Hey r/Spectacles 👋

After a lot of experiments, debugging, rebuilding and probably an unhealthy number of Claude Code windows...

DGNS Micro Corp is now available for Spectacles.

🎬 Trailer + full installation/setup tutorial in the video.

The idea is pretty simple:

Instead of treating AI coding agents as invisible processes running somewhere on your desktop, DGNS Micro Corp gives them a physical presence and brings them into your space.

Each Claude Code session becomes a spatial agent you can see, monitor and interact with through Spectacles.

You can:

• See your active Claude Code agents spatially
• Monitor what they're doing
• Monitor your usage
• Interact with Claude Code directly from Spectacles using voice, text and commands
• See and take control of your PC remotely
• Launch and manage agents and workflows from the Lens
• Use spatial controls to interact with your desktop
• Connect Spectacles to your computer through the DGNS Micro Corp Bridge for Windows

The Bridge handles the connection between Spectacles and Windows, allowing the Lens to communicate with your machine and interact with the tools running on it.

And this is where it gets interesting.

For example, you can summon a generalist agent and tell it:

"Open Lens Studio, connect to the MCP and start building."

The agent can then work on your project while you interact with it through Spectacles. With the remote desktop capabilities, you can even check the Lens Studio preview, interact with your PC and keep working with your agent while you're away from your desk.

And it isn't limited to Lens Studio.

The agents can interact with basically anything running on your computer.

🖥️ Setup

I recommend following along with the tutorial at the end of the video.

The process is essentially:

1. Install the DGNS Micro Corp Lens on Spectacles
2. Install the DGNS Micro Corp Bridge on Windows
3. Launch the Bridge and pair your Spectacles
4. Start your Claude Code sessions
5. Profit.

The Windows Bridge is available on GitHub, and the Lens is available directly through Lens Link.

Windows Bridge:
https://github.com/DgnsGui/DGNS-Micro-Corp-Bridge/releases/tag/v1.1.0

Spectacles Lens:
https://www.spectacles.com/lens/367e637ccf854ea98ad5ec97b8712f3e?type=SNAPCODE&metadata=01

The Lens is not open source at this stage.

I wanted to get the actual experience into people's hands first, see how people use it, and figure out where this could go before opening everything up.

This is only version 1.

There is a lot more I want to explore around agent orchestration, monitoring, spatial workflows and what happens when your computer stops being something you look at...

...and starts becoming something that exists around you.

I've been building this around a pretty simple question:

>What would a software company look like if the entire company existed inside your room?

Welcome to DGNS Micro Corp. 🏢

🔗Lens Link: spectacles.com/lens/a77ba477b6da46e4a8a479f99ef5637a

So yeah, this got a little out of hand.

What started as a simple idea for a finger surf experience somehow turned into a full AA game with 7 real surf spots, tricks, score combos, progression, weather, a diegetic surf magazine manu you can physically flip through in AR, real surf forecasts, Daily Surf challenges, collectibles, a talking coach...

And all of that running on Spectacles.

It's called DGNS Surf Sessions, and it's my submission for the Spectacles Community Challenge.

The basic idea is pretty simple: your hand is the surfer.

You put your index and middle finger on the board, the line between them becomes the board's axis, and rolling your hand engages the rail.
The wave moves underneath you, so instead of trying to walk around your room pretending it's a 30-foot reef break, the whole thing happens on a miniature reef sitting in front of you.

That was actually one of the biggest design problems early on.

My first version treated the hand more like a controller.
I was measuring angles and using them as input, kind of like a joystick.

It sucked.

The board felt like it was vaguely following my hand instead of actually being attached to it.

So I changed the whole approach.
No neutral position, no accumulated input.
Your fingers are basically the surfer's feet.
The geometry of your hand directly drives the board.

That was the moment where it started feeling like surfing instead of controlling a tiny object.

The game has 7 spots right now:

Hossegor, Mundaka, Pipeline, Teahupo'o, Pe'ahi, Nazaré and Mavericks.

I really didn't want them to just be different wave models with different backgrounds.
Each one has its own wave profile, speed, peel, barrel probability, series size, water colour, difficulty and atmosphere.

Hossegor is chill. Beach break, little Basque house, parasol and towel on the beach, pine trees and a little reggae track.

Then you get to the heavier stuff.

Rain starts pouring, the waves get stupidly big, the little reef environment appears in front of you and the music kicks in.

That was probably my favourite moment during development.

I remember playing one of the harder spots and arriving at the reef, seeing those massive waves in front of me with the rain and the soundtrack going, and I actually got that little shiver.

You know the feeling when you arrive at a spot, see the waves properly for the first time and think:

"Alright... I'm actually going out in that."

Part of this game definitely comes from my own relationship with the ocean and that weird mixture of excitement, fear and adrenaline you get around serious waves.

I wanted some of that feeling in there.

A huge inspiration for the game obviously comes from old PS2 era surf games.
Stuff like Transworld Surf and Kelly Slater's Pro Surfer.

And the more I worked on Spectacles, the more I realised that developing for them weirdly feels close to making games for that era.

You have a very specific piece of hardware.

You have to care about performance.

You can't just throw a bunch of massive assets at the device and hope for the best.

You have to work around weird limitations and get creative.

And honestly, I kind of love that.

Most of the game is procedural.
Custom MeshBuilder geometry, shader graphs, TypeScript everywhere. Very few imported meshes.

The game currently runs at 60fps on device.

One of the technical constraints was the display itself.
Spectacles are additive, so black doesn't really exist. A black pixel means no light, which means you just see your actual room behind it you can't simply make the water dark to create moody oceans because at some point your wave literally starts disappearing into reality.

So

That forced me to build the identity of each ocean mostly through colour and saturation rather than darkness.

Nazaré ended up being the weird exception and became the only really grey ocean in the game.

There's also a proper score system where you build up points during your ride and bank them when you successfully kick out.
Wipe out before that and you lose the lot.
Definitely inspired by that old-school extreme sports game mentality.

There are currently 12 detected tricks too, including Bottom Turns, Cutbacks, Snaps, Off The Lips, Floaters, Ollies, Grabs, Flips, Reverts and obviously Tube Rides and Barrels.

The UI was another thing I really wanted to have fun with.

Instead of a normal menu, you get an actual surf magazine floating in front of you.
You grab it by the spine and flip the pages with your fingers.
You can choose spots, check your progression, mess with the settings and even look up real surf conditions through Open-Meteo.

The whole artistic side of the project comes from the surf movies I grew up watching.

Like Point Break, Blue Crush, Endless Summer... and yeah, Surf's Up too.

Actually, the original idea for this game came to me while watching Surf's Up from Sony Imageworks with u/florenciaraffa1980 😂

The soundtrack is original too, generated with Suno.
I'm actually pretty happy with it.
Each track helps give its spot an identity alongside the environment, weather, water colour and wave shape.

I'm not going to pretend I'm 100% satisfied with everything though.

Hand tracking can still get weird from certain angles, especially when your fingers get hidden behind your palm. That's a physical camera occlusion problem more than a smoothing problem.

So if you try the Lens, little tip: lean your head towards the wave and face the tube while surfing. The tracking gets noticeably better when the cameras can actually see your fingers properly.

I also wish I had more time to push some of the graphical stuff further.

But then again... I built this thing alone in about a month.

So I'm not going to complain too much 😂

It's currently sitting at something like 104 TypeScript files, 7 music tracks, 98 sound effects, procedural waves, weather systems, objectives, Daily Surf, hardcore mode, a talking coach, different boards and a bunch of stuff that somehow kept getting added because apparently I don't know when to stop.

I really hope some of you guys take the time to try it.

This was a fun one to make, and I think it only really makes sense once you actually put your fingers on the wave.

Anyway, that's DGNS Surf Sessions.

My little attempt at putting a tiny piece of the ocean on your table.

🏄🌊

25 years ago, Red Faction on PS2 introduced something that still fascinates me today: GeoMod.

It wasn't just about explosions. It was about changing the world's geometry in real time.

That childhood memory inspired my latest project, DGNS Mayhem Demo, an experimental Lens built for Snap Spectacles.

The question was simple:

Can a real-time destruction engine run entirely on standalone AR glasses?
There was no existing solution in Lens Studio, so I rebuilt everything from scratch.

After all, if it could run on a PlayStation 2 with 32 MB of RAM, a ~300 MHz CPU, and 4 MB of VRAM, surely a modern Snapdragon could handle it.

Instead of swapping pre-broken meshes or triggering scripted animations, every rocket modifies voxel data in real time, rebuilds the mesh, creates genuine holes through structures, and updates structural support so buildings collapse naturally when their foundations disappear.

What started as a tribute quickly became a much larger engineering project. It now includes procedurally generated buildings, real-time destruction of the Spectacles world mesh, a UI designed specifically for additive AR displays, voice-guided onboarding in three languages, and more than 31,500 lines of TypeScript spread across 65 scripts.

More than anything, this project was about exploring what is possible on lightweight wearable hardware.

I'm incredibly grateful to the original #GeoMod team at #Volition.

Their work inspired an entire generation of developers, myself included.
I'd love to hear what you think.

🔗Lens Link: https://www.snapchat.com/lens/81bbaee0f5cd476c9551f0a468d6580a

One of my favorite games growing up was Red Faction (2001).

The GeoMod engine completely blew my mind.
Instead of shooting at indestructible walls, you could literally blast tunnels through solid rock.

More than 25 years later, I wanted to see if that feeling could exist in augmented reality.

After all, if it could run on a PlayStation 2 with 32 MB of RAM, a ~300 MHz CPU, and 4 MB of VRAM, surely a modern Snapdragon could handle it.

So I spent the last few months rebuilding the core idea from scratch for Spectacles.

The result is DGNS Mayhem Demo: a technical sandbox where you can pick up a rocket launcher and demolish fully destructible voxel structures in your real environment and the environment itself (worldmesh hit)

Unlike traditional destruction systems, nothing is pre-fractured. Every rocket permanently edits the geometry in real time, letting you carve tunnels, punch holes through walls, weaken foundations, and watch entire buildings collapse when their support gives way.

Under the hood

• Real-time signed distance voxel field
• Live mesh reconstruction after every impact (<1 ms)
• Persistent craters and fully carved-through holes
• Structural support solver for realistic collapses
• Four procedural building types
• In-AR building editor to create your own demolition targets
• Two-handed aiming
• Index-finger virtual trigger
• Optional phone-as-6DoF controller
• Voice-guided onboarding in English, French, and Spanish (requires internet).

One thing I wanted to be clear about from the beginning: this isn't a shooter.

There are no enemies, NPCs, or people.
The focus is entirely on the technology and the strangely satisfying experience of demolishing structures and see things fall.
The Lens even opens with a short disclaimer explaining that it's a playful tribute to classic destruction technology, not an endorsement of real-world violence nor destruction.

I'm still polishing the project, especially the real-world mesh destruction, but it's finally at a stage where I'm excited to share it with the community.

I'd love to hear what you think, and I'm happy to answer any questions about the destruction pipeline, voxel system, physics simulation, or the AR UI.

Hope you enjoy it!

This is what it looks like through the waveguide.

The experience is low-latency, optimized for Spectacles hardware, and surprisingly practical for real work.

Having your terminal, CLI, or a Lens Studio window floating in front of you while staying mobile is incredibly useful.

This UMPC + AR glasses combo is one of my favorite setups for working on the go.

Hey Spectacles community!👋

I've been building DGNS NETRUNNER, a solo passion project for Spectacles that turns the real space around you into a hidden network waiting to be breached.

🔗Lens Link: https://www.spectacles.com/lens/97ddd48f4749495f9c080fa404b3f573?type=SNAPCODE&metadata=01

The idea is simple:

Your environment becomes the level.

You wear diegetic Kiroshi cyber-optics.
Don't worry there is clear onboarding for you if you are not familiar with the cyberpunk universe.

Here's the gameplay loop:

⚡ SCAN
Scann the area sweep your gaze across a real wall.
A scan meter fills as if your optics are penetrating the environment.

🔌 JACK IN
A hidden Access Point materializes and physically anchors itself to that wall using WorldQuery surface detection.
Pinch near your wrist to deploy your PersonalLink cable, a Verlet-simulated rope with gravity, reeling behavior, and a magnetic snap connection.

🧠 BREACH
Once connected, you enter a NETWATCH Breach Protocol puzzle inspired by classic code-
matrix gameplay. Beat the timer before the trace reaches you.

💰 LOOT & HEAT
Successful breaches reward eddies, shards, components, and quickhacks.

🌐 NET ACCESS
Once connected, you enter the Net access interface, where you can browse the DATA ARCHIVE, ask your questions to a DAEMON or check a real time NEWS FEED

A few technical things I'm particularly proud of:

• 100% diegetic HUD design. Every interface element exists as part of the player's cybernetic eye.
• Real-world wall anchoring using WorldQuery and custom normal reconstruction.
• A fully simulated PersonalLink cable with gravity, droop, reeling, and MagSafe-style attachment.
• Runtime-generated neon UI built specifically for additive optical displays, ensuring chamfered panels remain readable against real-world geometry.
• Typed event-driven architecture (EventBus, GameManager, SaveSystem, PlayerProfile).

This is a long-term project and my intent is to grow it even bigger in future updates:

→ Quickhack combat against drones and hostile systems when your Heat gets too high.
→ Persistent Access Points that remain attached to real locations across sessions and can be revisited later.
→Successful breaches would have consequences: repeatedly attacking the same node would increase your Heat level, turning the city,and eventually the network itself, against you.
→Netrunner Duels
And much more...

I'd love feedback from other Spectacles developers, especially on:

• WorldQuery workflows and surface placement.
• Diegetic UI readability on optical displays.
• Physics interactions in AR.
• Long-term persistent world design for wearable computing.

Happy to answer any questions!

Closet Club 👕✨

🔗Lens Link: https://www.snapchat.com/lens/2709490ffb00419ab451a68aa34b01d4?sender_web_id=39acd2af-4c9b-4177-95b5-453db821e8d7&device_type=desktop&is_copy_url=true

Hello everyone! 👋

Today, we're excited to release Closet Club, an open-source Spectacles experience created in collaboration between Florencia Raffa and GuillaumeDGNS.

The concept is simple:

Stand in front of your mirror and scan your wardrobe with Spectacles.

You can capture an entire outfit in a single pass, allowing the AI to identify multiple garments at once, or focus on individual pieces, a jacket, a pair of sneakers, or your favorite hoodie, to build your collection item by item.

Every scanned piece becomes a persistent polaroid style collectible inside your personal AR closet.

This idea comes from Florencia, heavily inspired by the iconic digital wardrobe scene from Clueless and Cher's futuristic closet.

✨ Closet Club combines:

👕 Mirror-based clothing scanning
Scan your entire look in seconds, or curate your wardrobe one garment at a time.

🤖 AI fashion recognition
OpenAI Vision analyzes each item and generates detailed descriptions and metadata.

🃏 Collectible style polaroids
Every piece receives its own AI-generated artwork, complete with rarity levels and collectible mechanics.

✋ Natural hand interactions
Your collection lives around your wrist and can expand into an interactive grid with simple gestures. (Try a palm-out gesture to reveal all your polaroids!)

🧥 AI outfit recommendations
Mix and match pieces, receive stylist feedback, or let the AI create the perfect outfit for you.
(Based on your location, season and time of day)

🎮 Gamified progression
Earn XP, level up, unlock prestige ranks, and maintain daily streaks as your digital wardrobe grows.

What excites us most is the simplicity of the experience:

Getting dressed in the morning and standing in front of your mirror suddenly becomes an AR interaction.

Closet Club explores how wearable devices can transform everyday rituals into persistent digital experiences.

The entire project is open source under the MIT license, allowing creators to study, remix, and build upon these ideas.

Built with Lens Studio 5.15 for Spectacles.

We'd love to hear your thoughts and see what the community creates next. ✨

🔗 Repo link: https://github.com/floraraffa/CLUELESS-Closet

#Spectacles #SnapAR #AugmentedReality #OpenSource #FashionTech #AI #WearableComputing #LensStudio

Lens Link 🔗: https://www.spectacles.com/lens/f771d770f5f94ff5a3086a953af8fa09?type=SNAPCODE&metadata=01

Hello everyone!

A new update just dropped for DGNS Pocket Garage, bringing major improvements to performance, visuals, and overall reliability.

🔒 License Plate Compliance Update
The image generation system has been refined to ensure that no real-world license plate data is ever reproduced.
All generated plates are now clean, consistent, and display DGNS only.

⚡ Async Generation & Save (Now Working)
Cards can now be saved instantly, while images are generated in the background.
No more waiting or losing progress, the system is now significantly smoother and more user-friendly.

🐞 Bug Fixes

• Fixed an issue where a generated card could appear invisible in the collection if grabbed too early
• Resolved layer rendering conflicts (buttons/containers overlap) in Lens Studio

🎨 Visual Upgrade

• Added light backgrounds to all UI containers for better readability
• Switched text from white to black for clarity
• Introduced subtle animated light backgrounds on containers and cards for a more polished feel

📦 Open Source Update
The GitHub project has also been updated. It’s a solid base if you want to experiment with:

• Async image workflows
• Collectible systems
• Image editing pipelines

Feel free to explore and build on top of it.

Repo: https://github.com/DgnsGui/DGNS-Pocket-Garage

⚠️Important**⚠️**
🌐 Network Requirements
This Lens still relies on online image generation:

• ~10–30 seconds under good conditions
• Longer with slower connections

However, with async saving, the experience remains smooth regardless of connection speed, and you can generate images later when you have a stronger network.

Web app: https://dgns-gallery-web.vercel.app/

More to come soon... ✨