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Opus 5.5 built this HD-2D game without using a single imported art asset The visual direction is heavily inspired by Octopath Traveler: pixel-art characters inside a 3D world with tilt-shift blur, bloom and dynamic lighting. But the interesting part is how it was made. Everything visual was created with... show more

Hakimi Eiqbal

1,861 subscribers

113,419 次观看 • 1 天前 •via X (Twitter)

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32 条评论

mox 🐀 的头像

mox 🐀1 天前

Source:

Rafsby | a KID called BEAST 的头像

Rafsby | a KID called BEAST1 天前

Bro you are seriously a clown posting others stuff without any credit or reference to the creators. 🤡

Hakimi Eiqbal 的头像

Hakimi Eiqbal1 天前

want to build your own game with Opus 5.5? try QuadcodeAI, where you can access top models for coding, reasoning, images and video in one place DM me "HAKIMI1000" to get 1000 free credits and start building

Biskey (Game Dev + Product) 的头像

Biskey (Game Dev + Product)1 天前

Did you recently share this on Reddit? I think I saw it there first. This looks great, but I do have concerns about Claude generating the same look across multiple games that target Octopath visuals.

p 🦊 的头像

p 🦊1 天前

A while ago, I wrote a sound system that AI can use. It's for rust, so not sure if you're interested in that. I currently use it for all my games. It's not great yet, but if you use pixel style anyway, it might be fitting.

Woland 的头像

Woland1 天前

Opus cannot generate normal 2D images. Can you show the video with any simple promt of 2D art generation?

⭕ AI & Design (Marco) 的头像

⭕ AI & Design (Marco)1 天前

Share the source?

Remi Sebastian Kits 的头像

Remi Sebastian Kits1 天前

"heavily inspired". Could've just said copied.

foundplay.io 的头像

foundplay.io1 天前

zero imported art and it still beats every stick figure i've ever drawn

daemon 2.0 的头像

daemon 2.01 天前

Remove this now! you stole this from me! I posted this on Bluesky last week!

Luka 💎 的头像

Luka 💎1 天前

AI grifters gonna grift. Source:

Manuela Berger 的头像

Manuela Berger1 天前

I made a clicker game with Claude, check it ou pls

Pixlosopher 🔺🔸🔳 的头像

Pixlosopher 🔺🔸🔳1 天前

Problem will be distribution once again. We really need a steam for AI generated games, for people that doesn’t give a damn about purist artistic notions from the last century and want to have fun on user-created games.

VZ4E 的头像

VZ4E1 天前

zero assets is crazy

carlos villalpando 的头像

carlos villalpando1 天前

Jajajaja fuertemente inspirado, estoy volviendo a jugar el de celular. Van a mentir 100000000veces para decir que crea algo sola, en lugar de reconocer que copia burdamente la IA.

🔥 Zaxik 🔥 的头像

🔥 Zaxik 🔥1 天前

This is how I've been making my game for months now. Everything generated deterministically via code. Including music, using csound and a free soundfont. Code generated sound effects suck though, so I'm mixing royalty-free sound effects to replace them - still deterministic tho.

Richie 的头像

Richie1 天前

I thought this tweet was bullshit but I got a similar result with my game. Holy shit.

Mark Johns / Doomlaser 的头像

Mark Johns / Doomlaser1 天前

But it's fundamentally the template of something already made and adds nothing new or interesting?

Maximilienaire 的头像

Maximilienaire1 天前

Woah!🤯

KR 的头像

KR1 天前

It actually didn't

Aron Gustafson 的头像

Aron Gustafson1 天前

What engine is the game running?

Richie 的头像

Richie1 天前

The word you’re looking for is “procedural.” Doing very similar things with Opus and my game. The tricky thing is that purely a procedural setup will bloat your code/context/limit usage over time, so you may want to eventually commit things to fixed assets. Depends on how big it gets.

ジョニーズエンターテイメント的头像

ジョニーズエンターテイメント1 天前

いいね👍作りたくなっちゃったよ

KineticKeeper 的头像

KineticKeeper1 天前

really?

fallstargames 的头像

fallstargames1 天前

Have you tried asking opus to make midi audio using FluidSynth?

InoOnI 的头像

InoOnI1 天前

"Aucun atout artistique externe n'a été importé." la totalité à été volé mdr

EnzoXbt 的头像

EnzoXbt1 天前

no imported assets and the whole visual world generated in code… opus is basically becoming its own game studio

Raphaël Rouckout 的头像

Raphaël Rouckout1 天前

Feels like this game

Solecito 的头像

Solecito1 天前

Yep... and there goes a thousand more layoffs on game studios.

ص 的头像

ص1 天前

Fake

TrainerMeetupNYC 的头像

TrainerMeetupNYC1 天前

Looks beautiful

Vibers 的头像

Vibers1 天前

The growth in innovation that has been possible since Opus 5.5 is absolutely insane to see. There has been a visible amount of progress with this model compared to the last.

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Here is a game that looks like it was made with 2D sprites on a tilemap But it’s actually a three.js scene Also, no external assets. It’s all code and a bit of shader magic The player can switch between the pixel view and the 3D scene Made with Opus 5

Here is a game that looks like it was made with 2D sprites on a tilemap But it’s actually a three.js scene Also, no external assets. It’s all code and a bit of shader magic The player can switch between the pixel view and the 3D scene Made with Opus 5

Dilum Sanjaya

53,670 次观看 • 1 个月前

The asset pipeline is becoming code. Willowmere was built with Claude Opus 5.5: • No PNGs • No 3D model files • No audio samples Every object is generated procedurally with Three.js, while the music and sound effects are synthesized in-browser through the Web Audio API. Game design still needs taste. But the production bottlenecks are disappearing fast.

The asset pipeline is becoming code. Willowmere was built with Claude Opus 5.5: • No PNGs • No 3D model files • No audio samples Every object is generated procedurally with Three.js, while the music and sound effects are synthesized in-browser through the Web Audio API. Game design still needs taste. But the production bottlenecks are disappearing fast.

Jurly

35,135 次观看 • 12 天前

I asked Opus 5.5 to make a game inspired by the discovery of the first computer, the Antikythera mechanism. Everything you see and hear is procedurally generated in real time, from code by Opus 5.5. It's a single 3 MB HTML file. Playable Claude artifact below.

I asked Opus 5.5 to make a game inspired by the discovery of the first computer, the Antikythera mechanism. Everything you see and hear is procedurally generated in real time, from code by Opus 5.5. It's a single 3 MB HTML file. Playable Claude artifact below.

edwin

393,510 次观看 • 16 天前

Everyone keeps asking me how I generated the sprites, my assets, etc., for Evergrow. Astra made a custom drawing engine, and everything is drawn procedurally in code! I also built a lot of tools to browse and refine all the art in the game!

Everyone keeps asking me how I generated the sprites, my assets, etc., for Evergrow. Astra made a custom drawing engine, and everything is drawn procedurally in code! I also built a lot of tools to browse and refine all the art in the game!

Thomas Ricouard

41,505 次观看 • 1 个月前

This first-person shooter was built from a single prompt, using 404-generated 3D assets. On the latest Novelty Search, 404 explains how SN17 is moving from Titan, its open image-to-3D model built with miners, toward 3D assets generated as code that AI agents can edit and use directly in games. That work is part of a broader direction for 404: building world models where AI agents can learn and act. Hosted by const Full episode in the first comment

This first-person shooter was built from a single prompt, using 404-generated 3D assets. On the latest Novelty Search, 404 explains how SN17 is moving from Titan, its open image-to-3D model built with miners, toward 3D assets generated as code that AI agents can edit and use directly in games. That work is part of a broader direction for 404: building world models where AI agents can learn and act. Hosted by const Full episode in the first comment

Openτensor Foundaτion

19,046 次观看 • 1 个月前

Claude Opus 5.5 built a full open world game that runs in your browser zero assets. terrain, creatures, boss fight, animations, sound, music. all code it even cut this trailer and made the soundtrack (cover is image generated) play it:

Claude Opus 5.5 built a full open world game that runs in your browser zero assets. terrain, creatures, boss fight, animations, sound, music. all code it even cut this trailer and made the soundtrack (cover is image generated) play it:

Leon Lin

52,298 次观看 • 15 天前

Claude Code built roughly 95% of this procedural pixel creature engine from a single detailed prompt. No premade sprites. No AI-generated textures. Just Godot, C#, and code generating body plans, rigs, animations, mutations, and pixel art across 9 creature families. The prompt wasn’t a vibe. It was an engineering spec. Check the repo in the comments.

Claude Code built roughly 95% of this procedural pixel creature engine from a single detailed prompt. No premade sprites. No AI-generated textures. Just Godot, C#, and code generating body plans, rigs, animations, mutations, and pixel art across 9 creature families. The prompt wasn’t a vibe. It was an engineering spec. Check the repo in the comments.

Jurly

30,659 次观看 • 7 天前

Vibe designing robots with AI 🤖 None of the movement is just a simple animation Positions are calculated mathematically, with every part generated in code WALL-E reimagined with Opus 5.5

Vibe designing robots with AI 🤖 None of the movement is just a simple animation Positions are calculated mathematically, with every part generated in code WALL-E reimagined with Opus 5.5

Dilum Sanjaya

26,627 次观看 • 4 天前

Grok 3 is amazing. I built this Vampire Survivors-like game with some iterative prompting and ai-generated pixel art by PixelLab Not a single line of code was written by me. kudos to Ebby Amir @chaitualuru and the team at xAI. You guys cooked big time.

Grok 3 is amazing. I built this Vampire Survivors-like game with some iterative prompting and ai-generated pixel art by PixelLab Not a single line of code was written by me. kudos to Ebby Amir @chaitualuru and the team at xAI. You guys cooked big time.

Danny Limanseta

3,799,330 次观看 • 1 年前

I gave Sonnet 5.5 full artistic control for this game and told it to create an atmospheric action/puzzle RPG across 5 biomes, 5 guardian boss fights and it delivered, with some handholding from me. Understory is entirely drawn with code and made in a couple days. I am still constantly blown away at how much "taste" the new Sonnet and Opus 5.5 has. The ending is really poignant. Highly recommend spending the 20-30mins to get to the ending if you have the time. The game is built on ThreeJS with procedural 2D art made by code. You can play Understory here (Desktop Browsers for best experience):

I gave Sonnet 5.5 full artistic control for this game and told it to create an atmospheric action/puzzle RPG across 5 biomes, 5 guardian boss fights and it delivered, with some handholding from me. Understory is entirely drawn with code and made in a couple days. I am still constantly blown away at how much "taste" the new Sonnet and Opus 5.5 has. The ending is really poignant. Highly recommend spending the 20-30mins to get to the ending if you have the time. The game is built on ThreeJS with procedural 2D art made by code. You can play Understory here (Desktop Browsers for best experience):

Danny Limanseta

24,668 次观看 • 2 天前

Still experimenting with hand tracking 🖐️ using a webcam and the dear Carlo. The 3D model was generated from a single image in Omma AI Studio, and I remixed an Octopus demo to take advantage of the physics simulation. Building with AI these days is so much fun. Music also generated from the Studio (Fan Art) #threeJS

Still experimenting with hand tracking 🖐️ using a webcam and the dear Carlo. The 3D model was generated from a single image in Omma AI Studio, and I remixed an Octopus demo to take advantage of the physics simulation. Building with AI these days is so much fun. Music also generated from the Studio (Fan Art) #threeJS

Joseph Azar

74,581 次观看 • 3 个月前

🔮A game where the world only exists with you in it. Away From Home is a pixel art rhythm RPG.

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Away From Home OUT NOW

1,861,081 次观看 • 10 个月前

Last week I got Opus 5.5 and GPT-6 Astra to separately build me a 3D game engine in C++ from ONE prompt - a short markdown doc with some basic requirements. Opus 5.5 worked for 36 HOURS STRAIGHT and produced not just a fully functional 3D game engine, but TWO great quality games to go along with it. Astra worked for 1.5 hours and produced a basic starting point. Not sure why it stopped, but the basic engine was there. No idea what the code looks like (yet) - keen to do a code review and find out. This is one of the games that Opus 5.5 built in the "Basalt" engine, as it called it. This is my reaction to seeing it for the first time.

Last week I got Opus 5.5 and GPT-6 Astra to separately build me a 3D game engine in C++ from ONE prompt - a short markdown doc with some basic requirements. Opus 5.5 worked for 36 HOURS STRAIGHT and produced not just a fully functional 3D game engine, but TWO great quality games to go along with it. Astra worked for 1.5 hours and produced a basic starting point. Not sure why it stopped, but the basic engine was there. No idea what the code looks like (yet) - keen to do a code review and find out. This is one of the games that Opus 5.5 built in the "Basalt" engine, as it called it. This is my reaction to seeing it for the first time.

Yan Chernikov

60,898 次观看 • 3 天前

🔮A game where the world only exists with you in it. Away From Home is a pixel art rhythm RPG.

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Away From Home OUT NOW

3,470,675 次观看 • 10 个月前

SOMEONE MADE A FULL GAME WITH CLAUDE CODE, THE ART, THE ANIMATIONS, THE MECHANICS, EVEN THE TRAILER most vibe coded games pull free sprites off the internet or generate images, but this guy had claude design every single asset from scratch, art, sound, animation, cutscenes, all of it > its a 2d pixel art roguelike where you play as a little slime slingshotting knives at ghosts, going deeper into an increasingly violent world > you move around top down, fight enemies, take damage, collect loot, it plays like a real game not a demo > its a revival of a game he originally made back in middle school > claude designed every asset, and the sprites are generated in code, not image files > the entire trailer was made by claude too, he didnt touch the process at all > he ran hundreds of claude terminals in parallel to split the workload across fable agents, because generating that many sprites eats context fast he steered the general game design and feel, then let claude do the heavy lifting on everything else the reason most of these games look identical is everyone is pulling from the same asset packs but when the art is written instead of downloaded, it actually has its own style

SOMEONE MADE A FULL GAME WITH CLAUDE CODE, THE ART, THE ANIMATIONS, THE MECHANICS, EVEN THE TRAILER most vibe coded games pull free sprites off the internet or generate images, but this guy had claude design every single asset from scratch, art, sound, animation, cutscenes, all of it > its a 2d pixel art roguelike where you play as a little slime slingshotting knives at ghosts, going deeper into an increasingly violent world > you move around top down, fight enemies, take damage, collect loot, it plays like a real game not a demo > its a revival of a game he originally made back in middle school > claude designed every asset, and the sprites are generated in code, not image files > the entire trailer was made by claude too, he didnt touch the process at all > he ran hundreds of claude terminals in parallel to split the workload across fable agents, because generating that many sprites eats context fast he steered the general game design and feel, then let claude do the heavy lifting on everything else the reason most of these games look identical is everyone is pulling from the same asset packs but when the art is written instead of downloaded, it actually has its own style

Om Patel

11,239 次观看 • 2 个月前

Fable 5.1 is an absolute beast for game dev. I took my Opus 5 space game and told Fable to "just make it look better". It overhauled everything with a TON of detail, AND made it 2x faster 🤯 Code: Demo: Every pixel you see is made by AI. Fable modeled everything in Blender, generated textures with code, and in a few cases ran image models via CLI. In mere months we'll be vibe-coding AAA graphics at this rate. Just insane. Of course, Fable recorded and edited this comparison video too (with a little help from Opus at the end, because of the Fable outage)

Fable 5.1 is an absolute beast for game dev. I took my Opus 5 space game and told Fable to "just make it look better". It overhauled everything with a TON of detail, AND made it 2x faster 🤯 Code: Demo: Every pixel you see is made by AI. Fable modeled everything in Blender, generated textures with code, and in a few cases ran image models via CLI. In mere months we'll be vibe-coding AAA graphics at this rate. Just insane. Of course, Fable recorded and edited this comparison video too (with a little help from Opus at the end, because of the Fable outage)

Anshu

54,393 次观看 • 1 个月前

Someone asked Claude Opus 5.5 to make a game inspired by the Antikythera mechanism, often called the world's first computer, and it delivered a playable 3D dive adventure packed into a single 3 MB HTML file. → Every visual and sound is procedurally generated in real time from code Opus 5.5 wrote → Set in 1901 Greece, where sponge divers stumble on ancient bronze fragments and you help find the rest → Full controls to look, walk, turn, jump, scan with sonar and clean finds with a brush → Playable right now in the browser as a Claude artifact Credits: edwin

Someone asked Claude Opus 5.5 to make a game inspired by the Antikythera mechanism, often called the world's first computer, and it delivered a playable 3D dive adventure packed into a single 3 MB HTML file. → Every visual and sound is procedurally generated in real time from code Opus 5.5 wrote → Set in 1901 Greece, where sponge divers stumble on ancient bronze fragments and you help find the rest → Full controls to look, walk, turn, jump, scan with sonar and clean finds with a brush → Playable right now in the browser as a Claude artifact Credits: edwin

0xMarioNawfal

49,950 次观看 • 16 天前

This is what $1,874 of Opus 5.5 tokens looks like in an interactive 3D world The entire island was built with surprisingly little technical direction. Most prompts were closer to: > “add X and Y” > “this looks weird, make it better” Yet the finished world includes birds flying and diving into the ocean, crabs burrowing into the shore, fish swimming around a whale, wind-reactive cloth and signs, and dynamic nighttime lighting. The whole scene reportedly stays above 60 FPS at 1440p. The cost is the wild part: ~$1,874 in Opus 5.5 tokens, with around 2 hours of API usage across multiple subagents. There are still bugs, texture issues and visual artifacts. But as a stress test of how far natural-language direction can take interactive 3D world building, this is pretty ridiculous.

This is what $1,874 of Opus 5.5 tokens looks like in an interactive 3D world The entire island was built with surprisingly little technical direction. Most prompts were closer to: > “add X and Y” > “this looks weird, make it better” Yet the finished world includes birds flying and diving into the ocean, crabs burrowing into the shore, fish swimming around a whale, wind-reactive cloth and signs, and dynamic nighttime lighting. The whole scene reportedly stays above 60 FPS at 1440p. The cost is the wild part: ~$1,874 in Opus 5.5 tokens, with around 2 hours of API usage across multiple subagents. There are still bugs, texture issues and visual artifacts. But as a stress test of how far natural-language direction can take interactive 3D world building, this is pretty ridiculous.

Hakimi Eiqbal

28,865 次观看 • 10 天前

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This is what one full weekly Opus 5.5 limit looks like when you give it Blender MCP + Unity 6 Every 3D model and animation in this game was created with Opus 5.5 through Blender MCP, then brought into Unity 6 to build the playable world. The result is a colorful 3D environment filled with: > boats and docks > animated characters > underwater scenery > custom 3D assets > a complete explorable environment One weekly Opus limit turned into essentially an entire game's worth of 3D assets and animations. A playable demo is coming soon.

Hakimi Eiqbal

26,628 次观看 • 3 天前

Digital art, demystified. From early experiments with code to AI, immersive environments, and blockchain-based systems, technology has transformed how art is made, collected, preserved, and experienced. Introducing 'Decoding Art in the Digital Era', a new five-part film series from Art Basel and UBS exploring the artists, collectors, curators, and thinkers shaping this rapidly evolving field. Stay tuned for the first episode launching soon.

Digital art, demystified. From early experiments with code to AI, immersive environments, and blockchain-based systems, technology has transformed how art is made, collected, preserved, and experienced. Introducing 'Decoding Art in the Digital Era', a new five-part film series from Art Basel and UBS exploring the artists, collectors, curators, and thinkers shaping this rapidly evolving field. Stay tuned for the first episode launching soon.

Art Basel

12,205 次观看 • 10 天前