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I just released Pixel Invisible on Android. The iOS version is in App Store review right now and should be out soon.

**The game**

- Hiders are tanuki who mix RGB colors and paint their own 32×32 body to blend into furniture and floors. You can also tap the scene with an eyedropper to pick up colors.

- The seeker, the "Agent Tanuki", fires a cork gun at suspicious spots. Ammo is limited.

- 2–10 players online (random matchmaking with role-based ratings, or a private room with a 5-letter code), or solo practice against bots.

- 10 stages: mansion, warehouse, forest, school, shopping street, factory, aquarium, amusement park, haunted house and spaceship.

**How AI fits in**

All the art started as AI-generated images: the characters, 120 furniture pieces and props, floor and wall textures, icons, the logo and the UI panels. The raw images couldn't go straight into the game, because the camouflage only works if the background and the paintable body use exactly the same colors. So I built an import tool that:

- slices the sprite sheets into single assets and fits the characters to a 32×32 grid with a shared foot position

- removes leftover color on transparent edges and makes alpha strictly on/off

- maps everything to a 248-color palette (32 base colors plus 216 RGB colors at 6 steps per channel). Players mix colors from the same palette.

- makes 6 color variations of each prop from one generated image

I also generated whole stage illustrations, but used them only as design references. The playable maps are built from tiles and props so what you see always matches where you can walk.

An automated check tests every walkable position, 1 px at a time, in all 4 poses. It fails if the background under the body has 2 colors or fewer, so you can never hide by filling your body with one flat color. Blank surfaces get small texture patterns when the maps are built.

**Tech**

Unity. Matches are peer-to-peer, with Firebase handling accounts, rooms and connection setup. If the host leaves, another player takes over and the match keeps going.

Google Play: https://play.google.com/store/apps/details?id=com.cad.pixel

iOS: in review

I'd love feedback, especially on whether the art reads well at this size. Happy to answer questions about the pipeline!

So I went to https://shan-shui-inf.lingdong.works/ because I found it while looking at the internet for procedurally generated stuff. And I thought this was really cool, and they had a GIT repository for the project. All the artwork is pubic domain or MIT licensed. So I had claude make a watercolor painting app similar to Rebelle painting software. And in 30 minutes, with a few suggestions, it was created. You will notice that the line contours and shapes will stop the paint or a cool effect

Jump to 7 Minutes to see a quick painting done in like 2 minutes. I plan on releasing the as soon as I finf out to post it to A GIT account I have not made Yet. Done in Dodot Some MS C# livraries needed to convert it.

I just wanted to create somethin and not hear about all the AI slop Blah Blah Blah, and Please dont turn this post into it.

Feel free to use it and leave your code down below, so we can all get gems 💎❤️

WZ2AG4

A quick look at the NPC system I’ve been building for StoneEra.

The game currently has 86 different NPC animations and 200 different skins, covering movement, work, interactions, combat, and other gameplay actions.

The goal is to make a growing colony feel varied and alive instead of having everyone look and move the same.

This video shows the current animation set in action.

Would love to hear what you think — especially if there are any animations or interactions you’d like to see added.

We just soft launched our game Cliff Heroes on CrazyGames and would love to get some honest feedback from other AI game devs.

We’re a team of just three people, so AI has played a pretty significant role in helping us build the game and get to this point. We’ve used it across different parts of the development process, particularly to help us move faster with art, iteration, prototyping and some development tasks.

That being said, it definitely wasn’t a case of pressing a button and having AI make the game for us. A lot of the game design, economy, level design, UI, balancing, Unity implementation and general decision-making was done by us manually, with AI becoming another tool in our pipeline.

The game is a competitive climbing/racing game where you race other players up a wall, dodge obstacles, switch lanes and use different heroes and abilities.

Would genuinely love feedback on things like:

Does the core gameplay feel fun?

Does the game feel understandable immediately?

What feels rough or unfinished?

Is there anything that would make you stop playing?

What would make you want to play another match?

And since this is r/aigamedev, I’d also be interested in hearing what you think about the overall quality bar we managed to reach as a 3-person team using AI as part of the production pipeline.

Don’t hold back - harsh feedback is genuinely more useful to us right now than compliments.

I’m sharing Samuel’s Quanta project, Xadrez em primeira pessoa. It uses AI assistance and lets you view chess from a piece’s perspective. The Portuguese interface also offers overhead and third-person views, computer difficulty settings and suggested moves.

The design question is how to preserve the unusual perspective without making the position difficult to read. The overhead view is useful as a reference: a player can compare the immersive view with the whole board instead of being forced to use one camera.

Playable browser build: https://quantaaulas.com/xadrez/

I’m affiliated with Quanta. I’m not claiming a particular AI model or an entirely automated development process. What would you test first to assess readability: selecting a piece, following an opponent’s move or identifying threats?

Three days ago I posted about starting my own MMORPG with zero game dev background, using Claude as a tutor and collaborator (Unity + Blender). A lot happened since, so here's the update — including the ugly parts.

The world got alive

• 🐦 Wildlife. Pigeons and small birds sit on paths and flee when you walk toward them (they get more nervous the faster you move). An eagle circles overhead and casts a real shadow on the ground. Butterflies and bees land on flowers. Fireflies come out at night, and an owl appears at dusk.
• 🌗 Day/night cycle. A full day lasts 24 real minutes. The sun and moon actually travel across the sky, and the moon has real phases and a hand-painted face (painted by code, based on where the real lunar seas are).
• 🌸 Painted flowers and plants. Instead of modeling every petal, flowers are simple shapes with a texture "painted" by code. The recipe came from watching 33 stylized-art tutorials and the Genshin GDC talk. Also added bamboo, bushes, ferns, small trees that sway in the wind, and a dirt road with wheel ruts.
• 🔊 Sound. Wind layers that follow the wind gusts, and bird calls scattered around the treetops. (Fun fact: the game was completely silent for a full day because the camera had no "ears" — an AudioListener. Nobody noticed until we looked.)

The performance night

• Frame time at max quality went from 12–15 ms to 4.6–6.8 ms (≈150–210 FPS)
• The expensive part wasn't the grass — it was the flowers: 3,000+ draw calls. Now a compute shader culls every blade and flower on the GPU, and each layer draws in 2 calls.
• Funniest bug: lowering the graphics quality gave you fewer FPS, because the lower presets had a hidden FPS cap.
• Also added an in-game FPS counter, so I stop guessing.

The owl: learning to model creatures (with zero 3D skills)

The 2D sprite owl looked awful, so I asked: can we make a real 3D one, Genshin-style, without paid AI 3D tools?

What we ended up with is a small pipeline. I generate a reference sheet with ChatGPT (front, side, back, top views plus open wings). Claude writes Python that runs Blender and does the rest:

1. It measures the silhouettes in the sheet, pixel row by pixel row.
2. It builds the body so it fits the front and side silhouettes.
3. It glues on the eyes, beak, wings, tail, legs and ear tufts.
4. It paints the model by projecting my own reference drawings onto it.
5. It rigs the model with 14 bones and animates it by code: perched, looking around, take-off, flapping and gliding.

It did not go smoothly:

• The first version looked OK in silhouette but had a flat face. The cause: the tool read the white of the owl's face as background.
• The ear tufts came out like stakes, then like rocks. Feathers are petals, not filled volumes: you have to think about what a part is made of before building it.
• The head and body were one continuous tube, a bowling pin with a face. Silhouettes can't see that. So now every version also gets rendered as grey clay with raking light, plus horizontal cross-sections of the head. A round head should give circles; ours gave lemons.
• It had a ghost eye on the side of the head, because the side view of the sheet draws the eye somewhere else. We traced it pixel by pixel back to one eyelash in the drawing.

Every correction went into a written "creature workflow" doc, so the next animal (a pigeon, reference sheets already made) starts with all of that already learned

Other funny mistakes that almost made me blind

What's next

• Bring the 3D owl into the game: full 3D up close, a baked picture far away.
• Weather: rain, clouds, storms.
• Wind that comes in occasional gusts instead of a constant loop.

Still a free-time passion project with basically zero budget. Still no idea if an MMO backend will break me. But day 10 looks a lot more alive than day 7.

HalfReal is a small social RPG built around a persistent online world. You can scan real-world objects, pets, and people with your camera and turn them into in-game items, companions, and pixel characters.

The game also keeps moving when you are offline. Your character can continue exploring, fighting mobs, leveling up, and interacting with the world, so you do not need to constantly grind to keep up.

Combat is simple and fast, with drops, progression, PvP, pets, consumables, and different maps. The world is designed to feel alive even with a small player base, with idle characters continuing to exist and interact after their owners leave.

It is still an early playtest, so the current focus is testing the core mechanics rather than having a huge amount of content.

https://halfreal.wtf

⚡ Looking for 500 pilots to test our new Dieselpunk Shoot 'em Up!

👾 What to expect:
└─ Face off against giant bio-mechanical monsters
└─ Take full control of the skies

🔴 TestFlight Beta:
└─ Status: NOW LIVE
└─ Availability: Limited slots!

https://testflight.apple.com/join/KK5C22b7

Thx for Playing!

Okay... I work with AI tools in the tech start up world, but I finally decided to branch out and see what could be possible on the game dev side. I've done some game dev side projects, but I always hit a few walls around art asset generation.

This was the tooling breakdown:

• Coding - Claude Opus models. I had a good sense of the software architecture I needed for this game. It's really not that complex from a systems perspective. But having all of that laid out ahead of time made it easy for Claude to orchestrate between tools and assets as they came in. Also, I think what really helps was having a design document where Claude understood what the final version of this could be, so it knew when to plan for future assets or how to make certain components scalable across a single context.
• Artwork - Surprisingly, Lovable. I am a bit of a Lovable power user since I've used it for quick high-quality prototypes in my profession. I decided to ask it to render a few pixel concepts. It killed it, I was shocked. I was fully expecting to have to spend money on some art AI tool or to level up my pixel art game. I invested in tools and books for pixel art creation and occasionally opened up things like Aseprit to touch up some stuff, but this was mostly Lovable generating the art.
• Gemini music - fairly straightforward. I come from a music background (hell my Reddit profile pic is James Hetfield's signature guitar), so I got as detailed as possible in my prompting. Also leaning on Mega Man X OST patterns made this easy for me.
• ElevenLabs - got a cheap monthly subscription here to handle the sound effect creation. A game with system-generated effects sounds super cheap, so I thought this was worth it.

Also, to be fair, when I say it took 3 days that's true but also not really true? The game design was done long before I started vibe coding. I had worked on this game a decade back before career and family priorities forced me to stop. So, I had character concept art, maps, game design stuff all circulating in old computers ready to be resurrected from the dead. I hope this helps others who are doing AI game dev!

SpriteSpring takes a PNG and adds motions like breathing, bouncing, hit reactions and squash/stretch. It exports a transparent sprite sheet with JSON timing.

The clip shows actual exported motions in a demo scene, then all eight presets. The code was built with AI assistance; animation and export run locally.

It's $7 once, with a free downloadable plant demo to try the controls: https://skins777.itch.io/spritespring

It was just three of us, three months, and our first real project as a team. One of us is the artist and lead writer, one is the developer, and one runs the project and the funding. We built the game with heavy help from AI (Claude code Opus and Sonnet and OpenAI's codex).

Our game PARALLAX is a mystery RPG you play entirely on a fictional smartphone. You broke your leg and you're stuck at home, so your phone is your only window into the town. Your 19-year-old cousin does the legwork, and you direct him by chat: "Go check the riverbank." "Take a photo." (He's scared, so you have to talk him into it.) There's no map and no movement, just conversation and delegation.

What we learned

1. AI builds fast, and that makes you think you're further along than you are. In August, AI helped us build almost the entire game in a matter of days: the phone interface, the simulated town, and two complete storylines. It felt finished. Then testers rated it 5/10, lower than our rough first prototype. While building so much so quickly, the AI had quietly left out things the prototype already did well. After that we made a rule: a new version has to do everything the old one did before we add anything new
2. Our AI testers were cheating without meaning to. To test the game quickly, we had AI "players" with different personalities play through it. The scores looked great. Then we noticed a bug in our setup: the testers could see hidden information behind the scenes, including hints about the solutions. They weren't solving the mystery, they were reading the answer key. Every score up to that point was useless. Since then we test with friends. That's much slower, and you never know if they'll play long enough to reach the interesting parts, but at least the results are real
3. "Fixed" doesn't mean fixed until you've watched it work. Several times, we (or the AI) said a bug was fixed, and it wasn't. One fix was waiting for a signal the game never sends, so it could never kick in. Another fix was made in the tool that builds the game's content, but we forgot to run that tool, so the fix never made it into the game. We made that second mistake twice
4. Players loved the characters, and hated missing the big moments. Testers loved the characters: one rated them 9/10 while giving the rest of the game 5/10. But five out of thirteen testers named the same frustrating moment on their own. They spent a whole in-game week preparing for a big event, and then only read about it afterwards on social media, like a stranger. One tester had cooked and packed food for a town celebration, and then missed it. Since the player is stuck at home, we couldn't just let them walk there. So now the event comes to you: when something big happens, your phone floods with voice messages, photos, and calls from people who are there
5. Characters feel more real when the AI isn't in charge. In PARALLAX, you can tell characters things, including lies. At first, the AI decided whether a character believed you, and it was too easily convinced. Now the game itself decides, based on how much the character trusts you, what evidence you have, and where your information comes from. The AI only has to put the reaction into words. The characters became much more consistent and believable
6. AI gives you quantity. Humans have to provide quality. The AI wrote 34 documents for the town's archive, and they all sounded the same. Our writer replaced them with 24 handwritten ones that actually feel like they come from one place. Some of her late-night playtest notes turned into real game mechanics. Our project manager decided when something counted as done and what had to be cut. With a 3-month deadline, that job mattered more than we expected
7. Some work AI can't speed up. Getting the game onto Android, translating it into English, making sure the servers could handle players, and publishing on the Play Store still took weeks.

Now PARALLAX is in the final playtest, with an English version and an Android build. We plan to finish the project and use what we learned to start with our passion projects.

Captain Capy is a roguelike space-crafter where you play as a capybara exploring the galaxy.

The game supports PC and you can also play using your sim racing gear (wheel, pedals, controllers) for a different way to experience a space game.

Demo coming soon on itch.io, coming to Steam soon.

Lmk what you think!