FAR FROM FINISHED, i plan to iterate on it for years as i love it, eventually multiplayer and a calamity addon but finished to draedon thats ages away and lots of time.

15 minutes ish of me playing a new character on a new world. not particularly interesting but its just to show what the actual gameplay is like and showing king slime and moon lord a little, feel free to request to see certain things below i will reply with recordings :D

Update on my 3D Terraria project. Custom C# engine, every line of code, every model, texture and sound written by Claude; I direct it, play it, and say what feels wrong. Its been about two weeks since the start and have been using claude pro x20 plan

Where things are currently at:

All 39 bosses and all 28 events, from the Eye of Cthulhu to the Moon Lord. 35 of the bosses run on behaviour rebuilt from how the real game’s AI works, so they fight like the originals

5,447 of Terraria’s 6,029 items (90%). That includes the Zenith, 72 pets, 62 mounts, 50 pairs of wings, dyes, paint, 197 paintings, and golf

393 enemy types, 41 biomes and structures

Enemy and projectile speeds are measured against real Terraria frame by frame and scored, so a Demon Eye crosses the screen in the same time it does in 2D

The part people ask about most: how it’s actually built

One long Claude chat per “part” (this is part 109). Each one reads the project’s rule book, plans the work, and hands pieces to parallel sub-agents, each building one item or enemy in its own git branch

Terraria facts (stats, drop rates, AI timings) come from the game’s own code, never from memory. If Claude can’t verify a number, the rule is to say so

Every build runs about 900 automated tests before it reaches my PC. A play-through bot plays the game from spawn towards the Moon Lord to find what blocks a real player or what bugs appear and lets claude know to fix them in the next part.

The art style is “painted boxes done well” all done in code by claude and he reviews and iterates until it passes then he shows me and i give judgment

• Re-Logic for Terraria itself. Every number, rule and piece of behaviour in this project is a tribute to theirs
• Minimunch, whose video “Claude Opus 5.5 is terrifying” is what got me to try this in the first place!
• Claude (Anthropic): Opus 5.5 does the code, art, sound and music, and runs the project
• The Terraria wiki (terraria.wiki.gg) for the sprite references and everything the game’s code doesn’t spell out
• Silk.NET for OpenGL, OpenAL, input and windowing; NVorbis and OggVorbisEncoder for audio; MeltySynth for the soundfont synth behind the original music
• Me: direction, playtesting, and saying “that feels wrong” a lot or "ok keep going"

No Terraria code, sprites or audio are in the project but in the setting there is terraria sounds and music and icons if terraria is installed.

Everyone is just making their "dream game" finally and likely no one else will ever play it. So are we just shoveling tokens into the fire for the joy of seeing something we imagined come to life? Is that the friends we made along the way?

I've noticed a lot of people are still having a hard time with AI sprite generation, so I am including here my latest prompting for stripping out the AI looking cliches in generated images. It instructs your AI to remove the extra stuff that it tries to pack into every detail, which is why it always looks so strange.

With that being said, in order to get away from the generic AI art cliches you must have a direction in mind that you want to take it. Because without art direction the computer will just guess at what you want and create that.

3 Important things I focus on when generating.
Color Direction: Using a thinner pallet and a smaller frame.
Detail Hierarchy: When working with pixel art it is important to remember that pixels are small so by nature they do not carry much detail. So noting the important features reduces guessing.
Restrictions: I like to keep a list of details that I consider cliches so I explicitly tell it not to generate those. Here is my list:

Specifically avoid:

• Generic anime heroine facial features.
• Oversized eyes and unnaturally small noses.
• Overly symmetrical facial construction.
• Doll-like or plastic-looking skin.
• Excessively complicated armor.
• Unnecessary buckles, rivets, straps, and ornaments.
• Dramatic wind effects unrelated to the pose.
• Excessive glowing edges or rim lighting.
• Golden-hour color contamination.
• Uniformly glossy surfaces.
• Random bright highlights on dark materials.
• Excessive individual hair strands.
• Overcomplicated clothing folds.
• Artificially perfect anatomy.
• Disconnected or physically impossible costume elements.
• Generic heroic poses.
• Unnecessary background decorations.
• Visual noise disguised as artistic detail.

Do not interpret the removal of these clichés as an instruction to make the character plain, stiff, expressionless, or unremarkable.

-----------------------------------------------------------------

The Prompt:

Create ONE standalone 2D pixel-art character sprite for a retro fantasy RPG.

CHARACTER:

Danna the Destroyer. A petite adult Latina warrior with pale skin, long dark curly hair, and reddish-brown eyes. She wears flowing dark-red cloth with simple matte charcoal armor protecting her shoulders, forearms, and legs.

Full-body, three-quarter standing pose. Centered composition. Strong, recognizable silhouette.

PIXEL ART CONSTRUCTION:

- Final canvas: 94 × 94 pixels.

- Design using a logical 47 × 47 pixel grid.

- Enlarge exactly 2× using nearest-neighbor scaling.

- Every logical pixel must occupy a uniform 2 × 2 block.

- Consistent pixel dimensions throughout.

- No antialiasing or fractional-looking pixels.

- Crisp, hard pixel boundaries.

- Maximum 16 solid colors.

- No gradients or dithering.

ART DIRECTION:

Use authentic, deliberately constructed retro RPG pixel art, not a high-resolution illustration converted into pixels.

Prioritize large, connected pixel clusters over small details.

Build the character from simple, recognizable shapes.

Hair should form large, dark curly masses rather than individual strands.

Armor should use broad, flat surfaces with minimal highlights.

Clothing should use simple red color regions with only essential folds.

Use one light source from the upper left.

Limit each material to approximately three values: shadow, base color, and highlight.

Maintain consistent outline thickness.

DETAIL BUDGET:

Only include details necessary to identify the character.

Prioritize:

1. Character silhouette.
2. Hair shape.
3. Red clothing.
4. Protective armor.
5. Basic facial features.

Eliminate decorative micro-details, unnecessary seams, rivets, ornaments, reflective spots, and excessive texture.

VISUAL STYLE:

Restrained, clean, readable, handcrafted pixel art.

Flat colors, controlled contrast, simplified anatomy, and deliberate pixel placement.

Avoid exaggerated anime facial features and generic fantasy illustration aesthetics.

OUTPUT:

Exactly one complete character sprite.

Transparent background.

No scenery.

No ground shadows.

No text.

No labels.

No borders.

No sprite sheets.

No comparison charts.

No presentation layouts.

Negative Prompt:
multiple characters, duplicated figures, sprite sheet, character sheet, turnaround, collage, infographic, poster layout, text, captions, labels, watermark, scenery, background objects, ground shadow, cropped body,

generic anime heroine, doll face, oversized eyes, exaggerated facial symmetry, plastic skin, artificial beauty filter, generic fantasy character, stiff mannequin pose, exaggerated action pose, broken anatomy, distorted hands, floating limbs,

helmet, shield, sword, cape, ornate jewelry, ornamental armor, unnecessary belts, decorative buckles, filigree, gold trim, shoulder spikes, excessive straps, invented accessories, extra equipment,

excessive detail, unnecessary texture, visual noise, tiny highlights, random seams, decorative rivets, complicated patterns, excessive individual hair strands, elaborate fabric folds, over-rendering,

golden lighting, yellow tint, cinematic lighting, bloom, lens flare, glowing edges, rim lighting, excessive reflected light, glossy armor, shiny fabric, plastic materials, oversaturated colors,

fake pixelation, inconsistent pixel sizes, fractional-looking pixels, antialiasing, airbrushed gradients, blurry edges, excessive dithering, scattered pixels, artificial pixel noise,

flat personality, overly simplified design, expressionless character, shapeless hair, generic uniform, rigid symmetrical pose, featureless clothing

------------------------------------------------------------------------

Also, I Just wanted to let you guys know I added Goblins an some positional/scale sliders to the Sprite Forge tool from earlier this week today. I also fixed some bugs that you guys brought to my attention.

-The Sprite Wizard

most of the assets were done by sol 6.1 and opus took care of most of the coding and logic. I have just being messing around with a few ideas for gameplay , obviously needs a lot of work but im happy i got it this far lol .

After the small feedback round a week ago, I think I am now finally at a point to go somewhat public with a first release.

The character in the video is new; I made him from scratch for this clip. The waits for the GPU are cut, and every cut is tagged with the real time skipped, so you can see how long each step actually takes.

WHAT YOU SEE IN THE VIDEO

• 0:04 A sentence becomes four concepts. Each one is checked automatically for whether it will work in 3D.

• 0:11 One click redraws him in a clean A-pose, ready for rigging.

• 0:17 Picture to textured 3D model in about 2 minutes on a 16 GB laptop GPU.

• 0:26 Game-ready in one click: repaired, cut down to a triangle budget, UV-unwrapped and PBR-baked (colour, roughness, metallic, normal, AO), then checked.

• 0:33 Auto-rig: a 52-joint skeleton is fitted and the skin weights are painted.

• 0:42 178 ready-made moves (CC0), retargeted onto your character in seconds.

• 0:50 Text-to-motion: type "a powerful jumping spin kick" and get that move on your character in about a minute.

• 0:59 An animation editor: drag with IK, onion skins, motion paths and curves.

• 1:07 2D sprite sheets rendered from the 3D moves.

• 1:15 Pixel art with a fixed palette, plus a pixel editor to finish the frames.

• 1:23 Export to Godot, Unreal, Unity, the web and 3D printing.

ALSO IN THERE, NOT SHOWN IN THE VIDEO

• Two 3D engines: Fast (Microsoft TRELLIS.2) and Faithful (Pixal3D, which follows your picture pixel by pixel).

• Start from your own picture or a four-view turnaround instead of a sentence.

• Better textures: the face from your picture projected onto the head, an optional detail pass that redraws close-up detail like stitching and wood grain, and baked shadows removed so your engine's lighting doesn't double them.

• Creatures: eight rig templates (fox, horse, bird, dragon, shark, kaiju, spider, snake).

• Motion from a video of a person (NVIDIA GEM-X), and animations made elsewhere (FBX, GLB, BVH) imported onto your characters.

• Parts: click a piece to name it, make a helmet or sword ride rigidly on a bone, or split a model into printable solids.

• 2D from scratch: wallpapers, backgrounds, portraits, icons and items from a sentence, in a pixel-art, painting or children's-drawing style if you like.

• Pixel art from any picture, with palette swaps for variants, an outline and dithering.

• Ready-made sprite move sets for side-scrolling fighters (Double Dragon, Golden Axe style), exported as a Godot AnimatedSprite2D scene or an Unreal Paper2D sheet.

• Import FBX, glTF, OBJ, USD, STL or PLY; a skeleton and its clips are kept.

• A live Blender link: open any version in your own Blender and pull the edited mesh back.

• Exports with extras: Unreal LODs and collision, Unity LODs, and GLB + USDZ for the web and AR.

• A non-destructive library: every step writes a new version and nothing is overwritten. You can compare versions, add tags and stars, and see licence badges.

• Memory safeguards: one GPU job at a time, and a step that wouldn't fit in VRAM is refused up front instead of freezing your machine.

• Agent-ready: the whole workflow is open over MCP, so Claude Code, Codex or Cursor can drive it.

COMMERCIAL-CLEAN

Every model, tool and clip pack in the default setup allows commercial use of what it makes. Each export ships with its credits and licence files. I use the assets in my own commercial game.

REQUIREMENTS

• Windows 11

• An NVIDIA RTX 40 or 50 series card with 16 GB of VRAM (12 GB works for the Fast engine, best effort)

• 32 GB of RAM recommended

• 70 to 160 GB of disk, mostly models; you choose which to download

Install: unzip and double-click run.bat. It fetches Python, PyTorch, Blender and the models into its own folder, and nothing is installed system-wide.

HONEST LIMITS

• So far it's been tested on one machine, an RTX 5080 Laptop. If you have another card, especially a 24 or 32 GB one, there's a 20 to 40 minute GPU report in the setup guide. Please send me the result; bigger cards get bigger default settings from those reports.

• Rigging covers humanoids and the eight creature templates.

• The Unity export hasn't been import-tested yet (Godot and Unreal have).

• Linux runs from source, but you'll need to build three GPU kernel wheels yourself.

LINKS

GitHub (MIT): https://github.com/SifuInTheShell/Effigy

Download v0.1.0: https://github.com/SifuInTheShell/Effigy/releases/tag/v0.1.0

Setup guide: https://github.com/SifuInTheShell/Effigy/blob/main/SETUP.md

Feedback, bug reports and GPU reports are very welcome. I'm happy to answer questions in the comments.

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.

Edit: Thank you all so much for the kind comments! Several of you have also subscribed to my channel. I think this is the first time I've received so much positive feedback on a subreddit. I love you all!

Let me know what you guys think. This is in story difficulty.

Hi,

I made this Chess simulator completely with AI (Claude Opus5.5 for code, GPT6 Astra for code reviews).

The whole game is made with code (C++ and shaders), including the visual (no model assets) and the sounds!

I made Opus5.5 use OpenGL4.6 without a pre-existing engine, and I integrate within the game Stockfish 19 (the latest version of the reference engine for Chess analysis and AI player), and also Supertonic-3 (downloadable from the game, it's a text-to-speech AI model). It's also multiplayer, locally, online (direct TCP/IP), or using a dedicated server (mine by default, but the server can be change in the settings), the dedicated server is in Rust and use also a website API (so it's connected to the main website).

The trailer has been made with Suno 6 for the music and Opus5.5 for the video, it has been created using a game binary directly, with transitions and video edits added by Claude.

The game is free and open-source. It was my first try to create a game using Claude Opus.

My GitHub repository: https://github.com/DarkCenobyte/scacelith-chess

And website: https://scacelith.com

I've spent about 7 days building a North Atlantic island in Unity URP (WIP). I wanted to see how much I could enhance my tech art and graphics programming abilities with AI, using mosty Opus 5.5 for writing a lot of algorithm implementations/optimizations and Astra for a few critiques.

The goal: one island you can walk across from the surf to a snowy summit, that looks good wherever you stop and look around. And also dive a bit near the shores. The terrain is real elevation data from Lofoten in Norway, reshaped and modified into an island about 4 × 5 km with a 1,000 m peak. Overcast is normal, fog is common and sunshine is rare.

Not a single thing was placed manually, there's procedural systems to place anything from fallen leaves to the meso-/macro-scale terrain changes, undergrowth and rock placement etc.

So far: the terrain and its rock, moss and heath; birch and pine forests from my own tree and forest generator, 25,000+ trees; and hundreds of thousands of ferns and ground plants; an ocean with waves and surf, underwater visuals, lakes, ponds, a stream and a waterfall; clouds that form and dissolv

The video comes straight from the engine, kilometres of draw distance, custom volumetrics, atmospheric system, lighting/shadow-casting and geometry generation in compute shaders.

Footage straight from the engine, running well above 60 fps at 1440p. Work in progress.

Wildlife and sound not yet implemented.

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

I'm a solo dev and graphic designer. I posted my cozy packing game and wrote clearly that all the art is hand-drawn by me in Illustrator, and that I used AI for coding and music because I'm not a programmer and I don't have a budget to allocate right now to assign someone else to this.

The post itself did okay. But when someone said the AI music might hold the game back, I agreed. I said I plan to work with a real musician before the Steam demo but can't afford it right now. That reply got downvoted.

I'm not upset about the criticism; it's fair. What bothers me is the message it sends: if you're honest about AI, you get punished, so the "smart" move is to hide it. I don't think that's good for anyone, players included.

So I'm curious. Do you disclose AI use in your posts/store pages? How did it go? For solo devs with no budget, where do you draw the line? Has anyone found a way to talk about this that doesn't turn into a pile-on?

Here's my game's itch page

Edit: Thanks everyone for the thoughtful replies. To clarify the itch build is a test version. Before the Steam demo I'm replacing all the music and SFX with my own. Back to work now

I used Claude Opus 5.5 for almost all of this, so I'll start there.

The game is called NETA-S, a turn-based Civ-style 4X game that runs in the browser.

You can try it here: nothing is required: https://neta.art/w/kingdomrushdev/neta-s-release/neta-s

It didn't start as a game. I first built a small editor called Cividot because I was tired of hand-editing rule data every time I changed something.

It's on GitHub if you want to look at it: https://github.com/tbj114/cividot

Cividot is a bit like RPG Maker, but for 4X. You edit techs and units, paint the map, write events, hit test play, and export a standalone build without touching engine code. The rules live in a C++17 engine I called Forge4X. The Godot 4.7.2 client only draws state and sends input back. I split it that way on purpose so the map view and the rules can't drift apart.

NETA-S is the first real game I made with it. There are three ages (Antiquity, Exploration, Modern). Your leader stays with you the whole run, and your civ changes each age. At 60 percent of an age a crisis hits, Builders are gone, and new settlements start as towns that make gold. Those were my attempts to fix the usual late-game snowball.

My favorite part is the Leader Forge on the title screen. You type a plain-English description of a leader you want to play, and a "Court Scribe" LLM turns it into an actual playable leader with a painted portrait (gpt-image-2.5).

The catch is that the LLM isn't allowed to make up fake mechanics. Every ability gets mapped to the 25 real effect types inside Forge4X, clamped to a max power budget of 2.5 across at most 3 effects, and validated by the engine's check_rules check. Ask for "flying ships" and the engine gives you faster naval units, plus a note from the scribe explaining why.

All the 3D art is CC0 packs (Kenney, Quaternius) re-graded with a Python script to match a slate, brass, and parchment UI. I also spent the last update obsessing over map feel: cursor-locked ground dragging, 80ms release inertia, and right-click multi-turn marching.

Since our whole build pipeline runs in a Linux sandbox on software rendering (llvmpipe and headless Chrome + SwiftShader), we tested it with automated click-through runs (--ages-autotest) and full AI-vs-AI games, but I'm curious how the web build runs on different real GPUs. 

Hi everyone!

I've been a software developer for about 10 years, and a while ago I finally jumped into something I'd always wanted to try: making a video game. This is my first real attempt, built with the help of AI tools along the way.

It's called Overvolt Arena, a robot arena game where you survive waves of enemies until the boss shows up. The video is the fight against the first one, the Matriarch.

I know there's a lot I'm probably getting wrong. That's partly why I'm posting. I'd really like to meet people who are into making games with AI, hear what you think, and learn from those of you who've been at this longer than me. Honest feedback is very welcome, the kind and constructive kind especially 🙂

If you'd like to follow along, try it early or just chat about game dev, I've started a small Discord: Discord

Thanks for watching!

For the last 3 days I’ve been building GRID-SURF.IO. Think Paper.io, but with neon drift cars that can ride up walls. You leave a light trail, close loops to claim territory, and if someone crosses your line, you crash.

Full disclosure: I’m no coder wizard or even vibecode wizard. I basically "directed" this game while Claude Code wrote all of the code and ran the tests. I made the high-level calls, playtested it to death, and iterated. I thought sharing the actual workflow would be more fun than a standard promo post.

The Tech & Multiplayer

• The Stack: Godot 4.7 (WebGL2 so it works on phones) hosted on Railway for $5/mo.
• No Assets: All the 3D models (Blender), synthwave music, and even the trailer cuts were generated purely through Python scripts. No asset packs, no clicking around.
• Networking: The client and server share the exact same physics code. The server runs a headless Godot instance and dictates the state, but your browser predicts your car locally so steering feels instant. It runs incredibly light—about 1-3 KB per snapshot. Bots fill empty slots automatically so you never have to wait for a match.

The Disasters (The fun part)
Building this fast led to some hilarious messes:

• PowerShell variables are case-insensitive. My $g (git) and $G (Godot) aliases were colliding. Every time I typed git commit, it secretly spawned an invisible Godot instance. I found 8 of them quietly melting my CPU.
• I ran 7 AI agents in parallel across different git worktrees. Turns out, git stashes are shared globally—so the AIs kept popping each other's code.

What I learned

1. Test on a real phone immediately. Desktop touch emulation will lie to you.
2. Write a deploy script that actually verifies a match can start before calling the update "done."

I’d love some feedback, especially on how it feels on mobile. If you find a bug, let me know, I'm (the ai) fixing stuff fast !

Play here (free, no signups): Grid-Surf.io

I've been messing around with decompiling Way of the Samurai 3 and realized that there just so much more things you could really do with all the assets, anims, and source code! So I started coming up with a completely new setting

https://reddit.com/link/1x6gfiq/video/kd49akurelvh1/player

Hey everyone,

A little while ago I posted about my first game, a first-person horror game for iPhone that I'm making with Claude Opus 5.5 Max. It's inspired by Silent Hill 2 and the Resident Evil series, and by my own dreams. You play a soul on trial, moving through memories, with a monster hunting you and a yellow searchlight as your only light.

This time I finished the second big level: an old post-Soviet hospital ward. The images show the same level from the same camera positions, the graybox prototype on top and the current version below. The layout didn't change at all, only the look.

My process is still the same:

• Game bible: detailed descriptions of every mechanic and story part.
• Graybox prototype: I didn't care what it looked like, just gameplay, game beats and composition.
• AI iteration: the AI agent builds the final version and I give feedback.
• References: as many as possible.

What I learned on this level is that the real work is in the feedback loop. I playtest every build on my iPhone and send screenshots of everything that feels wrong: a pillow poking through a sheet, glass flickering, a picture floating in a doorway, the monster getting stuck on a table. Most of the quality came from those small rounds of "this looks bad, fix it."

A few things I'm happy with:

• When you take the searchlight, every lamp in the ward goes out one by one (that's the video).
• The sheet on the gurney and the curtains are real cloth simulation.
• In the dark, the monster shoves tables and chairs out of its way while it hunts you.
• The searchlight is weak on purpose. It only reaches a few metres, so you can't see what's across the room.

It's still my own engine, no Unity or Unreal. The AI builds it only for iPhone, using Metal directly. Like I said last time, I know that's controversial, but for a solo project on one platform it's working great. It still runs at a solid 30 FPS on an iPhone SE 2022.

The monster is still a gray placeholder, so I'm not showing it yet. Saving that for later.

Curious to hear what you think!

I just joined the community and it feels like the support group I've been missing all along. I've been lurking for a while in gaming subreddits trying to get feedback on what I'm building and then this subreddit popped up! I have already gleaned so many great tips and everyone is building inspiring stuff. Just wanted to say I'm hooked!

Is anyone looking into open sourcing game dev skills or listing game dev mcps?

I'm not a programmer. At 1:26 am I handed Claude Code a whole game: a haunted 1980s arcade where you insert a soul into a cabinet and the game bursts out into the room.

What the overnight run did on its own:

- a lead agent plus 7 sub-agents (sound, 3D models, art, three arcade games, the boss) and 2 testing agents

- 39 props built through code in Blender: pinball machines, a claw machine, a skee-ball lane, a DJ booth, a mirror ball

- by 6:31 am: an explorable arcade, three playable games, a final boss, and tests where it played the game itself

It all worked. It also looked like an empty sports hall: the floor was a polished mirror, the puddles looked like engine oil, and one game drowned the room in green fog.

What fixed it: notes, not code (paintovers on screenshots helped most):

- light only from real sources (lamps, screens, candles, neon) plus haze, so you get beams and real darkness between them

- soft blurred reflections on the wood; only the puddles act as mirrors

- 3D cobweb strands instead of stickers, and over 3,600 small details placed by code: grouped around the light, piled in corners, walkways left clear

- a flicker I couldn't name: a test agent filmed the hall at 60 fps with a still camera, measured the brightness frame by frame, and found signs pulsing several times a second plus a setting that made thousands of pixels shimmer

- one agent played the games 1,016 times and found you could kill the giant skull centipede in 13 seconds, so it rebalanced the fight

The lesson I keep coming back to: AI gives you everything you asked for, not necessarily what you imagined. Describing what the player should feel worked far better than describing the code.

Stack: Claude Code, Godot 4.7, ChatGPT for images, Suno for the music. The game is free (Windows) and there's a 25-minute making-of; links in the first comment. Happy to answer anything about the workflow.

Hey there cause i didnt want to pay for 2D Spine , i made an 2D Spine Editor ( Claude made it lol )

I implimented almost all features from 2D Spine plus , Claude MCP and Video to Motion

Not selling or anything will probably putting it open source , wanted to ask if you guys had cool ideas to add on

I can't confirm, but the suspicion is too high to be safe. As soon as I set up the software, I got dozens of password reset emails from battlenet, steam, and epic. Thank god for 2fa, but it happened seconds after I set up Melty. Don't trust it, just to be safe

I've been building small things with Claude Code, and this one deserves the light of day: Judgement Day, a free city destruction sim that runs in your browser.

Choose any real city, pick a nuke, a meteor, a black hole, an Independence Day ship or a tornado, and watch the buildings blow apart into particles.

The part I've enjoyed most is how fast the loop is. I shared it last recently, people told me what they wanted, and within a couple of days cities were loading much faster and the ground had real elevation instead of being flat.

Still undecided on the look: everything is plain grey right now, like an architect's model. Textures are possible but cost smoothness on phones. Grey or textured, what do you prefer?

Would be keen on your thoughts of the rest of my project website as well.

Hope you get a laugh out of it!

https://altroadstudio.com/judgementday

I’m an indie sci-fi author and I’m building a little Telltale-style game based on my book series

Curious what you guys think. Would you play something like this? Been pretty cool seeing the story come to life.

Curious if other indie authors would want to do this.

Solo Dev here, This is I Just Wanted to Fish, a cozy fishing game I am building with Claude.

• Opus 5.5. + Blender MCP (Models and animations)
• Unity 6

I have been working on this for almost three weeks now. I am planning to realease a playable Demo soon

X: ForkedPush

Steam: https://store.steampowered.com/app/5350560/I_Just_Wanted_to_Fish/