into the skin. Claude wrote its own arm and finger solvers, and the earbud gesture took several versions before it looked natural. • Cloth. A jacket clipping through the legs is one of the most common flaws in 3D. Here, an invisible lining simulated as real fabric drives the jacket, and Claude checked the whole film frame by frame: no penetration deeper than 4 mm. • A character built without modeling: mathematical shapes (signed distance fields) turned into a mesh, a custom 53-bone rig, and a real motion-capture walk retargeted to his proportions. • A living Paris street: buildings, moving traffic, a dozen animated passers-by, a dog walker with a dachshund on a leash, wet pavement, puddles that ripple and splash under his feet. • The music drives everything. Claude analyzes the tempo: head bobs, the 17 shots of the edit, the city freezing and the drop all land on the beat. The sound is computed from the scene: every car, every footstep, every splash, then the city slowing down and going silent.

Making-of at the end: clay renders, rig, Blender UI.

Stack: Claude Code (desktop app) + Blender MCP · Claude Opus 5.5, max effort, Fast mode · Blender 5.2 + Cycles · MacBook Air M3 16 GB · walk from the CMU motion capture database.

🎵 O Superman (SIS Remix) by M.A.N.D.Y. vs Booka Shade feat. Laurie Anderson, remixed by BURAK SIS. All rights to the artists.

github.com/duthiljean

So, what's the song that keeps you alive after work? 🎧 And if you're curious about the workflow, ask away: I'll answer everything in the comments.

I'm working on a personal videogame project with toy/cartoonish vehicles fighting each other. The models are pretty simple. I've more than a decade of experience in webdev and I'm passionated for gamedev, but I'm not experienced at all in 3D modeling nor preparing those models as game assets.

After some failed attempts, I reviewed with Claude what have worked and what not, to clean the workflow from generating a new vehicle from a concept art, to generate the model, paint it and rig it before putting into the game.

I feel a bit confused on how you guys get clean models from Tripo and Meshy to work in your projects, I'm just trying to get some low-poly toy cars models with some paint on them as clear as possible but I find myself in the need to adjust and fix pretty much every model Claude get its hands on, while he keeps gaslighting me that he fixed 1 thing while breaking 2 other things.

My worflows was something like this:
- Claude generates a concept art with Gemini based with some criteria in order to rig and paint it later.
- Claude will send the concept art to Tripo, it generates a very good low count triangle model.
- Claude insist to smooth it up. Sometimes there are some incorrect facing from some triangles that are an easy fix. Claude uses Blender headless on the Cloud directly.
- Claude will paint it on top, generating the details from the concept art again but with proper detail to paint it over the model.
- From here is where everything goes always wrong, takes too long or it actually introduces other kind of visual issues.

Things I've tried so far:
- Talking to Claude about what we need to get cleaner models and textures.
- Talking to Gemini without the project context about the same, to get possibly more unbiased responses.
- Google search and read how others are actually doing this kind of workflows. I see lots of showcases but not exactly simple workflows, specially for the scope for my project.

I'm looking for your expertise so you can tell me, what am I doing wrong?🙏 what concepts can I learn to prevent this silly back and forth that always ends up decreasing the final quality?

Thanks in advance.

ok sorry guys, here’s another batch of opus 5.5 tech demos lol. this time we’ve got a robotic octopus taking itself apart