Loading video...

Video Failed to Load

Go Home

I ditched Unreal for AI. Kaiju Engine is a completely AI written replacement. To prove it was ready for production, I tested it by recreating and porting my old game, Firefall, into Kaiju, purely from the Steam download, no source. And it worked. Real game code is messy, full...

Grummz's profile picture

Grummz

299,646 subscribers

106,725 views • 8 hours ago •via X (Twitter)

Science & TechnologyGaming
LIVE

Anya Rossi• Live Now

Private livecam show

0 Comments

No comments available

Comments from the original post will appear here

Related Videos

THIS GUY VIBE CODED A FULL CAPYBARA FOOD DELIVERY GAME IN 2 WEEKS WITH CLAUDE CODE you play as a capybara delivering food on a bike. orders stack on the back, you have a phone with apps in-game and the whole delivery system is realistic 2 weeks, zero game dev experience, and ENTIRELY AI generated the full stack: > claude code for all the code > three.js for the 3D engine > suno for original music > elevenlabs for sound effects and voice > GPT images-2 and grok for textures and illustrations > tripo3d for generating all the 3D assets the cinematics are all in-game too. he asked claude to build a cinematic editor with timeline controls, camera animation, and transitions. then he just placed the cameras himself his workflow was more planning than coding (obviously): > come up with the core mechanic > plan every feature using claude /plan mode > generate assets with AI tools > spend most of his time on the final polish, prop placement, and making the design feel right he said the human part is what most vibe coded games are missing. AI can generate everything but having taste for what looks good and what feels right is still on you the game is playable right now in the browser this is what vibe coding is actually capable of in the game dev space right now a year ago this would have taken a small team of developers, a sound designer, and an artist working together for months now one person with no experience can ship a polished playable game with story, music, and mechanics in 14 days the tools keep getting better and the barrier to making real games keeps getting lower
2:32

THIS GUY VIBE CODED A FULL CAPYBARA FOOD DELIVERY GAME IN 2 WEEKS WITH CLAUDE CODE you play as a capybara delivering food on a bike. orders stack on the back, you have a phone with apps in-game and the whole delivery system is realistic 2 weeks, zero game dev experience, and ENTIRELY AI generated the full stack: > claude code for all the code > three.js for the 3D engine > suno for original music > elevenlabs for sound effects and voice > GPT images-2 and grok for textures and illustrations > tripo3d for generating all the 3D assets the cinematics are all in-game too. he asked claude to build a cinematic editor with timeline controls, camera animation, and transitions. then he just placed the cameras himself his workflow was more planning than coding (obviously): > come up with the core mechanic > plan every feature using claude /plan mode > generate assets with AI tools > spend most of his time on the final polish, prop placement, and making the design feel right he said the human part is what most vibe coded games are missing. AI can generate everything but having taste for what looks good and what feels right is still on you the game is playable right now in the browser this is what vibe coding is actually capable of in the game dev space right now a year ago this would have taken a small team of developers, a sound designer, and an artist working together for months now one person with no experience can ship a polished playable game with story, music, and mechanics in 14 days the tools keep getting better and the barrier to making real games keeps getting lower

Om Patel

241,709 views • 3 months ago

🌎Making Game Development Simple with the World Engine The World Engine is revolutionizing how game engines work in many ways. If you create a game, it's a lot of single work that you're doing, and then you're pushing it to other people, and then they work with it. But with the World Engine, you build together in real time, like in a shared sandbox. It’s faster, easy to use, runs on JavaScript/TypeScript, and includes AI tools that help both developers and non-coders create games easily. 🖥 Watch the video for the full breakdown!
1:19

🌎Making Game Development Simple with the World Engine The World Engine is revolutionizing how game engines work in many ways. If you create a game, it's a lot of single work that you're doing, and then you're pushing it to other people, and then they work with it. But with the World Engine, you build together in real time, like in a shared sandbox. It’s faster, easy to use, runs on JavaScript/TypeScript, and includes AI tools that help both developers and non-coders create games easily. 🖥 Watch the video for the full breakdown!

NeuralAI

24,349 views • 1 year ago

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa
16:00

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa

Naru

55,609 views • 6 months ago

Unreal Engine 5.8 has AI integration with Claude and Codex. Runs in terminal beside the engine, connected via MCP to fully control the Editor. Place props, generate cities procedurally, and even art direct the lighting. Unreal Engine 5.8 available today. Pretty much any Unreal game from now on is gonna need an AI label.
3:50

Unreal Engine 5.8 has AI integration with Claude and Codex. Runs in terminal beside the engine, connected via MCP to fully control the Editor. Place props, generate cities procedurally, and even art direct the lighting. Unreal Engine 5.8 available today. Pretty much any Unreal game from now on is gonna need an AI label.

Grummz

503,354 views • 1 month ago

Building and prototyping games is easier than ever with Sidekick. Our designer built a 3D version of this OpenAI GPT-o1 game demo in <1 hour. Used Autodesk Maya for assets, Unity for engine, @bezi_3d Sidekick for scripting & implementation. Sidekick analyzes your project for real-time context of the asset folder, scene objects, components, and more. This allows it to implement simple mechanics—like movement controls and basic physics—for your characters and objects in seconds. It's the AI tool built by game developers, for game developers.
0:42

Building and prototyping games is easier than ever with Sidekick. Our designer built a 3D version of this OpenAI GPT-o1 game demo in <1 hour. Used Autodesk Maya for assets, Unity for engine, @bezi_3d Sidekick for scripting & implementation. Sidekick analyzes your project for real-time context of the asset folder, scene objects, components, and more. This allows it to implement simple mechanics—like movement controls and basic physics—for your characters and objects in seconds. It's the AI tool built by game developers, for game developers.

Bezi

15,295 views • 1 year ago

Got introduced to , an AI code assistant specialised for Unity by Julian Park and after dabbling with it for a day, I am really impressed with how good it is for vibe coding on the Unity Game Engine. Bezi early impressions: - Bezi works direcly on Unity with a Plugin, this means that I don't need a Unity MCP - Because Bezi is built for Unity, the success rate of feature implementations is visibly higher than general coding models - It was able to integrate Unity store assets like a Weather system to this game pretty seamlessly - I was able to add a fishing database, lighting and weather systems into this game fairly quickly I'm very impressed with the results with Bezi so far. I feel that vibe coding a full indie game on Unity and releasing it on Steam, Mobile and Web is within reach. This also validates one thing that I have been suspecting: A specialised model designed for a specific use case can perform better than a general model at the particular domain. Very exciting!
0:30

Got introduced to , an AI code assistant specialised for Unity by Julian Park and after dabbling with it for a day, I am really impressed with how good it is for vibe coding on the Unity Game Engine. Bezi early impressions: - Bezi works direcly on Unity with a Plugin, this means that I don't need a Unity MCP - Because Bezi is built for Unity, the success rate of feature implementations is visibly higher than general coding models - It was able to integrate Unity store assets like a Weather system to this game pretty seamlessly - I was able to add a fishing database, lighting and weather systems into this game fairly quickly I'm very impressed with the results with Bezi so far. I feel that vibe coding a full indie game on Unity and releasing it on Steam, Mobile and Web is within reach. This also validates one thing that I have been suspecting: A specialised model designed for a specific use case can perform better than a general model at the particular domain. Very exciting!

Danny Limanseta

48,991 views • 5 months ago

Introducing TODAY - WE HAVE REBRANDED, an AI powered NPC simulation game. I have played this game for a week or two now and my favorite part has to be engaging and interacting with the NPCs on any topic or conversation. The in-game mechanics keep you engaged at all times, you cannot get bored for a second, it is fun and challenging with lots of cool items to craft and a large map to explore. really looking forward to the finished product.
2:21

Introducing TODAY - WE HAVE REBRANDED, an AI powered NPC simulation game. I have played this game for a week or two now and my favorite part has to be engaging and interacting with the NPCs on any topic or conversation. The in-game mechanics keep you engaged at all times, you cannot get bored for a second, it is fun and challenging with lots of cool items to craft and a large map to explore. really looking forward to the finished product.

Kabuto Sama

10,238 views • 1 year ago

I just turned 37 today and started this journey when I was 30. After years of building the engine with 💕 and optimizing it, this is the final gameplay running on #webgl with #threejs After converting Jamir from WebGL to WebGPU, I hope to release the X3JS, built on top of Jamir's game engine, in 2025, initially for creating FPP and TPP games, and make it available for everyone. New version will be upcoming in a few days, btw! 🥳 #gamedev #gamedevelopment
9:27

I just turned 37 today and started this journey when I was 30. After years of building the engine with 💕 and optimizing it, this is the final gameplay running on #webgl with #threejs After converting Jamir from WebGL to WebGPU, I hope to release the X3JS, built on top of Jamir's game engine, in 2025, initially for creating FPP and TPP games, and make it available for everyone. New version will be upcoming in a few days, btw! 🥳 #gamedev #gamedevelopment

mert

31,635 views • 1 year ago

Before this #vibejam, I was just casually creating game prototypes for fun, but this time, the Vibejam deadline became a good forcing function that pushed me to actually finish one. While this game is more of a demo than a complete product, it gave me a taste of how challenging it is to fully complete a game. It requires brutal task prioritization, effective time management, and tons of quality assurance (QA). As many say, the last 10% is the hardest, and I’d argue it’s doubly so for games. I now have even more respect for game developers at all levels who manage to ship their games. And there you have it, my game, Gnome Mercy: Insect Invasion. It’s a Vampire Survivors-style game where you play as a gnome on a rampage, annihilating alien insects invading his garden. At the start of each run, the lord of the garden bestows a blessing if you can answer his riddle, powered by an LLM (with fallback riddles in case it fails). The objective is to fight through waves of enemies and survive as long as possible. A huge shoutout to Retro Diffusion by Astropulse for all the AI-generated sprites, artworks, icons, and more. The music was created by Not Jam, the retro chiptunes are amazing. This game is a special homage to Luca 🧄, creator of Vampire Survivors, for inventing the best game genre in recent years! And no, I don’t code at all. The code is 100% generated by @windsurf and built on PhaserJS. Game link below👇
0:32

Before this #vibejam, I was just casually creating game prototypes for fun, but this time, the Vibejam deadline became a good forcing function that pushed me to actually finish one. While this game is more of a demo than a complete product, it gave me a taste of how challenging it is to fully complete a game. It requires brutal task prioritization, effective time management, and tons of quality assurance (QA). As many say, the last 10% is the hardest, and I’d argue it’s doubly so for games. I now have even more respect for game developers at all levels who manage to ship their games. And there you have it, my game, Gnome Mercy: Insect Invasion. It’s a Vampire Survivors-style game where you play as a gnome on a rampage, annihilating alien insects invading his garden. At the start of each run, the lord of the garden bestows a blessing if you can answer his riddle, powered by an LLM (with fallback riddles in case it fails). The objective is to fight through waves of enemies and survive as long as possible. A huge shoutout to Retro Diffusion by Astropulse for all the AI-generated sprites, artworks, icons, and more. The music was created by Not Jam, the retro chiptunes are amazing. This game is a special homage to Luca 🧄, creator of Vampire Survivors, for inventing the best game genre in recent years! And no, I don’t code at all. The code is 100% generated by @windsurf and built on PhaserJS. Game link below👇

Danny Limanseta

17,198 views • 1 year ago

A 25-year-old Indian developer created a game called GTA India and 23,654 people have already purchased it Game Price: $5 Revenue: $118,270 Costs: $200 spent on AI for modifications Instead of standard criminal shootouts, the game features unique missions focused on organizing grand weddings. You have to hijack a limousine motorcade, fight off rival families, and deliver the bride to the temple on time. You must do all this while shooting at pursuers from the window of a flower-decorated SUV The game also features completely overhauled physics for overloaded transport. The more people you pack onto the roof of your bus or into a truck, the more the handling, center of gravity, and suspension change He developed it using Claude Code and Python on the Unity engine, taking GTA 5 as a base, then modifying and rewriting the code with the help of AI Sometimes, to achieve success, you just need to do something literally funny
0:31

A 25-year-old Indian developer created a game called GTA India and 23,654 people have already purchased it Game Price: $5 Revenue: $118,270 Costs: $200 spent on AI for modifications Instead of standard criminal shootouts, the game features unique missions focused on organizing grand weddings. You have to hijack a limousine motorcade, fight off rival families, and deliver the bride to the temple on time. You must do all this while shooting at pursuers from the window of a flower-decorated SUV The game also features completely overhauled physics for overloaded transport. The more people you pack onto the roof of your bus or into a truck, the more the handling, center of gravity, and suspension change He developed it using Claude Code and Python on the Unity engine, taking GTA 5 as a base, then modifying and rewriting the code with the help of AI Sometimes, to achieve success, you just need to do something literally funny

Bober_smart

42,355 views • 1 month ago

Unreal Engine 5 Beginner Course is up 🔥 3 Months ago we decided to make a Bad Decision and create the MOST COMPLETE "Unreal Engine 5 Tutorial Beginner Series" and make it available to the world for FREE! We wanted to give every artist a chance to learn the 3D software of the future and be able to make a living through it. Well it's with immense pleasure that we'd like to say that the first 3 chapters of the Tutorial Series has officially been uploaded on our channel. Starting today we are going to upload a series of 20 episodes that will teach you all the basics you need to master Unreal Engine 5. It Doesn’t matter if you want to use unreal to make films, games, visuals for events, or even motion graphics and product shoots. By the end of this tutorial you will have everything you need to take whichever path you desire. We are putting this online for FREE and the only way to support us is to share this with friends, family, colleagues and etc. If you do please tag us on socials so that we can share it too 📷 Good luck and Enjoy the course 📷
3:28

Unreal Engine 5 Beginner Course is up 🔥 3 Months ago we decided to make a Bad Decision and create the MOST COMPLETE "Unreal Engine 5 Tutorial Beginner Series" and make it available to the world for FREE! We wanted to give every artist a chance to learn the 3D software of the future and be able to make a living through it. Well it's with immense pleasure that we'd like to say that the first 3 chapters of the Tutorial Series has officially been uploaded on our channel. Starting today we are going to upload a series of 20 episodes that will teach you all the basics you need to master Unreal Engine 5. It Doesn’t matter if you want to use unreal to make films, games, visuals for events, or even motion graphics and product shoots. By the end of this tutorial you will have everything you need to take whichever path you desire. We are putting this online for FREE and the only way to support us is to share this with friends, family, colleagues and etc. If you do please tag us on socials so that we can share it too 📷 Good luck and Enjoy the course 📷

Bad Decisions Studio

160,865 views • 2 years ago

Are game developers doomed? Claude Fable 5 just did 6 years of my work in an afternoon. I don't think game developers are doomed. But our industry is about to change faster than almost anyone expects and I just watched it happen with my own game. Let me give you a concrete example. I started building Moonga when I was 17. After high school, I took a gap year before university and spent the whole year building the first version an online trading card game, back when web games were still in their infancy. It wasn't perfect. It was the work of a young developer. But it worked, people played it, and it proved the concept. In 2008 I rebuilt it from scratch, created a company, hired a team, modernized rules, redesigned experience, and we spent about a year and a half of work for an iPhone version. We launched on the App Store in 2010. Over the years we invested close to a million dollars. The game became especially successful in Japan and developed a loyal community. Ironically, our biggest challenge was never creating content it was maintaining the technology. Back then, iOS and Android meant separate codebases. A web version meant a third. Every feature, every bug fix, every improvement had to be duplicated across platforms. The maintenance cost was enormous. Fast-forward to today. I gave Claude Fable 5 the complete source code of Moonga roughly 500 cards, each with its own abilities and gameplay logic. It's years of accumulated game rules, edge cases, and design decisions. Five or six hours later, I had a fully playable version running on a modern multiplatform stack. One codebase. Web. Mobile. Modern architecture. A few more prompts and I was polishing interface and gameplay. It's not production-ready I could spend another week on animations, UX, and visual polish. But that's not the point. The point is this: years of accumulated development knowledge were enough for Fable 5 to recreate the entire game on a modern stack in a single afternoon. That doesn't erase the original work. Someone still had to invent the mechanics, balance 500 cards, design the systems, create the assets, ship the first implementation. But once that knowledge existed, rebuilding it became almost free. That's the real shift. The cost of implementing software is collapsing. The value is moving toward ideas, game design, content, world-building, community, and taste. We're entering an era where a small team or even a single developer can build what used to take dozens of engineers. For game developers, that's both terrifying and exciting. The question is no longer "Can I build this?" It's "What should I build, now that implementation is no longer the bottleneck?"
0:23

Are game developers doomed? Claude Fable 5 just did 6 years of my work in an afternoon. I don't think game developers are doomed. But our industry is about to change faster than almost anyone expects and I just watched it happen with my own game. Let me give you a concrete example. I started building Moonga when I was 17. After high school, I took a gap year before university and spent the whole year building the first version an online trading card game, back when web games were still in their infancy. It wasn't perfect. It was the work of a young developer. But it worked, people played it, and it proved the concept. In 2008 I rebuilt it from scratch, created a company, hired a team, modernized rules, redesigned experience, and we spent about a year and a half of work for an iPhone version. We launched on the App Store in 2010. Over the years we invested close to a million dollars. The game became especially successful in Japan and developed a loyal community. Ironically, our biggest challenge was never creating content it was maintaining the technology. Back then, iOS and Android meant separate codebases. A web version meant a third. Every feature, every bug fix, every improvement had to be duplicated across platforms. The maintenance cost was enormous. Fast-forward to today. I gave Claude Fable 5 the complete source code of Moonga roughly 500 cards, each with its own abilities and gameplay logic. It's years of accumulated game rules, edge cases, and design decisions. Five or six hours later, I had a fully playable version running on a modern multiplatform stack. One codebase. Web. Mobile. Modern architecture. A few more prompts and I was polishing interface and gameplay. It's not production-ready I could spend another week on animations, UX, and visual polish. But that's not the point. The point is this: years of accumulated development knowledge were enough for Fable 5 to recreate the entire game on a modern stack in a single afternoon. That doesn't erase the original work. Someone still had to invent the mechanics, balance 500 cards, design the systems, create the assets, ship the first implementation. But once that knowledge existed, rebuilding it became almost free. That's the real shift. The cost of implementing software is collapsing. The value is moving toward ideas, game design, content, world-building, community, and taste. We're entering an era where a small team or even a single developer can build what used to take dozens of engineers. For game developers, that's both terrifying and exciting. The question is no longer "Can I build this?" It's "What should I build, now that implementation is no longer the bottleneck?"

Shaban Shaame

34,442 views • 1 month ago

TeamSESH is dq'd from Challenger Series after qualifying for the event Q4 Game 1 enemy team protests for Kixa's moss based on the attached video as "proof of cheating". One of the guys on the other team admitted to us in dms that the protest was just cuz they were mad they lost. Head admin pauses our next game and makes us open a ticket; he requests moss from each of us. None of us had it for this first game because we agreed with the other team to not run it prior to the game (aforementioned player who dm'd Kixa was his friend). He then requests moss from all of us from our entire qual. I did not run moss on every game, given some games were against ppl I have played a thousand times and did not feel the need. Regardless this disqualification was from me not running moss for this qualifier. The admins did not care that we had provided dozens of previous moss files from our recent win in XGS and OCS. I understand that they felt they must make this ruling in order to stay in line with their rule book. I still feel that the way in which this was conducted was not within their own rule book given scrupulous evidence and requiring us all to provide moss for the report of one player. Regardless, I was in the wrong for not running it and have to accept that I costed my teams ability to show how hard we worked for this. Everyone with half a brain knows that we do not cheat. Major apologies to everyone that was waiting to see what we could do. We appreciate your support and we will not let a mistake define who we are.
0:25

TeamSESH is dq'd from Challenger Series after qualifying for the event Q4 Game 1 enemy team protests for Kixa's moss based on the attached video as "proof of cheating". One of the guys on the other team admitted to us in dms that the protest was just cuz they were mad they lost. Head admin pauses our next game and makes us open a ticket; he requests moss from each of us. None of us had it for this first game because we agreed with the other team to not run it prior to the game (aforementioned player who dm'd Kixa was his friend). He then requests moss from all of us from our entire qual. I did not run moss on every game, given some games were against ppl I have played a thousand times and did not feel the need. Regardless this disqualification was from me not running moss for this qualifier. The admins did not care that we had provided dozens of previous moss files from our recent win in XGS and OCS. I understand that they felt they must make this ruling in order to stay in line with their rule book. I still feel that the way in which this was conducted was not within their own rule book given scrupulous evidence and requiring us all to provide moss for the report of one player. Regardless, I was in the wrong for not running it and have to accept that I costed my teams ability to show how hard we worked for this. Everyone with half a brain knows that we do not cheat. Major apologies to everyone that was waiting to see what we could do. We appreciate your support and we will not let a mistake define who we are.

TK

110,531 views • 5 months ago

We want Turkish subtitles support in GTA VI. Please Rockstar Games Rockstar Support As Turkish gamers, we have played every game developed and published by Rockstar Games studio with great excitement and made good reviews and comments for each games. We are among the top 4 and 5 countries worldwide that gave positive comments for GTA 4 and GTA 5 on STEAM. Similarly, the same goes for Mafia, another game brand owned by Take-Two. Turkey is the third and fourth country with the most positive reviews on Steam worldwide for Mafia D.E. and Mafia 2 Classic. But unfortunately, there is no Turkish language support in any Rockstar game. We, the gamers, do not ask for much. We just want to experience the new GTA game with Turkish subtitles in our own language and play it with understanding. If GTA 6 is released with Turkish subtitle support, one of the countries where it will sell the most will be Türkiye. I guarantee that. All our content producers, all our internet provider brands, all our artists, all our sports club fan pages and all our game media channels have joined hands on this issue on social media. We all shout out the same demand; #WeWantGTA6inTurkish Even very small budget independent studios have the courage to release games with millions of words with Turkish language support, and as a result, they are satisfied and release their future games in Turkish. Because we Turks give a lot of support to every game that has our language support. You are Rockstar Games. You are the pinnacle of the gaming industry, the biggest. I am sure that the cost of this is much lower for you. However, the happiness it will create is so great that we want to experience GTA 6 in our own language as a member of your family. Please only provide us with subtitle support. We are aware of your greatness and magnificence and we have a small but very big request from you. Please let GTA 6 be in Turkish. We love you and wish you success as Turkish players in the development process of GTA 6. The video I shared features the volunteer work of the Turkish voice-over team, Tan Productions. Turkish suits the games very well! Turkish Gamers Community.
1:51

We want Turkish subtitles support in GTA VI. Please Rockstar Games Rockstar Support As Turkish gamers, we have played every game developed and published by Rockstar Games studio with great excitement and made good reviews and comments for each games. We are among the top 4 and 5 countries worldwide that gave positive comments for GTA 4 and GTA 5 on STEAM. Similarly, the same goes for Mafia, another game brand owned by Take-Two. Turkey is the third and fourth country with the most positive reviews on Steam worldwide for Mafia D.E. and Mafia 2 Classic. But unfortunately, there is no Turkish language support in any Rockstar game. We, the gamers, do not ask for much. We just want to experience the new GTA game with Turkish subtitles in our own language and play it with understanding. If GTA 6 is released with Turkish subtitle support, one of the countries where it will sell the most will be Türkiye. I guarantee that. All our content producers, all our internet provider brands, all our artists, all our sports club fan pages and all our game media channels have joined hands on this issue on social media. We all shout out the same demand; #WeWantGTA6inTurkish Even very small budget independent studios have the courage to release games with millions of words with Turkish language support, and as a result, they are satisfied and release their future games in Turkish. Because we Turks give a lot of support to every game that has our language support. You are Rockstar Games. You are the pinnacle of the gaming industry, the biggest. I am sure that the cost of this is much lower for you. However, the happiness it will create is so great that we want to experience GTA 6 in our own language as a member of your family. Please only provide us with subtitle support. We are aware of your greatness and magnificence and we have a small but very big request from you. Please let GTA 6 be in Turkish. We love you and wish you success as Turkish players in the development process of GTA 6. The video I shared features the volunteer work of the Turkish voice-over team, Tan Productions. Turkish suits the games very well! Turkish Gamers Community.

Mustafa

18,711 views • 10 months ago

🎲 TRALA x Arbitrum: Teaming up to creat Game of Dice The TRALA team is excited to announce that the Web3 version of Game of Dice is onboarding to Arbitrum Since its launch in 2015, Game of Dice has surpassed 50 million downloads and generated around $60M in cumulative revenue from the global gaming market. Together with Arbitrum's global Web3 infrastructure and the TRALA team's incredible innovations in the GameFi sector, we're thrilled to create an amazing Web3 version of Game of Dice! More Detail about Game of Dice 👉 💙 What are we creating with the Arbitrum Mainnet and Game of Dice IP? The TRALA team is planning a successful launch of the Web3 version of Game of Dice, utilizing RWA, AI, and new asset issuance. These assets will be onboarded on the Arbitrum Mainnet, bringing various benefits to the Arbitrum community! 👥 🤝 Game of Dice RWA RWA is a highly challenging sector in the blockchain industry, as it fundamentally relies on securing valuable underlying assets. Game of Dice, however, has already proven its intrinsic value through stable revenue generation in the global gaming market and strong user engagement metrics. Leveraging Arbitrum Mainnet and Game of Dice to pioneer the RWA will mark a new chapter in the Web3 GameFi market, with limitless growth potential ahead. 🎮 Issuance of new assets utilizing the Game of Dice IP The Game of Dice IP boasts a unique worldview and distinct personality. By integrating various Web3 assets, such as NFTs, we can elevate the gaming experience to new heights! The TRALA team is excited to collaborate with Arbitrum on the issuance of new assets and innovative game elements for Game of Dice, with plans to unveil advanced and refined assets to our community. Stay tuned for what's coming! 🌏Expansion of ecosystems Arbitrum Mainnet and the TRALA team are committed to expanding each other’s ecosystems. Beyond leveraging the Game of Dice IP for RWA and new asset issuance, we will actively work to attract a broader audience within the GameFi space. Additionally, through a variety of online and offline events, we aim to provide our communities with exciting rewards and engaging experiences. In addition to these benefits, yet-to-be-revealed perks will be granted first and foremost to TRALA staking holders. Stay tuned for upcoming updates on Game of Dice from Arbitrum and TRALA—we can’t wait to share what’s next! 🔥
0:30

🎲 TRALA x Arbitrum: Teaming up to creat Game of Dice The TRALA team is excited to announce that the Web3 version of Game of Dice is onboarding to Arbitrum Since its launch in 2015, Game of Dice has surpassed 50 million downloads and generated around $60M in cumulative revenue from the global gaming market. Together with Arbitrum's global Web3 infrastructure and the TRALA team's incredible innovations in the GameFi sector, we're thrilled to create an amazing Web3 version of Game of Dice! More Detail about Game of Dice 👉 💙 What are we creating with the Arbitrum Mainnet and Game of Dice IP? The TRALA team is planning a successful launch of the Web3 version of Game of Dice, utilizing RWA, AI, and new asset issuance. These assets will be onboarded on the Arbitrum Mainnet, bringing various benefits to the Arbitrum community! 👥 🤝 Game of Dice RWA RWA is a highly challenging sector in the blockchain industry, as it fundamentally relies on securing valuable underlying assets. Game of Dice, however, has already proven its intrinsic value through stable revenue generation in the global gaming market and strong user engagement metrics. Leveraging Arbitrum Mainnet and Game of Dice to pioneer the RWA will mark a new chapter in the Web3 GameFi market, with limitless growth potential ahead. 🎮 Issuance of new assets utilizing the Game of Dice IP The Game of Dice IP boasts a unique worldview and distinct personality. By integrating various Web3 assets, such as NFTs, we can elevate the gaming experience to new heights! The TRALA team is excited to collaborate with Arbitrum on the issuance of new assets and innovative game elements for Game of Dice, with plans to unveil advanced and refined assets to our community. Stay tuned for what's coming! 🌏Expansion of ecosystems Arbitrum Mainnet and the TRALA team are committed to expanding each other’s ecosystems. Beyond leveraging the Game of Dice IP for RWA and new asset issuance, we will actively work to attract a broader audience within the GameFi space. Additionally, through a variety of online and offline events, we aim to provide our communities with exciting rewards and engaging experiences. In addition to these benefits, yet-to-be-revealed perks will be granted first and foremost to TRALA staking holders. Stay tuned for upcoming updates on Game of Dice from Arbitrum and TRALA—we can’t wait to share what’s next! 🔥

TRALA

25,779 views • 1 year ago

To all the Dense & Uneducated Pretendo fans complaining about #NintendoSwitch2 Game KeyCards: - Game KeyCards require a ONE time download - Game KeyCards are NOT tied to an account - Game KeyCards are NOT tied to the eShop - Game KeyCards function exactly like regular game cards - Switch 2 has only TWO card options available(For now) to Devs - 64GB Regular card & Game KeyCard - NS2 Cards are more advanced tech and more expensive to make than NS1 Cards - Game KeyCards reduce development time as 3rd Parties do not have to include Card production - Game KeyCards gives NS2 FULL content, Feature, and Visual parity for 3rd party games since Devs do not have to downgrade/Strip a game to fit on a 64GB Card. Large games & high-quality assets are very difficult to fit on a 64GB game card - Game KeyCards insures game pricing parity with other consoles. Otherwise, the production cost will be passed on to you in the form of a higher price for the same game on other consoles. Unless 3rd party is confident the production cost will be offset by High sales of the 64GB game card -Without the invention of Game KeyCards you would see digital only 3rd party games or, Most Likely, 3rd party games not released on Switch 2 at all - NS2 game cards & Game Keycards will balance out as production costs drop over time, and Nintendo will be able to make higher capacity Game Cards - Nintendo invented Game KeyCards as a roadblock to stop the push for a digital only games industry - Anything you can do with a NS2 Physical game card, you can do with a Game KeyCard So please STFU with the lies, misinformation, and delusional BS. ENJOY the best & equal 3rd party support on Nintendo console in DECADES, and let this situation play out like it's supposed to 🫶🏽
0:29

To all the Dense & Uneducated Pretendo fans complaining about #NintendoSwitch2 Game KeyCards: - Game KeyCards require a ONE time download - Game KeyCards are NOT tied to an account - Game KeyCards are NOT tied to the eShop - Game KeyCards function exactly like regular game cards - Switch 2 has only TWO card options available(For now) to Devs - 64GB Regular card & Game KeyCard - NS2 Cards are more advanced tech and more expensive to make than NS1 Cards - Game KeyCards reduce development time as 3rd Parties do not have to include Card production - Game KeyCards gives NS2 FULL content, Feature, and Visual parity for 3rd party games since Devs do not have to downgrade/Strip a game to fit on a 64GB Card. Large games & high-quality assets are very difficult to fit on a 64GB game card - Game KeyCards insures game pricing parity with other consoles. Otherwise, the production cost will be passed on to you in the form of a higher price for the same game on other consoles. Unless 3rd party is confident the production cost will be offset by High sales of the 64GB game card -Without the invention of Game KeyCards you would see digital only 3rd party games or, Most Likely, 3rd party games not released on Switch 2 at all - NS2 game cards & Game Keycards will balance out as production costs drop over time, and Nintendo will be able to make higher capacity Game Cards - Nintendo invented Game KeyCards as a roadblock to stop the push for a digital only games industry - Anything you can do with a NS2 Physical game card, you can do with a Game KeyCard So please STFU with the lies, misinformation, and delusional BS. ENJOY the best & equal 3rd party support on Nintendo console in DECADES, and let this situation play out like it's supposed to 🫶🏽

NintenGOD

22,008 views • 1 year ago

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR
9:43

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

Robert Simons | $KDR 🐉

37,835 views • 1 year ago

At the State of Unreal today, Tim says AAA is failing, spending 100's of millions and getting only 10's in return. He gives his theories: - Games are social now. "creating a massive advantage for big games and big ecosystems, um, because game with a lot of players is much more likely to contain a lot of your friends. " - Game economy shifting to in-game purchases. "whether you're a fan of this or not, the arithmetic of it is undeniable. " His whole argument is that platforms like Roblox and Fornite are the future: Huge locked in gamer demographics, playing content within these games and buying things in these games. But he contrasts Epic's strategy vs Roblox. Instead of one gatekeeper, Epic wants to "change the way we build things. We're going to need to build better games, we're gonna need to build them more efficiently, and we're gonna need to design up front and build for connected games, where all of our player bases are connected socially and our economies are connected, so that players, instead of seeing these as isolated products, see them as part of, you know, a, a global ecosystem that all game developers participate in together. " To this end, Epic has open sourced Meta-Humans and Lore, their new revision control system. It's clear he want to create a network of games, all linked together, sharing content via Epic tools and technologies (but allowing for other engines).
5:10

At the State of Unreal today, Tim says AAA is failing, spending 100's of millions and getting only 10's in return. He gives his theories: - Games are social now. "creating a massive advantage for big games and big ecosystems, um, because game with a lot of players is much more likely to contain a lot of your friends. " - Game economy shifting to in-game purchases. "whether you're a fan of this or not, the arithmetic of it is undeniable. " His whole argument is that platforms like Roblox and Fornite are the future: Huge locked in gamer demographics, playing content within these games and buying things in these games. But he contrasts Epic's strategy vs Roblox. Instead of one gatekeeper, Epic wants to "change the way we build things. We're going to need to build better games, we're gonna need to build them more efficiently, and we're gonna need to design up front and build for connected games, where all of our player bases are connected socially and our economies are connected, so that players, instead of seeing these as isolated products, see them as part of, you know, a, a global ecosystem that all game developers participate in together. " To this end, Epic has open sourced Meta-Humans and Lore, their new revision control system. It's clear he want to create a network of games, all linked together, sharing content via Epic tools and technologies (but allowing for other engines).

Grummz

123,589 views • 1 month ago

I tried to see how far I could push my current AI + 3D workflow and build a playable 3D game prototype in just 3 days😶 Not by asking AI to make the whole game in one prompt. I had my own idea, knew what I wanted to build, and used AI as a tool: - for concepting, - asset generation & texturing, - gameplay logic with the new UE 5.8 MCP + Claude Code. And honestly, it is crazy how far you can get now with the right workflow. Full video - #UE5 #ClaudeCode #AI3D #3DAI
1:02

I tried to see how far I could push my current AI + 3D workflow and build a playable 3D game prototype in just 3 days😶 Not by asking AI to make the whole game in one prompt. I had my own idea, knew what I wanted to build, and used AI as a tool: - for concepting, - asset generation & texturing, - gameplay logic with the new UE 5.8 MCP + Claude Code. And honestly, it is crazy how far you can get now with the right workflow. Full video - #UE5 #ClaudeCode #AI3D #3DAI

Stefan 3D AI

20,994 views • 1 month ago