Release notes.

Describe the game you want in your own words and drop in up to 20 pictures to show what you mean. Arcwright plans the game, builds it, plays it itself and shows you a proof report at the end: what it made, what it checked and what it saw. Select anything in the game view and ask for a change to just that. When a request is vague, it asks about the style and genre you want before it starts.

How to use it: start a project, open the chat and describe your game. Drag reference pictures into the chat.

Three ways to connect: sign in with Sparks (nothing to set up, pay as you build), use your own Anthropic API key, or connect an AI you already use. Claude Code, Codex or any MCP-capable assistant can connect to the editor and use the same tools the built-in chat does. You can also build everything by hand.

The chat can pop out into its own window, resize, and show pictures inside it.

How to use it: the built-in chat and Sparks are on the Mac. On Windows and Linux, connect your own AI.

The new Tools window lists every tool the AI has, searchable and grouped, each with its own form built from the tool's own description. Fill it in, press Run, and read the answer. Whole-number fields refuse bad input, and your manual tools wait their turn while an AI is working, so nothing collides.

How to use it: open the Tools window, search for what you want (“weather”, “forest”, “water”) and run it.

Help › Arcwright Guide is a built-in manual, including a guide to making reference pictures with Nano Banana, with real example pictures. The Scripting Reference sits beside it.

How to use it: Help › Arcwright Guide.

Arcwright opens on a Start screen: your projects as pictures, a new project in one click, and our games in development ready to download, open and take apart: Hollowreach, the Ashgrove mansion, Zombie Woods, Night Shield and Brinewatch. Get one, open it, press Play, and see how it's made. Suggest Something sends us an idea for the next one.

How to use it: File › Projects (⇧⌘O), or the folder button in the toolbar.

Click-and-go tools for the jobs you do most: mood, weather, music, land, grass, forest, water, birds, enemy brains, behaviours, menus, photo to material, floating objects, frame rate and screenshots. Each one does a whole job: pick, slide, press.

How to use it: the Quick Tools panel on the right of the editor.

Drag the time of day, the weather and the wind, and they change in the game right away. Six looks change the whole world with one click: Golden Hour, Day, Storybook, Night, Noir and War-Torn.

How to use it: the Mood & Time of Day Quick Tool.

26 new nodes for gameplay without code. The graph resizes, zooms, and pops out into its own window like every panel.

Quitting or switching projects during Play saves or asks first. Save As asks before replacing a scene. A new export never deletes the previous one. Unsaved changes are kept per project and offered back once, and renames and imports can no longer break a scene. The editor opens filling your screen, and opening a project no longer pauses.

Send ideas, bugs and pictures from inside the app, and +1 other people's ideas on the board. When the AI hits a problem, it can report it to us, only if you say yes.

How to use it: the Feedback window in the app.

Play Watch tracks a play session as it happens (hitches, missed sound deadlines and where they happened) and writes a play report. Shaders reload live, so a look change shows without restarting.

On High and Ultra, the sun's shadows are ray-traced, including see-through leaves, wind-swayed twigs and ground cover. Light bounces once off every surface (one-bounce GI) and corners darken from traced ambient occlusion. The bounce carries every light, not just the sun, and lamps without a shadow map are darkened by its occlusion: the floor under a sofa, behind a crate, in a corner. Each effect falls back where a graphics card can't do it.

How to use it: the High and Ultra graphics quality settings.

A new TSR-style temporal resolve with real motion vectors, temporal upscaling and sharpening after the resolve. Thin grids stop crawling as the camera pans, moving objects leave no trails, and glass keeps its edges in motion. On Retina screens the viewport upscales cleanly, with no two-pixel staircases.

How to use it: the View menu, or ask the AI to change it.

Lamp shadows got PCSS soft shadows, texel-scaled bias and contact shadows, and a lamp's own fixture never shadows it. Clustered lighting with light cuts lets a scene hold many lamps: forward-lit materials take up to 64 lamps by default, the same picture 7 to 12 ms faster in the mansion. Tube and panel lamps light as real area lights. Rooms seen through open doors are drawn; rooms you can't see are skipped.

Refractive glass with layers, absorption, dispersion and glints. Light shafts through haze at half resolution. A neutral tone map (Khronos PBR Neutral) beside the filmic one, depth of field while playing, and a live screen that shows another scene playing on any surface.

Forged models, products and rigged characters get levels of detail, chosen by measured error so stair treads stay sharp. Far trees become voxel stand-ins lit like the near ones. Displaced bark and ground use tessellation only where the camera can see the relief.

Turn your own photos into tileable materials with colour, relief, roughness and occlusion. Every recipe surface breaks its repeat with a hexagon tile-break, and rock on the land is read three ways (triplanar) at two sizes, so a cliff never shows a grid.

How to use it: the Photo to Material Quick Tool.

Wear presets that look real: rust where paint chips through to steel (brown hearts, orange rims, pitting), dirt in grout and at wall bases, scuffed floors. The paint tool adds paint layers, placement wear and decal channels to any model.

A decay layer for rising damp with a tide line, peeling paper, mold blooms and water streaks. Walls are built in real layers (paper, plaster, lath, brick), so a tear shows what's behind it. Deep decals cut real cavities, and bullet holes are photographed per material.

Solid wood with growth rings that taper and wander along each piece, every board its own. Cut-pile carpet and crushed velvet drawn as real fibres that catch the light. Brushed metal with anisotropic highlights, clear coat, and translucent wax, paper and lampshades.

Photo ground cover (tufts, single leaves, stones) and model ground cover, placed on the GPU around the camera on big land. Grass reaches 300 m, thinning far out. Moving characters push it aside without re-planning the field every frame.

How to use it: the Grass and Forest Quick Tools.

Full round crowns grown on twigs, far crowns baked from the leafy level so distant woods read as trees, not tufts, plus a storybook tree style. A far sun-shadow cache draws still trees once, so a forest's shadows stay cheap.

Terrain holes: cut a hole in the land and walkers, bodies and raycasts pass through it, paths route around it, and ground cover regrows on the rebuilt mesh. Made for cave mouths and pits.

Fireflies, pollen, falling leaves and butterflies, drifting with the wind.

Rain with per-drop speed and gusts, rain curtains, thunder and lightning, soaked surfaces with puddles and ripples, and rooms that stay dry under a roof.

How to use it: the Weather Quick Tool.

A wind field with gusts, turbulence and storm cells that the trees, grass and rain all follow. Volumetric clouds with their shadows on the land and sea, and a hurricane's eye, eyewall and spiral bands.

An FFT ocean built from a real wind spectrum, four cascades out to 1 km, foam and whitecaps, and a sea you can go under: Snell's window, light through the water and caustics on the bottom.

How to use it: the Water Quick Tool.

Tornadoes and waterspouts in the wind field with EF strength, travel and rope-out, ray-marched with the clouds, that lift loose objects. A tsunami's long wave on the ocean (drawdown, shoaling, breaking, run-in) and rising flood water with a current. Ask the AI or use the Tools window.

A new Arcwright walk is the default for every character, on its own skeleton, with foot contact, knee give and follow-through, run transitions, and motion matching with smooth blends. Walk and posture can be tuned live with an on-screen view, no rebuild per tweak.

Characters keep their balance by stepping, put their hands out to catch a fall, react where they're hit, fall with muscle tone instead of going limp, and get back up from the ground.

Hit capsules are fitted to each character's own skin: 85% coverage instead of 33 to 44%, plus the hands and the neck. Ragdolls use the same fitted shapes, and limbs collide with the body.

Parkour moves, climbing walls (one limb at a time with the other three planted), a glider (jump again in the air), and a side-scroll view for 3D characters in 2.5D platformers.

Pose any rig in the viewport: joints with readable names, click to pick, drag a ring to turn, finger curl, keyed clips and weapon holds that stay put at every aim angle.

Skin with pores, thin-skin light transmission and an oily sheen, layered eyes with a refracting cornea and tear film, expression wrinkles, eyelid and mouth occlusion, and 52 face shapes by name.

The Tailor drafts, sews and drapes garments on the body, with two-tone sleeves and loose garments that swing. GearMaker builds a plate carrier, belt, knee pads, gloves and boots on the body. Skin under clothes and gear is hidden automatically.

Forged models carry a collision box per part with what each part is made of. Hollow vessels take a bullet through both walls, and navigation reads the part boxes. A floating part is now a build error, not a surprise.

Carved models are painted from their reference views, blending every view that sees each point, so seams and edge streaks disappear. Painting is about 70 times faster, with live progress.

Static set dressing can be written as one mesh with one detail atlas, and forged models get levels of detail. Product Forge builds packaging, label sheets and stocked shelves.

Any cartoon figure from a recipe, hand-painted, with toon eyes, hair locks, anatomy sliders and tailored clothes. Sheet Sculptor fits a figure to its turnaround sheet by measurement.

NPC brains that hear sound travel through rooms and walls, remember, choose with utility scores, and work in squads, as bosses or in traffic. A zombie preset hunts as a horde, tears boards off windows, bashes doors, climbs in and rises from the ground.

How to use it: the Enemy Brains Quick Tool.

Static triangle-mesh collision, so characters and bullets meet a model's real shape. Bullets pass through what they should (a rug on a floor no longer stops a rifle round). Hurt volumes are posed only while a swing or shot is live.

GPU particles with blood and bullet impacts, real flames, and a bullet camera. Game sound follows what you see (floors, roads, zombies, boards), cut voices no longer click, and a play test can list every sound it heard.

The held gun draws in its own depth layer, so nothing in the world cuts into it, and it reads in shade with a soft fill.

Physical sky and volumetric clouds, cascaded sun shadows, ray-traced bounce light, temporal upscaling, the ocean, refractive glass, skin, eyes and fabric, swaying trees with voxel far forests, fire, smoke and heat haze.

How to use it: F6 (Play in Game Window) runs your game in its own Vulkan window beside the editor.

Measured on a Steam Deck: the Ashgrove mansion went from 23 to 33 fps and Zombie Woods from 21 to 24 fps with the Beta 1 speed work. Install on SteamOS by unpacking the download and running arcwright.sh, which also adds Arcwright to your applications menu.

Games made in Arcwright play in a browser tab, no install, including the first 3D games on the web. Settings and saves are kept per game. 2D plays in any modern browser; 3D needs WebGPU.

How to use it: the Arcade.

Open any of our 2D games in development, change anything, press Play, and publish to Arcwright Worlds from the browser. Touch controls with a d-pad on phones.

How to use it: the browser editor.

Frame Doctor breaks a frame down by pass and stage, records hitches, and runs experiments against a fresh baseline. The frame governor holds a target frame rate by trimming what you won't notice first. Scene levels of detail cut a player-eye view from 30 to 17.6 ms with the same picture.

The kill cam always ends (a missed round could freeze the game), get-ups are prepared before they're needed, and hit reactions load off the frame, so play doesn't stutter.

Lossless 30 fps recording, including from a hidden viewport, for capturing your game while you work.