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New preprint alert 🚨 Can LLM agents develop video games? We release GameDevBench, the first benchmark evaluating agentic game development in a game engine, Godot. We also present two simple multimodal feedback mechanisms that lead to immediate performance gains. /🧵

Wayne Chi

1,058 subscribers

27,864 Aufrufe • vor 7 Monaten •via X (Twitter)

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29 Kommentare

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

Game development tasks are challenging. Gold patch solutions require triple the amount of lines of code and files changed compared to SWE-Bench. Assets are diverse and multimodal: GameDevBench includes 27 file types including shaders, sprites, and more, averaging 6.4 per task.

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

We find Gemini 3 flash in the Gemini CLI to be by far the most cost-effective model with second best performances and low costs. Claude Sonnet 4.5 and ChatGPT Codex 5.1 actually perform better in OpenHands than their own native agentic frameworks (claude code / codex). This performance, however, comes at increased costs.

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

To improve multimodal capabilities, we created an MCP server that allows the agent to view screenshots of the game editor or prompted the agent to record video of the game scene. These simple feedback mechanisms almost always improve performance. Different agents prefer screenshot vs video, but you can use both methods at the same time and agents are smart enough to pick their preferred method!

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

Agents struggle the most with multimodal tasks. Performance drops when tackling 2D graphics tasks (e.g., sprite animation creation) rather than gameplay oriented tasks (e.g., player controls).

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

Paper: Code: Of course, this is only possible thanks to my wonderful collaborators: Yixiong Fang, Arnav Yayavaram, Siddharth Yayavaram, @sethkarten, @qiuhongannawei, Runkun Chen, Alexander Wang, @valeriechen_, @chrisdonahuey @atalwalkar

Profilbild von Noema

Noemavor 7 Monaten

@xeophon @stalkermustang @scaling01 you might want to check this out!

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

@xeophon @stalkermustang @scaling01 Yes. Definitely check it out!

Profilbild von Noema

Noemavor 7 Monaten

@xeophon @stalkermustang @scaling01 Congrats!! It's an awesome bench and I hope you keep it alive for a long time. Love it 🫶

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

@xeophon @stalkermustang @scaling01 Thanks! We actually already have more data, environments, and tasks planned for this. We'll be rolling them out in the coming months. I plan to work on game dev and AI for a long time :)

Profilbild von paddy

paddyvor 7 Monaten

awesome, we need more of this

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

thanks! There will indeed be more of this

Profilbild von kvick

kvickvor 7 Monaten

good idea

Profilbild von harjot.co

harjot.covor 7 Monaten

AI + games = fun surprises!

Profilbild von Tommy Leung

Tommy Leungvor 7 Monaten

game dev might be the final boss for “AGI”

Profilbild von Todd Grilliot

Todd Grilliotvor 7 Monaten

Wow this is the benchmark that I care about. Great work.

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

thanks! please let me know if you have any questions

Profilbild von Todd Grilliot

Todd Grilliotvor 7 Monaten

Have you run the benchmark on opus 4.5 / 4.6 or codex 5.3 yet? I know they just came out, but I'd love to see how they compare to Gemini 3 flash and the other models

Profilbild von Rohit Ch

Rohit Chvor 7 Monaten

Great work guys

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

thank you!

Profilbild von Andrew Kalita

Andrew Kalitavor 7 Monaten

what is the most limiting factor for agents to develop games atm from your pov?

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

1. Agents don't understand / have out dated knowledge for godot (and I speculate other game engines). This will come with more training and focus from labs. 2. Agents are clearly still weaker on multimodal reasoning.

Profilbild von Pachu

Pachuvor 7 Monaten

Fantastic work! I've been using opus 4.5 with godot for some time, but just with a simple MCP that allows it to start the game to see if it compiles. Does having video input of the screen actually work well? How long are the videos? I would expect that having a video input would blow up the context window?

Profilbild von Wayne Chi

Wayne Chivor 7 Monaten

It definitely increases cost so there's a tradeoff. Most of the time the model turns it into frames via python and just ingests a few images rather than the entire video.

Profilbild von Pachu

Pachuvor 7 Monaten

Interesting. I think LLMs could become incredible at game development given the ability to ingest realtime video input whole providing realtime tool call outputs. That way they can "play" the game same as a human, but the current models seem far from being able to do that...

Profilbild von f🔺ckingship

f🔺ckingshipvor 7 Monaten

gamedevbench is sick. multimodal feedback for godot agents — what's the lag between agent action and visual state update? that'll be the bottleneck at scale

Profilbild von JBaba

JBabavor 7 Monaten

Today I created a game in gadot using GLM 5. Game similar to beltmatic. It aced it.

Profilbild von Marcos Codas

Marcos Codasvor 7 Monaten

Why don't you come over and visit us over @GDevelopApp? We're open source, and we have already started integrating AI into our engine. Our documentation is being agent-optimized. Our built-in agent can already perform many tasks. LMK if you encounter blockers.

Profilbild von f🔺ckingship

f🔺ckingshipvor 7 Monaten

GameDevBench with actual Godot integration is wild. most agent benchmarks are synthetic tasks — this is shipping in a real engine. what's the success rate on agents handling GDScript vs visual scripting?

Profilbild von f🔺ckingship

f🔺ckingshipvor 7 Monaten

gamedevbench in godot is smart — engine constraints force you to actually solve problems vs infinite llm context window bloat. what's the success rate on playable builds?

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"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

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

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