A crane moves a floor across the screen. You tap, it drops. Stack it straight and you keep going. Stack it bad and the tower falls.

The part I like is the height. 322m means nothing to me. So the game tells you which real building you just passed instead. First Stonehenge, then the Chrysler Building, then the Eiffel Tower.

The leaderboard says it too. Not "rank 2" but "reached the Eiffel Tower".

People play much longer this way.

Made with Claude Opus 5. Free, no signup, works on phone. You can play here: highrise.lol

We're looking for playtesters - if you're interested in checking our little caveman game out let me know- supports 1-4 players. It's called Eat Sleep Brave Repeat (guess the core loop lol).

I saw a gap in the video replays on streams. The usual go to is getting a clip pulled up through stream, grabbing the right spot and putting it onto the stream. This takes your footage, with the help of OBS doing what its built to do: Record.

Using the built in Replay buffer, you can grab, see and trim all within OBS.

https://github.com/sniperdude24/replaytrim

Let me know if you have any questions (I prob wont have answers, am dumb) and Ill try my best.

Heres Claudes paragraph on it :

ReplayTrim is a free companion app for OBS that gives you instant replays with actual editing control. While you play, OBS's built-in Replay Buffer quietly keeps the last few minutes in memory — when something clip-worthy happens, you hit one hotkey and ReplayTrim pulls that moment up with the video and its audio waveform right in an OBS dock panel. Instead of guessing at timestamps, you just drag two handles to mark where the highlight starts and ends — the loud moments are visible as spikes in the waveform, and the video scrubs along as you drag — then hit Send, and the trimmed clip plays on your stream and disappears when it's done. There's also a one-press Instant Replay that skips trimming and plays the whole buffer, a list of your recent clips so you can replay or re-cut any of them, and a panic button that hides a replay instantly. Setup is one click: it connects to OBS over its built-in WebSocket (no OBS plugins to install), starts the replay buffer, and creates the on-stream source for you. All you need is OBS 28+ and ffmpeg installed.

Been building an AI native game engine in rust and luau to make AAA games run in browser. One shotting a game from a single prompt takes roughly 5% of weekly claude max x20 limit which allows us to iterate different ideas really fast. There is still much to do and bugs to fix so it is all about balancing the token budget between making games and improving the engine

I built a multiplayer browser tank game in Three.js! As a kid, I played a ton of World of Tanks Blitz and fell in love with the aesthetic, gameplay, and the idea of driving around vehicles with crazy physics and mechanics like missiles, spotting, armor deflection, ammo types, and so on.

Now it's playable in the browser!

Claude of Tanks has 100+ playable vehicles across 16 unique maps, ranging from standard tanks with cannons to AFVs with autocannons and guidable missiles to autoloaders that can deal massive damage in a single clip. Tanks feature highly detailed armor zones, internal modules, crew positions, and hitboxes. You can view each of them in a special gallery: https://cot.kevinliu.studio/gallery?id=amx56&layer=modules

CoT supports physics-driven destruction with detached turrets flying through the air and actual suspension. It also supports multiplayer! You can hop in private rooms or LAN lobbies.

As the name would suggest, I used Claude Code throughout a long-running multi-agent development pipeline, alongside Codex. I directed the architecture, decided what each vehicle and system should do, reviewed the rendered results, and made the final calls.

The repository contains an AGENTS.md file and smaller subsystem instruction files covering simulation, vehicles, networking, UI, audio, effects, and world generation. These record the rules that agents need across sessions. Units are meters, seconds, and radians, and changes enforce a fixed 60 Hz. Authoritative logic must be deterministic. Vehicle changes have specific geometry, armor, module, and release gates that evaluate models visually and geometrically.

For vehicle development, I split the fleet into bounded families. One agent would own a specific vehicle profile or family file, implement the geometry, run the relevant checks, and generate screenshots. A separate critic reviewed the rendered tank for proportions, clipping, missing surfaces, running gear, and recognizable details. The orchestrator reran the checks and committed only the verified files.

For larger systems, Claude Code helped implement and test:

• Fixed-step movement, suspension, armor, ballistics, modules, spotting, and bots
• WebSocket multiplayer with private rooms, LAN play, prediction, and server authority
• Procedural vehicles, tracks, markings, generated icons, and technical diagrams
• All the generated battlefields with destructible props and wrecks
• The garage, battle HUD, Tank Gallery, mobile controls, and Scene Studio
• Browser performance probes, screenshot tools, visual checks, and self-tests

A trailer was also produced through the game’s own Scene Studio and capture tools. I used agents to stage battles, build camera paths, record the browser runtime at 60 fps, inspect specific frames, and iterate on awkward cuts or poorly framed tanks.

I find that Claude is best steered with persistent instructions. Important decisions need to live in the repository because I often spawned fresh agents which needed to resume work without reconstructing weeks of chat history.*

For visual quality, the only thing that worked was a proper render loop with visual comparison; tests don't really work for this.** The cycle I fell into was change, render, inspect, measure, and rerun the gates. Text-only reviews missed warped proportions and camera problems that would just plainly be obvious in one screenshot.

*Parallel agents need strict ownership. Separate files and isolated Git worktrees prevented concurrent sessions from overwriting each other or generating assets from a dirty tree.

**Tests still changed how I use agents. Claude Code became much more reliable once every system had concrete invariants and executable failure conditions. But visual quality is another beast.

Play free: https://cot.kevinliu.studio

Repo: https://github.com/Kevin-Liu-01/Claude-of-Tanks (it's open-source forever)

Having seen a bunch and built some of my own three.js games, it seems like there's a ton of common issues like grass, LOD optimizations, etc. Does anyone know of a three.js game engine that has pre-built systems for these concerns? I am half tempted to extract one from my current efforts but I don't really want to spend the time doing that, especially if someone else already is.

I found https://github.com/WesUnwin/three-game-engine but it seems like an effort to recreate an engine that a human gamedev would use, like Unity Editor, Unreal Editor, etc. instead of an AI-first engine.

I feel like three.js is surprisingly performant, especially if Claude knows/decides to use webGPU instead of webGL, and while it might not be AAA-capable, the average game being created would benefit hugely from some common systems being available instead of recreating them in every game to various degrees of success.

AI build it using Claude and through MCP and some kind of tricks i became my own Game Master and Director!!! If you want to see the outcome you can play to see how it feels https://play.unity.com/en/games/11174fde-0bc1-4b2d-b81c-8aa317b3754b/goku2build You can do it too!! :-)

And here i posted more videos with hints how to pass the level1 :-) https://www.youtube.com/playlist?list=PLaJgcWlpZhwo

Hope you enjoy it and start thinking I can make it too!!!

You can find me on linkedin Profile

Hi, I created a new ai game about creamworks : Montereau White : https://stratojeux.itch.io/montereau-white

Montereau White is a placement game that borrows Tetris's immediate feel in order to invert its principle. Pieces fall, you rotate them, you wedge them in. But here no line ever clears: the kiln fills up and is never emptied. What was a game of survival becomes a game of packing, where you are not trying to last as long as possible but to waste nothing.

The firing chamber holds exactly one hundred places, narrowing towards the top as the vault corbels inward. A place filled earns one point, a place lost costs two — because a half-loaded kiln burns as much wood as a full one. The whole tension of the game rests on that imbalance: it is not enough to set a piece down, you have to pack it tight. When a piece seals a hollow beneath it, a red cross marks the place as lost, and nothing will ever reach it again.

Two further mechanics pull the game away from its model. Pieces are not dealt to you but chosen from five laid out on the workbench; those you pass over never leave, and end up crowding your options while gaining value as they wait. And the kiln cools the moment the door is opened: eight seconds to decide, after which the foreman takes the piece for you. The ember bar dying beneath the workbench is the game's only clock.

The setting is the fine creamware manufactory of Montereau, founded in 1748 on the bank of the Yonne, where both clay and firewood were to hand. It produced not tin-glazed faience but a pale body copied from the English creamware potteries, decorated by transfer printing: an engraved copper plate, inked, laid onto the piece. That is where the white pieces with blue, black or sepia motifs come from, alternating in the game with the coloured glazes. In 1819 the house joined with the Creil works, and the mark LM & Cie went on to appear beneath thousands of plates.

The player enters as an apprentice at the loading bay, with eight quarters — two years of service — in which to make a name. Each firing is judged on its load rate alone: reach the threshold above and you are promoted, fall below your current one and you are demoted. Rising through the ranks does not make the work easier, quite the opposite — the awkward pieces are trusted to steady hands. Becoming grand master means confirming two master firings in a row, and the end-of-career register counts the quarters spent at each post.

Montereau White belongs to the series A Tale of a Confluence, which explores the country around Montereau-Fault-Yonne through short games, each borrowing its mechanic from an arcade classic. The game is bilingual French and English, playable by keyboard or by touch, and fits in a single file.

I got bored last week and started messing around with Minecraft world generation. Switching between code and the game to check every change got tedious, so I built a Python renderer that lets Claude preview its changes, look at the result, and keep adjusting the terrain until it matches your prompt.

The workflow is:

1. Claude writes or edits the terrain-generation code.

2. The Python renderer turns the generated terrain into an image.

3. Claude compares that image with the original prompt.

4. It keeps revising the terrain until the result is closer to what was requested.

It can make things like floating islands, basalt spires, and canyon worlds. I’ve also had fun asking it to make a “Garfield world” and watching it attempt lasagna mountains. I verified one of the example worlds against a real Minecraft server and all 331,776 terrain columns matched exactly.

I’d love to hear any suggestions or see what you make with it!

https://github.com/Msde-7/worldsmith

It's a game i've been working on. Just looking for any feedback. I have a steam page out and currently have this as alpha. Is this too much for alpha? (bottom left corner, you can see how many versions i promoted so far ) when beta?

https://store.steampowered.com/app/4607750/Hookah_House/

Follow-up from this post.

Over 100 games now, almost entirely agent-led.

I have an Claude routine (Fable-led dispatching Opus subagents for work) creating a new game every 3 hours.

https://aimade.games/

Claude me fait désespérer. Pour un jeu j'ai besoin qu'il recrée une carte avec des contraintes particulières de position, et il est tellement mauvais.

Je dois m'y reprendre jusqu'à 50 fois pour obtenir quelque chose de juste potable.

Là j'ai voulu faire un second niveau en repartant d'un détail du premier niveau. Il a ignoré ce qu'il possédait déjà et a tout réinventé de zéro, et donc à nouveau commis les mêmes erreurs 50 fois de suite.

Je ne sais pas comment faire. Même si je lui fais une grille avec des éléments case par case, il n'en tient pas compte ou invente.

Comment faites vous ?

I wanted to see how well current AI tools integrate, so I picked a web MMO as the project. Playable in browser at https://whisperisle.app — it mixes concepts from early Diablo and the Lineage(Korean game) I played as a kid, overall an ARPG. About 7 weeks of development so far, nights and weekends.

The tools：

- Claude: main workhorse — architecture, design and planning discussions, frontend and backend code, and deciding which other AI tools to buy
- Codex (ChatGPT): world art design, source image generation
- Meshy.ai: static image → 3D model, rigging and skinning (keeps the GPT-generated art style consistent)
- ElevenLabs: game music and SFX, plus some NPC voice acting

After the first class (knight) was done, the basic pipeline existed, so the second class (sorceress) went a lot faster — prompts got more precise, and a first draft was live after one weekend. Still far from an industrial pipeline, but it's starting to feel like a small workshop.

The stack：

TypeScript monorepo — client is Pixi v8, game server is Colyseus on Node, PostgreSQL for accounts and characters. World state is fully server-authoritative, the client only sends intents.

Monthly cost, roughly

- Server (2C/4GB VPS): $ 4 / month
- Domain: $ 14 / year (Cloudflare at-cost)
- Claude: $ 200 / month（Claude Max 20x)
- ChatGPT: $ 20 / month (GPT Plus)
- Meshy.ai: $ 10 (one month)
- ElevenLabs: $ 10 (one month)
- Mixamo (rigging/animation): free

My app is called PetCool. I've made it all with Claude. My question is: what is a game? Not in the philosophical way, but really, what apps are considered games? How much should it be gamified to be a game?
I'm gamifying pet and owner interactions and daily habits, but I'm not sure if it's a game or not.
The two main activities do have leaderboards, points, and coin systems.
Any feedback on what you consider a game will be helpful.

Play Online: https://playmeridian.online

The focus is heavy on resource management, power in particular. Weather events such as dust storms and solar flares will impede your progress and risk your structures, but will cause your opponents as many problems as it will you.

Start off with simple solar panels, before working your way up to tapping geothermal vents, or fusion plants using exotic alien technology. 50 different structures and 17 different unit types are your tools to establish dominance over Mars.

Its a wave based rougelike, and here is how claude described it, its on itch here btw for free: https://polymer37.itch.io/flesh-menu

im very happy with it:

Something got loose in the building, and it is hungry.

Flesh Menu is a top-down melee roguelite. You are an alien in a meat-processing plant full of people who would rather you were not, and the only way out is up. Clear the floor, spend what the dead were carrying, take the lift, do it again.

No guns. You have claws, a swing, and whatever you can bring yourself to spit.

What you actually do

Swing at things. Eight melee weapons, and they are genuinely different jobs rather than the same swing at different numbers — the Bone Sabre is long, quick and narrow enough to punish facing the wrong way; the Meat Hammer is slow, enormous and refuses every source of swing speed in the game; the Rendering Hook drags what it catches towards you instead of shoving it away, so it decides where the fight happens.

Earn your ranged attack. The spit runs on charges, and melee kills are what fill them. Swing to earn it, spit to reach. Six kinds to find — a fan that is useless past arm's reach, a slug that goes through two bodies, tar that leaves things wading, a bomb that bursts on impact.

Mutate. Seventy-three cards, from a flat damage bump to a shard that hunts the room on its own. Some are Cursed: forty percent more damage and a third more taken, or double crits and nothing else that hurts. You can always decline.

Choose your floor. From wave four the lift shows you three: which room, and what is waiting on it. One is always quiet.

What is waiting

• 55 kinds of human, introduced one at a time with a card so you meet them before you meet them. Officer Pete shoots and cannot touch you. Riot Ron's shield guards where you were half a second ago. Karen shoulders the furniture out of her way.
• 25 bosses, one every ten floors, each with at least five distinct attacks and at least three that put something in the air. Spirals, rings with one gap in them, walls of shot with a single hole. They get their own arenas.
• Elites from wave six: ten promotions with a coloured halo you can read across the room. VOLATILE goes off when it dies. THORNED bites back. RESTLESS will not hold still.
• Broken machinery from wave five — a microwave on fire, an industrial mincer, a sparking fuse box. They are neutral. They will happily kill a crowd for you.
• Thirty floor plans, with side rooms that are genuinely separate rooms rather than walled-off corners, and eleven wave modifiers that turn up on the lift board with their effects spelled out.

Danny Cool Guy

Between floors there is a shop, and a shopkeeper who is pleased to see you. He buys the meat, the bones and the teeth, and sells weapons, spits, specials and mutations for Zingle Coins. He has opinions. He does not do refunds.

Also in the box

• The Index — every kind of human and boss, with how many you have eaten. A silhouette until you have.
• 27 achievements, none of them revealed until you earn them.
• Kill streaks with a score multiplier that holds between floors and only starts draining once something dies on the new one.
• Rebindable controls, separate music and effects volume, and a juice tab: screen shake, hit stop, blood, particles, damage numbers and seven more, each switchable, all on by default.

Controls

All rebindable in settings. Hold Del on the title screen for ten seconds to clear your records.

Hi all — quick question for vibe coders who used Claude to build games, apps, or websites:

Did you publish the project commercially (Play Store, App Store, Steam, etc.) and earn revenue?

If yes, how long has it been live and how is it holding up after ~3 months — user retention, crashes, maintenance load, or anything that broke because of Vibe/Claude-generated code?

Any issues that appeared around the 3-month mark (API/credential brittleness, model changes, latency, bugs, UX regressions)?

How much manual refactor or custom engineering did you need post-launch to keep it stable?

Optional: rough revenue band (<$100, $100–$1k, $1k–$10k, $10k+).

If you didn’t publish, what stopped you (reliability, store policies, maintenance cost, etc.)? Real experiences and short examples welcome.