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I've spent the last 4 days with Claude Opus vibe coding an Elder Scrolls style open world RPG, and I'm quite pleased with the progress we've made. We have several towns, about a hundred NPCs, 50+ dungeons, a bounty board, several schools of magic, over a dozen playable classes,...

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Chubigans

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22,629 views • 1 month ago •via X (Twitter)

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Let’s talk NPCs! I had a pretty clear idea from the start for how I wanted NPCs to move and behave. The system is built around paths with “connectors”, and every time an NPC reaches one, it decides where to go next based on a few factors. Those factors are things like “Are there already NPCs down this path? I have I come this way before, etc”. The idea was to simulate a certain level of “randomness” to the NPC movement so players can’t easily predict what an NPC will do (like in irl lmao). Once they have crossed enough connectors they then head towards a spawn point and leave the map. Every 30 seconds or so the system calculates how many NPCs are walking around and decides weather or not to put another one in, always aiming to keep things within a certain range. This post is a bit more in-depth than my previous ones, but I felt like showing off a bit more of how things work “under the hood”. Think it’s overengineered? Any suggestions?
1:10

Let’s talk NPCs! I had a pretty clear idea from the start for how I wanted NPCs to move and behave. The system is built around paths with “connectors”, and every time an NPC reaches one, it decides where to go next based on a few factors. Those factors are things like “Are there already NPCs down this path? I have I come this way before, etc”. The idea was to simulate a certain level of “randomness” to the NPC movement so players can’t easily predict what an NPC will do (like in irl lmao). Once they have crossed enough connectors they then head towards a spawn point and leave the map. Every 30 seconds or so the system calculates how many NPCs are walking around and decides weather or not to put another one in, always aiming to keep things within a certain range. This post is a bit more in-depth than my previous ones, but I felt like showing off a bit more of how things work “under the hood”. Think it’s overengineered? Any suggestions?

ShyGirl Team 🌸🎮

15,057 views • 4 months ago

Reece Martin (Reece Martin) on how he reads a city as a sculpture using Google Maps. "I would always do satellite view, because I want to see the real world. And then I'd turn the labels off, because it lets you see where the shapes are. I want to see where the structures are, where things are congregating." "You're looking at it in three dimensions. It's a grid, it's a totally different streetscape, and so it's like, okay, why do they do it that way here? Then you start to notice the roads and the rail lines and the longer roads, the parks, the styles of buildings. Oh, they're really tall on that street, so they probably got a subway there." "You stop looking for signs of things, and you let the landscape tell you where things are."
1:06

Reece Martin (Reece Martin) on how he reads a city as a sculpture using Google Maps. "I would always do satellite view, because I want to see the real world. And then I'd turn the labels off, because it lets you see where the shapes are. I want to see where the structures are, where things are congregating." "You're looking at it in three dimensions. It's a grid, it's a totally different streetscape, and so it's like, okay, why do they do it that way here? Then you start to notice the roads and the rail lines and the longer roads, the parks, the styles of buildings. Oh, they're really tall on that street, so they probably got a subway there." "You stop looking for signs of things, and you let the landscape tell you where things are."

The Other Stuff

13,713 views • 2 months ago

I'm making real progress with Opus 5, Fable and Sol on a very high value tool that I'm going to opensource. A Three.js webgpu based terrain generator with an API for agents to use as well. It's called Ekigar, from the sumerian E-ki-gar meaning "Temple that places the earth". I will be releasing it on my git once it gets to a good enough first state! Here's a preview of how it's going. So far, it's EXTREMELY fast, much better performance than industry standards for terrain generation.
0:22

I'm making real progress with Opus 5, Fable and Sol on a very high value tool that I'm going to opensource. A Three.js webgpu based terrain generator with an API for agents to use as well. It's called Ekigar, from the sumerian E-ki-gar meaning "Temple that places the earth". I will be releasing it on my git once it gets to a good enough first state! Here's a preview of how it's going. So far, it's EXTREMELY fast, much better performance than industry standards for terrain generation.

Utah teapot 🫖

17,582 views • 19 days ago

Scott Rueck on Oregon State and the year the school has had: "It's my university, so I care... One thing I'll say, it's hard hearing your school talked about in the way it's been talked about and in a way devalued. Clearly I don't see it that way... To turn a community and a region on it's ear has been a dream of mine and we've done that and we've done it at the highest level and we've gotten to this point a couple times now. What the value is, I don't know, but I know the timing of it's really great. We've been drug through the mud... All I know is Beaver Nation is awesome and Oregon State is an incredible university... And we can compete with anyone from there... It's been a joy of mine to put smiles on people's faces, especially this year."
1:37

Scott Rueck on Oregon State and the year the school has had: "It's my university, so I care... One thing I'll say, it's hard hearing your school talked about in the way it's been talked about and in a way devalued. Clearly I don't see it that way... To turn a community and a region on it's ear has been a dream of mine and we've done that and we've done it at the highest level and we've gotten to this point a couple times now. What the value is, I don't know, but I know the timing of it's really great. We've been drug through the mud... All I know is Beaver Nation is awesome and Oregon State is an incredible university... And we can compete with anyone from there... It's been a joy of mine to put smiles on people's faces, especially this year."

Brenna Greene

107,848 views • 2 years ago

"Amazing. I'm so, so happy. It's a good day of racing and overall just a really solid weekend. I felt on the up all weekend and the team have done a really amazing job just really refining the car and for us to be up there battling and also to have a good battle with Max as well, you know, finally. So I'm really, really grateful and yeah, just so, so happy. I love this job. It's like the greatest, it's the greatest show in the world and I'll never take that for granted."
0:39

"Amazing. I'm so, so happy. It's a good day of racing and overall just a really solid weekend. I felt on the up all weekend and the team have done a really amazing job just really refining the car and for us to be up there battling and also to have a good battle with Max as well, you know, finally. So I'm really, really grateful and yeah, just so, so happy. I love this job. It's like the greatest, it's the greatest show in the world and I'll never take that for granted."

sim

23,458 views • 2 months ago

How do you make a vibe-coded world feel truly alive instead of looking like a few assets randomly scattered across an empty map? I keep running into this problem. The AI can generate the terrain and each asset individually, but it struggles with placement, density and composition. A forest becomes ten isolated trees. A town becomes three buildings beside a road. The assets exist, but the environment never feels naturally constructed. It made me think about last year, when I opened X and discovered the insane project @levelsio was building: a multiplayer flight game running entirely in the browser, with a sponsorship system where brands could buy their own advertising blimps. The entire project was vibe-coded. Watching such an ambitious idea become a real multiplayer game was incredible, and it was exactly the kind of project that pushed me to go 100% into vibe coding. Now Astra is emerging as OpenAI’s next major model family (whether it eventually ships as GPT‑5.7, GPT‑6 or something else) and I’m ridiculously excited to discover what this new generation will let us build. So here’s a little nod to that inspiration with my own project where you can pilot a plane. And yes, I absolutely love Disney’s Planes 😂 How do you handle environmental placement in your projects? Better prompts, procedural generation, specialized tools, or manual level design afterward?
1:19

How do you make a vibe-coded world feel truly alive instead of looking like a few assets randomly scattered across an empty map? I keep running into this problem. The AI can generate the terrain and each asset individually, but it struggles with placement, density and composition. A forest becomes ten isolated trees. A town becomes three buildings beside a road. The assets exist, but the environment never feels naturally constructed. It made me think about last year, when I opened X and discovered the insane project @levelsio was building: a multiplayer flight game running entirely in the browser, with a sponsorship system where brands could buy their own advertising blimps. The entire project was vibe-coded. Watching such an ambitious idea become a real multiplayer game was incredible, and it was exactly the kind of project that pushed me to go 100% into vibe coding. Now Astra is emerging as OpenAI’s next major model family (whether it eventually ships as GPT‑5.7, GPT‑6 or something else) and I’m ridiculously excited to discover what this new generation will let us build. So here’s a little nod to that inspiration with my own project where you can pilot a plane. And yes, I absolutely love Disney’s Planes 😂 How do you handle environmental placement in your projects? Better prompts, procedural generation, specialized tools, or manual level design afterward?

Givros

16,804 views • 8 days ago

lando: “the last thing i want is to make the excuse. in the end of the day, it's my job to drive whatever car i get to drive, whether it's a great one or a terrible one. i don't feel like i should ever have a reason to have an excuse. there's reasoning for things, why i struggle here, why i struggle there and so forth, but it's not an excuse. if i'm slow, i'll say i've just done a bad job and i wasn't a good enough driver on that day”
1:04

lando: “the last thing i want is to make the excuse. in the end of the day, it's my job to drive whatever car i get to drive, whether it's a great one or a terrible one. i don't feel like i should ever have a reason to have an excuse. there's reasoning for things, why i struggle here, why i struggle there and so forth, but it's not an excuse. if i'm slow, i'll say i've just done a bad job and i wasn't a good enough driver on that day”

ray

138,073 views • 9 months ago

How does Lee Child start a novel? "If you were a composer writing music, you'd start with a key that you want. G-Major is a cheerful and upbeat key. E-Flat Minor is the opposite. It's down and rather melancholy. So what I do as a writer is start with a vague idea. I want this story to be hard and cold, or I want this story to be hot. And then I'll pick a location that I'm familiar with. I never do research specifically for that book. It always draws on impressions formed over the years from previous visits to places. Do you want it to be the West of Texas, where it's baking hot and arid? Do you want it to be on the Atlantic coast of Maine in April, where it's gray, cold, and misty? So that's how I start. With the sense of place and I'll construct the story around that. The temperature dictates the story." — Lee Child
1:33

How does Lee Child start a novel? "If you were a composer writing music, you'd start with a key that you want. G-Major is a cheerful and upbeat key. E-Flat Minor is the opposite. It's down and rather melancholy. So what I do as a writer is start with a vague idea. I want this story to be hard and cold, or I want this story to be hot. And then I'll pick a location that I'm familiar with. I never do research specifically for that book. It always draws on impressions formed over the years from previous visits to places. Do you want it to be the West of Texas, where it's baking hot and arid? Do you want it to be on the Atlantic coast of Maine in April, where it's gray, cold, and misty? So that's how I start. With the sense of place and I'll construct the story around that. The temperature dictates the story." — Lee Child

David Perell

25,139 views • 6 months ago

So excited to announce a new series I'm creating with blocmates ONCHAIN WORLD Explaining the onchain world - crypto, AI and everything in between, in a way that (hopefully) doesn't suck and you'd want to show your friends. Our aim is to humanise the cool experimental tech that's often a bit misunderstood, how it's changing the world and why we should care, just like Tomorrow’s World did in the generation before ours. We first made a video for LayerZero which we are dubbing as our ‘pilot’ and can’t wait to share what else we have in store. I'm so grateful I get to make this with blocmates and be the messenger of the cool things being built by people I'm in awe of every single day. The onchain world is inevitable.
1:53

So excited to announce a new series I'm creating with blocmates ONCHAIN WORLD Explaining the onchain world - crypto, AI and everything in between, in a way that (hopefully) doesn't suck and you'd want to show your friends. Our aim is to humanise the cool experimental tech that's often a bit misunderstood, how it's changing the world and why we should care, just like Tomorrow’s World did in the generation before ours. We first made a video for LayerZero which we are dubbing as our ‘pilot’ and can’t wait to share what else we have in store. I'm so grateful I get to make this with blocmates and be the messenger of the cool things being built by people I'm in awe of every single day. The onchain world is inevitable.

Nev

45,386 views • 9 months ago

i've had a look around and I can't find a version this good. It's not from a tape either, this was a file on a harddrive so it's more likely to be the actual asset. I'll get it on YouTube this week along with a bunch of those stuff I'm working through here.
1:24

i've had a look around and I can't find a version this good. It's not from a tape either, this was a file on a harddrive so it's more likely to be the actual asset. I'll get it on YouTube this week along with a bunch of those stuff I'm working through here.

dannyodwyer was here

198,329 views • 2 years ago

finally made enough progress i'm happy with to show what i've been doing in the background. it's a game! it's only about a month's worth of on-and-off work. it's also why i delayed comms to june, as i wanted to buy myself at least a little time to work on this
0:50

finally made enough progress i'm happy with to show what i've been doing in the background. it's a game! it's only about a month's worth of on-and-off work. it's also why i delayed comms to june, as i wanted to buy myself at least a little time to work on this

Sir Hoopsalot \Commissions Open!!/

46,222 views • 2 months ago

.cova on why AI made creativity more valuable: "The rise of AI has given way to a massive flooding of the internet. As a creator, I've noticed a lot of audiences have realized this, and the work that really cuts through the noise is work that is really resonant. You can tell it comes from a place the creator is deeply passionate about, and it feels very authentic. It's made for connection, but it's also very true to the person making it." "With AI producing this flood of content, people have felt like the media they're consuming feels more rootless. And therefore the high-taste, high-creativity stuff that's actually crafted by the person, people are starting to value way more." "I use so much AI, and a lot of it's invisible, a lot of it's very visible. I've found a way to automate away the logistical side of things, so I can focus on the creativity. I built a bunch of custom tools for video-making, and I built them all with AI. Even though I prefer to edit myself and I script everything myself, I still use AI to bounce ideas off of." "The way I initially blew up was I used AI to transform my dorm room into different crazy sets, and people thought I was a professional. I was by no means a professional. It was my tiny dorm room, and I added a piano there, a vinyl record player, fairy lights, a moving robot in the background, cool lighting. It was all AI. I really accredit AI to a lot of my success."
2:26

.cova on why AI made creativity more valuable: "The rise of AI has given way to a massive flooding of the internet. As a creator, I've noticed a lot of audiences have realized this, and the work that really cuts through the noise is work that is really resonant. You can tell it comes from a place the creator is deeply passionate about, and it feels very authentic. It's made for connection, but it's also very true to the person making it." "With AI producing this flood of content, people have felt like the media they're consuming feels more rootless. And therefore the high-taste, high-creativity stuff that's actually crafted by the person, people are starting to value way more." "I use so much AI, and a lot of it's invisible, a lot of it's very visible. I've found a way to automate away the logistical side of things, so I can focus on the creativity. I built a bunch of custom tools for video-making, and I built them all with AI. Even though I prefer to edit myself and I script everything myself, I still use AI to bounce ideas off of." "The way I initially blew up was I used AI to transform my dorm room into different crazy sets, and people thought I was a professional. I was by no means a professional. It was my tiny dorm room, and I added a piano there, a vinyl record player, fairy lights, a moving robot in the background, cool lighting. It was all AI. I really accredit AI to a lot of my success."

MTS

10,699 views • 18 days ago

This is probably the last I'll say on this matter I am against any and all forms of genai, I have never used it in my work, I do not believe it has any place in any creative industry, and I think it's an insult to life itself I am aware that my art is inconsistent, my output frequency is bizarre, and my sudden rise in quality over the last year may seem strange, but I am still learning, and like all artists there are things I'm really confident with, and things I still struggle with I am a 3d artist first, a game developer second, and a 2d artist third, this is something I do on the side for fun, make people happy, get some extra cash and do a little bit of engagement bait I think it's pointless to go after me, when we have people who are mangling our our publicly every day, and it's those people we should be fighting instead of turning our blades inwards and witch hunting each other like this
1:56

This is probably the last I'll say on this matter I am against any and all forms of genai, I have never used it in my work, I do not believe it has any place in any creative industry, and I think it's an insult to life itself I am aware that my art is inconsistent, my output frequency is bizarre, and my sudden rise in quality over the last year may seem strange, but I am still learning, and like all artists there are things I'm really confident with, and things I still struggle with I am a 3d artist first, a game developer second, and a 2d artist third, this is something I do on the side for fun, make people happy, get some extra cash and do a little bit of engagement bait I think it's pointless to go after me, when we have people who are mangling our our publicly every day, and it's those people we should be fighting instead of turning our blades inwards and witch hunting each other like this

CSAURAGEUL

16,385 views • 7 months ago

🚨| Sir Lewis Hamilton's practice day interview. "It's generally been a good day. I've enjoyed driving the car. It's the first time driving a Ferrari at this track. I've always wondered all these years, from looking on on-boards over the years, what the differences would be. It's the first time I got to feel that today, and it was positive." "Obviously McLaren is very fast, and getting a clean lap is not easy. But I feel like there's lots of positive things to take from today, lots of learnings. I'm quite happy with the progress that we've made from session to session." "I feel like we've made steps forward today, so I feel like overnight we probably won't change much. But of course trying to refine the setup and see if we can extract a little bit more to get as close as we can to the McLarens." - F1 2025 Singapore -
1:02

🚨| Sir Lewis Hamilton's practice day interview. "It's generally been a good day. I've enjoyed driving the car. It's the first time driving a Ferrari at this track. I've always wondered all these years, from looking on on-boards over the years, what the differences would be. It's the first time I got to feel that today, and it was positive." "Obviously McLaren is very fast, and getting a clean lap is not easy. But I feel like there's lots of positive things to take from today, lots of learnings. I'm quite happy with the progress that we've made from session to session." "I feel like we've made steps forward today, so I feel like overnight we probably won't change much. But of course trying to refine the setup and see if we can extract a little bit more to get as close as we can to the McLarens." - F1 2025 Singapore -

sim

45,173 views • 10 months ago

A few years ago I started working on a game based on my album "krang", with the artist who made the cover-art Anatomic . It was a gothic, brutal, fantastical, baroque, vampire fps using pre-rendered sprites for characters, weapons etc. Instead of pixelated retro sprites, we opted for hi def 1080 sprites. Player uses guns, swords and magical powers to defeat monsters in a gory fashion. It had a book-worth of lore and world building. A nod to hexen, dishonored and bioshock. The game failed to get funding, so we had to shelve the idea. Morgan (an_atomic) designed all the characters and I modelled them in 3D. I also programmed it, made the music and sfx. Solo-dev'ing is brutally difficult, but this was the most fun I've had being creative in my life. The game was called "Bloodthirst". R.I.P
4:03

A few years ago I started working on a game based on my album "krang", with the artist who made the cover-art Anatomic . It was a gothic, brutal, fantastical, baroque, vampire fps using pre-rendered sprites for characters, weapons etc. Instead of pixelated retro sprites, we opted for hi def 1080 sprites. Player uses guns, swords and magical powers to defeat monsters in a gory fashion. It had a book-worth of lore and world building. A nod to hexen, dishonored and bioshock. The game failed to get funding, so we had to shelve the idea. Morgan (an_atomic) designed all the characters and I modelled them in 3D. I also programmed it, made the music and sfx. Solo-dev'ing is brutally difficult, but this was the most fun I've had being creative in my life. The game was called "Bloodthirst". R.I.P

Sav

16,216 views • 9 months ago

This changes everything.. literally! Made a small game on my PS5 in Dreams.. and added a bit of AI. Now, do I think every game should be made by this.. of course not. But I can see this as being a very useful way to ensure visual consistency across a project and to save resources on the final layer of finish that is often so costly. More focus on gameplay, design, storytelling. Check out the🧵for the original and some of my favorite transformations. Done using Runway Gen 3 ofc! #gamedev #ai
0:35

This changes everything.. literally! Made a small game on my PS5 in Dreams.. and added a bit of AI. Now, do I think every game should be made by this.. of course not. But I can see this as being a very useful way to ensure visual consistency across a project and to save resources on the final layer of finish that is often so costly. More focus on gameplay, design, storytelling. Check out the🧵for the original and some of my favorite transformations. Done using Runway Gen 3 ofc! #gamedev #ai

Martin Nebelong

51,143 views • 1 year ago

I've been championing DragonSword : Awakening for a while, especially after it dropped its gacha system in favor of a fairer business model. Recently, I finally had time to play the demo! ✅👍I was surprised by how polished and smooth it felt. The world has a great atmosphere, and I really enjoyed the Link Combat system reminding me of another game from Hound13 (the developer) named Hundred Souls, so perhaps I have a bias in there... ❌👎Although, I can't help to feel discontent that that parts of the visuals, progression, and UI carry the DNA of other gacha games. I wish the game had been built on a different foundation... So, if you've been looking for a Genshin-like experience without the gacha baggage + with beautiful Korean-game-style aesthetics, this game might be right up your alley! ✨
0:48

I've been championing DragonSword : Awakening for a while, especially after it dropped its gacha system in favor of a fairer business model. Recently, I finally had time to play the demo! ✅👍I was surprised by how polished and smooth it felt. The world has a great atmosphere, and I really enjoyed the Link Combat system reminding me of another game from Hound13 (the developer) named Hundred Souls, so perhaps I have a bias in there... ❌👎Although, I can't help to feel discontent that that parts of the visuals, progression, and UI carry the DNA of other gacha games. I wish the game had been built on a different foundation... So, if you've been looking for a Genshin-like experience without the gacha baggage + with beautiful Korean-game-style aesthetics, this game might be right up your alley! ✨

Stellar Blade | NIKKE | Destiny Child | 🍑✨

17,236 views • 1 month ago

I'm the developer of this game, I've played it thousands of times, written the code for everything in it. When I was coding the behavior of the drones in the Erra: Exordium, drones exploding outside my window in reality. I wanted to add a lot to the game, but I was afraid that if I died tomorrow, the world would never see this game. So, I had to abandon some plot parts, some scenes, characters, animations, a lot of things..., a third of the game was never released. I really regret it, but our reality and our world are a madhouse. I'm currently working on a game that's completely different. I want to create a little world of peace, energy, mystery, and puzzles. I hope I can do that, because the world has become even more idiotic.
1:07

I'm the developer of this game, I've played it thousands of times, written the code for everything in it. When I was coding the behavior of the drones in the Erra: Exordium, drones exploding outside my window in reality. I wanted to add a lot to the game, but I was afraid that if I died tomorrow, the world would never see this game. So, I had to abandon some plot parts, some scenes, characters, animations, a lot of things..., a third of the game was never released. I really regret it, but our reality and our world are a madhouse. I'm currently working on a game that's completely different. I want to create a little world of peace, energy, mystery, and puzzles. I hope I can do that, because the world has become even more idiotic.

Alien 👽 Max | 🇺🇦 game developer

24,111 views • 4 months ago

Looking to join a UEFN studio full time. I've spent 3+ years in UE and UEFN as a generalist focused on level design and environment work. I have three completed, unreleased games ready to transfer with 100+ hours already spent on them. Whether a studio wants to build on what I've made or start something new, I can do both. Previously, I was studio lead for Loserfruit and part of the founding of Bifrost Studios. Before UEFN I spent a decade as a marketing director across multiple fashion magazines and worked with emerging brands on sales and growth. The connections I made translate directly into brand collaborations and activations inside UEFN, which is where I've been focused for the past five months. I'm looking for the right team to build with and can break down my plans in DMs! #UEFN #Fortnite
0:23

Looking to join a UEFN studio full time. I've spent 3+ years in UE and UEFN as a generalist focused on level design and environment work. I have three completed, unreleased games ready to transfer with 100+ hours already spent on them. Whether a studio wants to build on what I've made or start something new, I can do both. Previously, I was studio lead for Loserfruit and part of the founding of Bifrost Studios. Before UEFN I spent a decade as a marketing director across multiple fashion magazines and worked with emerging brands on sales and growth. The connections I made translate directly into brand collaborations and activations inside UEFN, which is where I've been focused for the past five months. I'm looking for the right team to build with and can break down my plans in DMs! #UEFN #Fortnite

Jake

16,839 views • 3 months ago