Hey everyone! Back with another AutoSprite update. I've been working on this almost every day for close to a year now, and it's been pretty crazy seeing how far it's come.

I originally started building this because I always wanted an easier way to make characters for my own games. The idea was simple: take one character image, turn it into animations, and actually be able to play with it instead of spending hours putting spritesheets together.

Lately I've been really focused on isometric and 2.5D RPG games. Getting a character to look consistent while walking, attacking, and casting spells in 8 different directions is surprisingly difficult.

Some of the things I've added and improved recently:

• 8-direction isometric spritesheets for RPGs, ARPGs, and tactical games
• Better character consistency across different animations and directions
• Idle, walk, run, attack, spells, and custom animations
• Equipment and character customization workflows
• A playable browser preview so you can actually test your character
• MCP integration with Claude Code and Codex to help build games with your generated assets

My goal is still the same: one character image in, a complete playable character out.

It's definitely not perfect yet. Getting animations to loop smoothly, keeping equipment consistent, and making attacks look good from every angle are all things I'm still working on.

But I feel like we're getting closer to making it possible for anyone with an RPG idea to actually bring their characters to life.

You can try it here: https://autosprite.io

I'd love to hear what you guys think, especially anyone working on an isometric RPG. What's the biggest pain point you still have with character animations?

Thanks everyone for all the feedback over the past year. It's genuinely helped me figure out what to build next!

FYI just because you use AI in your game, does not mean it is safe from AI cloner. If anything if AI can make your game, it can clone it

Currently in early stages :)

I pitted Opus5.5 low, medium, high, xhigh and max against each other, all using the same prompt without a reference image. All were allowed to use one sub-agent but surprisingly none did.

All were told to build a moody Godot 4.7 diorama of a cyberpunk alley, with rain slicked PBR surface, neon signs, bloom, volumetric fog, SDFGI, tone mapping, tile shift, depth of field, emissive signs, low angle hero shot. All agents were also instructed to use 3D Assets, and not to handroll any (not the actual prompt, just the summary).

Which one do you think did the best?

I've been working on my own game for 27 days using AI. I started with GPT-6 Astra but later switched to GPT-6.1 Sol because it uses around 5–10 times less of my usage limit while giving me similar results for most tasks. One of the biggest challenges was optimization. At first, 400 monsters could drop the game to 5 FPS, but after almost two weeks of testing and improving the code, it can now handle up to 1,000 monsters. The visuals and animations also need a lot of manual work. It's still an early prototype, but here's a short look at my progress! I'd love to hear your feedback, especially from anyone else using AI for game development.
Full video: https://youtu.be/mJx_IWZdCPo

Hi, not sure if people are already using this, but I wanted to share a proof of concept I created recently combining AI video editing with pixel assets for cutscene creation. I gave Claude an initial prompt detailing the specifics of the setting in question, a planet from one of my games, and instructed it to use Remotion in conjunction with generated assets to make this video.

Claude created a plan with individual cuts and timings based on what I asked for, incorporated my feedback, and prepared mockups for the pixel art generation, then edited together the assets using Remotion. Each cut gets its own .tsx file and the score was built by Claude using Python.

My prompts were not particularly deep here:

"I want to have this cloud session create animated content using remotion, animated via javascript https://github.com/cth9191/animate, asset generation via pixellab.ai midjourney & chatgpt pro. The goal is to produce personal animations and video content. Multiple topics and genres will be covered, but the initial test project is to create a short animation with a backing audio track. More details after repo and dependencies are configured."

"https://github.com/remotion-dev/remotion

Providing a link to the remotion repo if needed"

and finally:

"For the test run, the setting is on a planet that is 100% covered in city. A megalopolis planet called New Calidonia. This animated intro sequence should demonstrate daily life on the planet, describing both the fantastical elements and the mundane. A dog man and a robot argue over a parking space, a massively hairy alien hangs laundry on a balcony, an empty playground is built around a hologram of a tree. Each shot should be simple, short, and have some camera movement involved. Pixel art aesthetic is mandatory."

I've been making games as a hobbyist for a while. To simplify my own workflow I built an app, and since it might be useful for you too, I turned the idea into a website.

In my opinion, the hardest and most time-consuming part of 2D game development is drawing sprites frame by frame. So I put together a toolset to make that easier: you can take a 3D model with its animations and render 2D pixel art sprites from any angle you like, then edit and test them with the other tools on the site. And it's completely free.

What you can do with it:

- **3D → pixel art sprites:** load GLB, GLTF, FBX or OBJ models with their textures and animations (Mixamo, Meshy AI, Sketchfab and Blender files open as they are), render 1, 4 or 8 directions in front, side, top or isometric view, add toon shading, outlines and palettes, then export a sprite sheet (+ JSON for Phaser / TexturePacker), a GIF or PNG frames

- **GIF & APNG frame extractor:** split animated GIFs and APNGs into PNG frames, or combine your images into a GIF, APNG or sprite sheet

- **Sprite sheet slicer:** cut sheets by cell size, columns × rows or automatic sprite detection, remove the background and export PNGs, a GIF or a JSON atlas

- **Pixel editor:** draw and animate sprites with layers, frames, onion skin and classic palettes (PICO-8, DB32, Endesga)

Everything runs in your browser - your files are never uploaded. No account, no watermark.

I'm still working on it and improving it, so your feedback means a lot to me - bugs, missing features, anything.

https://pixelspritefx.com

Tutorial video: https://youtu.be/s9dGCEobJjE

hey guys, im still in high school and literally have zero coding background, but i always wanted to try making a game. i thought you needed a CS degree to even touch physics, but i spent the last few weeks using AI to help me build a prototype called Barnaby.

it’s a goofy 1940s slapstick FPS where you play as a 300lb mouse swinging between skyscrapers with sticky cheese strings the swinging physics were a total nightmare to fix through prompting, and the AI kept breaking my scripts once the file got too big, but seeing it actually work made me really want to learn real programming now.

its super rough and full of bugs, but i put a free early alpha build on itch if anyone wants to check it out or drop some feedback:https://vanzim2.itch.io/barnaby

any tips from real devs on how to stop LLMs from overwriting good code when fixing bugs? still super new to all this so any advice helps!

another non-scientific experiment. Sol, Vs Fable, Vs Opus.

Similar results from them all, looks like sol starts to shine on high effort and above. All received the same prompt that claude created, a paper whale, ink river, bookshelf mountains,

Which one do you like better?

I decided to change a lot of things in the past 2 weeks, so now we have the start of the story paved out. Mechanics in the same as before, but now with more objectives and more to come.

Yes, the animations are horrible still, I will work on them soon. The trailer shows some bugs also mostly in the speech bubbles.

The story is shaping like so: The sea rose and the world went under. You wake on a beach beside a wrecked boat, with no memory of how you got there. All that’s left is one scrap of land and an old camp someone abandoned long ago.

Light the cold fire with driftwood, salvage what you can from the wreck, and patch the old hut. On a nearby islet, an ancient whale-shaped altar holds three moss-covered cards. With them you can raise new land from the sea, tile by tile: forests, mountains with rivers, meadows to farm, beaches.

As the island grows, old things rise with it out of the deep. There are relics, pages from a keeper’s logbook, and a lighthouse that hasn’t burned in years. Light it again, and maybe someone out on the water will find their way to you.

Somewhere beyond the horizon, something very large is still moving through the sea.

I have tried recording gameplay myself and having AI edit it and also having AI record the gameplay and edit it all on its own.

Both lead to okayish results, but with both approaches I need many iterations to get something halfway decent. What are your experiences?

These are for Liliput, a Banished-inspired game set in a world of tiny people, found-object buildings and garden creatures.

I approve or reject the designs and give notes. Once a design is approved, the agents handle the modelling, texturing and checks. About 50 minutes per asset at the moment. Claude is doing the pipeline work, with image generation used for designs and texture paintovers. The models have to fit the game’s budgets. The beetle in the video is 876 triangles with four animation clips.

This is somewhere past iteration 20 of the pipeline itself. Feedback gets turned into instructions and checks for later builds. It still gets things wrong, but I’m spending more time on art direction and less on catching the same mistakes again.

Overall it works pretty good at matching and aging my characters, but I do have to go through manually after to do clean-ups and cropping.

Game is Studio Sim

Hey everyone,

By now, some of you might recognize me or my game. I'm the solo developer behind Grim Reach Idle (https://store.steampowered.com/app/4915450/Grim_Reach_Idle/) , a (currently) singleplayer, scape-like dark fantasy idle RPG. What a tongue twister! I'm a software developer from germany and have only been developing games for a few months now. You read that right, i actually created a game, with the help of AI, that keeps players around for hundreds (now thousands!) of hours. You could argue "That's only because it's an idler" and yes, that's fair, but it's still a great achievement in my book!

First of all, thank you

I just want to thank everybody who gave my game a shot. I feel incredibly privileged to be able to say that my game has reached this amount of success. Some might think it's small or meaningless, but for my first release, this absolutely blew past my expectations. I poured my heart and soul into designing the perfect idler for myself, the way i wanted it to be. Seeing other people enjoy that is honestly a little hard to put into words. So sincerely, thank you, from the bottom of my heart. You're fulfilling this man-child's dream :)

I also wanted to share some of the things i learned while developing Grim Reach Idle and keeping it running after release.

"How did you market your game?"

This is the question i get the most. Honestly, this is my weakest skill by far, probably like many of us. I didn't really market my game at all. I put it up, waited until i could release it and... i just did. No planning, i didn't look at the wishlists, i honestly didn't care at the time. All i wanted was to make a good game and see if it reached the right people.

Does that mean you should do it the same way? Absolutely not. With what i know now about wishlists, conversion rates and all that, i'd say wishlists are very important to give your game a chance of getting noticed by the algorithm. What i'm trying to say is: don't stress so much about wishlists and numbers that you lose sight of making a good game you're proud of.

Project scope

Another problem i see here all the time. Alot of posts here are about projects that seem way too big for a single developer. And you might say "But you can't know if that's too much for someone!" You're right, i can't. But i do think a lot of people will burn out before they even finish half of what they planned. If you're making your first game, do something simpler. Ask yourself: "Do i have the tools and skills to take this game from 0 to 100?" And if the answer is no, start smaller.

I would love to make a 3D RPG in my own universe. Who wouldn't? But do i have reliable tools to make everything that would need? Not yet. 3D is still iffy with AI, and animations can be quirky if you aren't using pre-made assets. Having 5–6 nice Meshy models is cool, but can you REALLY scale that up to hundreds of NPCs? Will they look good together? Will the rigging work properly? Those are things you need to figure out before you've already sunk months into it. Do something simple so you can learn the fundamentals of good game design. Focus less on pretty graphics, try finding your own artstyle and make something that feels like yours.

The last 10% are the hardest

This is so disgustingly true that i want to throw up. I have three games in development, with Grim Reach Idle being the only one released so far, and i've felt this with every project. You'll chew away at those last 10% for weeks and months on end. Thats why i really recommend building your game in a way that makes things easy to revisit and change. Good architecture matters a lot, especially when you're working with AI and paying for token usage. You'll be coming back to things more often than you think.

And to everyone who needs to hear it: don't give up

Don't do this just for money or fame. You need passion, and you need to believe in what you're making. Keep learning, try to get better and push yourself to build something you're happy with. For me, making games used to be one of those things i'd dream about without knowing how to actually do it. Now i've released one, and people are spending their time playing it. That still feels a bit unreal. There are so many creative people who have ideas but were missing the skills to bring them to life. Being able to finally do that means a lot to me, and i'm sure i'm not the only one.

And fuck all the Anti-AI shit going on :-)

- Adhavar

I'm a gamer who wanted to make a game myself, so I made one about my real dog, Cookie. It's COOKIESANER, a bullet heaven. Solo, Godot 4, five months, from May 13 to October 20.

Claude Code wrote the GDScript. I tested every change in the game before keeping it. The art comes from Gemini and Higgsfield. Gemini can't give a clean transparent background, so every sprite goes through a background removal step. The music is made with Suno. Her barks are recorded from her. The design and every choice in it are mine.

One thing that didn't make the cut: AI walk frames. Her legs are rigged on single drawings now.

In the game she fires ćevapi, eats to get bigger, hits harder and moves slower. At stage 4 she goes GOD MODE and rolls over the horde. Two maps, three bosses, about 10 minutes a run.

Free demo on Steam: https://store.steampowered.com/app/4816480/?utm_source=reddit&utm_medium=post&utm_campaign=aigamedev
Browser, no download: https://cookiesaner.itch.io/demo

Let me know what you guys think, I'd appreciate any suggestions :)

With the holidays coming up what has been your favorite/ most fun holiday item you've added to your game?

Veridian Contraption is a terminal world simulator in Rust. A colored ASCII map sits on the left and a chronicle scrolls on the right. Civilizations found guilds, run show trials, march levies and get hit by one of seven Eschatons, catastrophes that reshape the map for good without ending the world. You leave it running, come back, and read what happened.

What you can do besides watch:

• Adventure mode. Step into the running world as one adventurer, a real agent in the same sim. Take bounties off settlement petition boards, recruit companions who have their own lives, fight turn-based Clashes, and walk dungeons. Retire to a roster and your adventurer keeps living there, or die for good and get an epitaph built from your own chronicle.
• The Bureau Advisor. Each world generates a counselor with a personality and an ASCII portrait. It comments on wars, famines, deaths and Eschatons as they happen.
• Patron actions. Sponsor artists, start rumors, declare trade embargoes, seed rivalries, grant titles. You can also found your own guild, cult or mercenary company, fund it, and commission quests from a patron budget.
• Magic. Six traditions, including Bureaucromancer. Wizard towers, corruption, and rogue wizards.
• Off-map powers. Foreign forces show up as rumors, then sightings, then arrive to invade, parley or settle, sometimes with multi-phase sieges.

How it was built: Claude Code wrote the code. I design board wargames for a living, so I did the design: 170+ event types, five prose registers for the chronicle (Clinical, Lyrical, Bureaucratic, Ominous, Conspiratorial), and a tabletop-style combat results table for wars. A task file and a short mission doc in the repo meant each session started from the same page.

The one thing worth stealing: every change had to pass a determinism test. Run the same seed for 10,000 ticks twice and diff the output byte for byte. It caught more agent regressions than anything else I tried. If you build a sim with an agent, set that up on day one. (I later added 25k and 50k versions, plus a check that saving at 5,000 and resuming lands on the same bytes as a straight run.)

The art and the 14-track score aren't AI. They're instrumentals I recorded over the years, picked to sit under the text. I do music for games too; the trailer has a sample. The soundtrack is a free download with the game.

Trailer: https://youtu.be/Kc0vFZs8qM8 itch: https://conflict-simulations-llc.itch.io/veridian-contraption

Question for people building sims: how do you keep an agent from quietly breaking determinism? Seed diffs are my only guard so far.

Studio 64 runs the real SM64 (the decomp, compiled to WebAssembly) in your browser, with a level editor around it. You type something like "give me a shotgun" and it happens in the running game. No compile, no reload.

The part I think is interesting for this sub is how the AI is wired in. It doesn't generate the level or write code. It gets the same tools the editor gives a human: place a block, spawn an object, sculpt terrain, write a dialog line, change a game rule. So everything it does shows up as normal edits, and Ctrl+Z undoes them like your own. If it builds something dumb, you just undo it.

You can plug in Claude, OpenAI, Gemini, OpenRouter or a local model. If you don't connect anything, the chat and all AI buttons are hidden and it's a plain editor: 29 block materials, about 600 of the game's objects, terrain sculpting, roads and trees, dialogs in the game's font, a piano roll that plays the game's own instruments. At the end you can export a real N64 ROM or a .bps patch.

Trailer: https://www.youtube.com/watch?v=hcomzBaXxZo
Code (MIT, free): https://github.com/supermochi64/studio64

Your fingers are the guns.

I've been making a retro zombie survival game that looks like it came off an old PS1 disc. Board up the windows, hold off the horde round after round, hit the mystery box, and upgrade your finger pistol into something ridiculous.

Play solo or team up with up to 4 friends. One person hosts and shares a 4-letter code, and everyone else jumps in. PC and Android players can play together.

5 maps: a supermarket, a bowling alley, a holiday park, a school and a farm

Bosses on every map

Wild modes, like ninja hand seals, mannequins that only move when you're not looking, and a boss every round

Unlockable classes and skins, from hazmat suits to solid gold, and your mates see your whole outfit

It's free, and it plays right in your browser. There's an Android download too.

Play it here: https://innovatorsplayground.itch.io/dead-hands

How many rounds can you last? Drop your best round in the comments 👇💀

While AI does a lot of the legwork, I feel I've made huge progress in my own way over the last few months. Game design is no joke, and I think half the battle has been thinking "How can I make this more user friendly", and "what would a new player not understand?".

You guys set me on the path by giving me genuine feedback on my earlier versions of the game. Without that feedback, I'm not sure I would be here now. So thank you!!

https://sezl.itch.io/idle-freelance

I did this with Claude(Opus 5.5) running in the cloud. It should work locally too, but I haven’t tested that.

1. Get a reference video. One continuous shot with the whole body in frame.
2. Have Claude install the tools: MediaPipe, HMR 2.0, YOLO11 and Blender. Grab X Bot from Mixamo yourself and tell Claude to use it, otherwise it’ll make its own sloppy 3D character.
3. MediaPipe finds the 2D joint positions (knees, ankles, wrists) in every frame, and HMR 2.0 turns that into a full 3D pose with depth and joint rotations, which is what actually drives the character.
4. YOLO tracks the object in the video. For my game it’s a skateboard, but for you it could be a sword or anything else.
5. Put it together in Blender and render. You can ask Claude to do this part too.
6. Export as GLB or whatever format you need.

Everday i checked on this sub, there's always one game being developed and its about fishing. Whats with the obsession with fishing games?

I make LSDE, a desktop editor for game dialogue, localization and narrative scenes. Version 2.7 is mostly about AI voice lines (ElevenLabs) and the keys behind them.

What changed

• The audio tag catalog grows to 183: stronger emotions, speech tics, voice timbres, accents and a group of sound effects. A right-click in the text, outside a tag, inserts one before or after the word under the cursor.
• A personal dictionary lets you add your own tags, with a description, and mark favourites that follow you across all your projects.
• A right-click on "Improve for TTS" shuffles the tags of a line, at random or within the same mood, or goes back to the key text.
• Each line keeps its past texts, generated or not, and brings back your draft in progress when you return to it.
• In lip sync, a right-click on the play button plays the take again from the start, and the button shows pause while playing.
• Each AI provider remembers its active key. With rotation ticked, a refused key hands over to the next one, including for ElevenLabs voices.
• An agent can fill the empty file paths of a namespace through the MCP bridge, without touching keys or texts.
• Warnings now show in yellow, and red is kept for errors.

Why

Audio tags are how you direct a generated line (a whisper, a sigh, an accent), and a catalog you cannot extend is a ceiling. The dictionary removes it, and the shuffle gives you a quick way to hear other readings of the same line.

How do you direct AI voice lines in your project? Tags in the script, settings per line, or a processing pass afterwards?

🔗 Download LSDE

see video in zh

see video in fr