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    1. Past hour
    2. What challenges do game developers face when trying to develop a 100 player battle royal? What are some of the solutions to these challenges? What will game streaming + cloud support do that will allow for 1000 players? A recent claim by Google and their Stadia platform.
    3. Let me ask a counter question, what is rythm in the program? ie when do I score maximum points? EDIT: Bonus question, How do you detect that in the program?
    4. My games are on steam and have sold in Brazil/Russia with no rating. Not sure about South Korea I'll check when I get home. Either way, don't bother worrying about this.
    5. Today
    6. An unrated game in Germany is automatically 18+ and selling (or making available!) games that are for adults to minors carries heavy fines.
    7. When the compiler evaluates (boundaryStrength, 0.f) it doesn't know you are trying to build a complex number, so it interprets it as using operator ",", which simply evaluates the left side, then the right side, then the whole expression evaluates to the right side. This should work: std::array<std::complex<float>,3> b { std::complex<float>(boundaryStrength, 0.f), std::complex<float>(boundaryStrength, 0.f), std::complex<float>(boundaryStrength, 0.f) }; EDIT: One more thing. The line with (0.f, boundaryStrength) was "working" because operator "," evaluates to the right side, which was then used in the constructor of std::complex<float> that takes a float and interprets it as a real number.
    8. Greetings, New features are ready and now the alien is able to defend himself. In this devlog I want to show the first telekinetic skills of the alien. 2 types of the skills are ready and now the alien can lift up and throw humans. After that you can search a person and take his stuff for using for the alien's purposes. The human behaivors have been expanded and now there are more interesting interactions with the alien. Inventory, scanning territory features have also been improved. New trailer is ready, show beats tell. The video with all features showcase is here:
    9. With a fixed size particle buffer, you won't need any indirect draw calls, because you already know the vertex count for the call, without the GPU doing anything. Indirect draw calls enter the picture when your particle buffer only has a maximum size, but it can hold any amount of particles less than that. In that case, the simulation+emission passes determine the actual vertex count to be drawn, so you have to parameterize your draw call on the GPU, to avoid copying and inspecting the result particle buffer, and thats what indirect draw/dispatch calls are for. (Basically instead of passing the parameters to a draw/dispatch call from the CPU as a normal function call, you write those values into a small GPU buffer from a shader, and pass that buffer to the appropriate indirect call. The only practical difference between normal and indirect calls with D3D11 is the place where the "parameters" come from.)
    10. I have some issues with this code: std::vector< std::array<std::complex<float>,3> > &hexWaves; ... std::vector< std::pair< int, std::array<std::complex<float>,3> > > boundary; // nothing works, results are always (0,0): std::array< std::complex<float>, 3 > b {(boundaryStrength, 0.f), (boundaryStrength, 0.f), (boundaryStrength, 0.f)}; //std::array< std::complex<float>, 3 > b { {(boundaryStrength, 0.f), (boundaryStrength, 0.f), (boundaryStrength, 0.f)} }; //std::array< std::complex<float>, 3 > b = {(boundaryStrength, 0.f), (boundaryStrength, 0.f), (boundaryStrength, 0.f)}; // this would work, resulting in (boundaryStrength, 0): //std::array< std::complex<float>, 3 > b {(0.f, boundaryStrength), (0.f, boundaryStrength), (0.f, boundaryStrength)}; for (int vI=0; vI<mesh.GetVertexCount(); vI++) if (vertexSingularityValence[vI] != 6) { boundary.push_back(std::make_pair(vI, b)); hexWaves[vI] = b; ImGui::Text("Baoundary wave [%i][0]: %f %f", vI, hexWaves[vI][0].real(), hexWaves[vI][1].imag()); } Only with wrong syntax i get the expected result of setting the real part to given number, and imaginary part to zero. I have used similar code quite often like in the first uncommented line, but now i guess there is some catch. What is it? The last commented line works, but it's clearly wrong. I'm very confused...
    11. RoKabium Games

      SAMA

      Images & screenshots from "Something Ate My Alien" game by RoKabium Games.
    12. Killersan

      MMORPG framework for Unity

      Release notes of the new version - Atavism 2019.1.0 - http://wiki.atavismonline.com/project/atavism-2019-1/Over 300 improvements, new features, and fixes, you are risking nothing, check our 14 days trial or Live Demo.
    13. I think it might be helpful to distinguish between Java / C# and C++. Objects in Java / C# means smart-objects which is an oxymoron. In Java Object orientated programming would be better called subject orientated programming. I played around a bit with C++ while trying to learn DirectX 11 at the same time. It was a bit of a steep learning curve. Anyway I abandoned that and got into C#. I soon started to fall in love with strongly typed code. It was amazing 50% of the time when my code compiled, it actually did what I wanted it to. My experience of C and C++, I did some C and Pascal way back, was that getting the code to compile was only, the beginning of a long painful journey. With C#I could rip my code apart, restructure and rewire (in other words refactor) and quickly get it to work again. I would even get the weird bug occasionally, where the code was doing what I wanted it to do, but I didn't know why. Its quite fun to try and track down why your code is working when it shouldn't be. But I was also frustrated by the lack of multiple inheritance and other short comings. C# was designed to be better than Java, but not too much better, as to become a threat to the C++ native Windows platform. So as soon as I came across Scala, with its quasi multiple inheritance it was good riddance to Microsoft, goodbye and thanks for all the fish. So from what I can make, from very limited knowledge, is that the problem with C++, was Bjarne's' "Not one CPU cycle left behind!" (relative to C). This was a great marketing slogan but a complete disaster in high level language design. You don't need 100% runtime efficiency, 80% is good enough and allows for huge beneficial trade off's in compile time safety, run time safety, compile times, reduced compiler bugs, the quality of tooling, ease of learning etc. And so the problem with smart object in c++ is that they are not very smart and can't even copy themselves properly. So I see it as a choice, or rather a balance, between smart objects and dumb data. Java's "Everything is a (smart)" object is dumb. Unfortunately Scala some what doubled down on this, but is now sensibly looking to back track. Silent boxing leads to criminal and unnecessary inefficiency. An Integer is dumb data data. An integer doesn't know, how to produce a string, convert itself to a double. An Int doesn't even know how to add itself to another Int. An requires operations to be applied to it. It has no methods. It has no identity. So to avoid boxing we must know the narrow type at compile time. However syntactically we can still write it as if these were methods. 5.toString myInt.toString So in Scala, there is usually a choice between trait / class based inheritance or type classes. Between a smart object that carries its methods around it with it to be dynamically dispatched at run time, or dumb data where operations must be applied at compile time. But the good thing is that you can still use type classes with smart objects, with objects that inherit from AnyRef. But also the type class instances that perform the operations on the different data types can themselves inherit.
    14. You fell to earth, years ago. You fell on a farm in Midwest America, miles from civilisation. You fell on Ambers farm, when she was just eight years old. And hour by hour, inch by inch, she pulled you from the wreckage. Over the years you grew up together - you recovered, while she turned nine, and then ten. You journeyed the woods together, every day an adventure, every day something new. You were the best of friends. And then one early morning the soldiers came, and that was the last you saw of Amber. Now you wake up in a lab, with scientists experimenting on you. Now they have your pieces. They’ve stolen from you. Taken what makes you powerful. Now that you’ve escaped, you’re going to take it all back. Now you’re going to leave the lab far behind, and return home, to where Amber will be waiting. ——— Project Amber is a 2D platforming game where you play as goopy, an alien captured by scientists, and use various strange abilities to outwit your would-be captors and escape the lab in which you’ve been incarcerated. As you go, you will discover more about yourself - about your lost memories, about this lab, and about it’s leader, Snarkula, and what he wants with your pieces. A puzzle game at it’s heart, Project Amber is about combining strange abilities to their greatest effect. Goopy can encase enemies in jelly, pull himself long distances with a grabbing tongue, cling to the walls and even melt through walls - but if Goopy combines these, he can bounce across levels, access impossible heights, and pull apart the terrible machines sent after him like they were confetti. Alongside a tongue grab that Goopy can use to fling himself across rooms or pull boxes or enemies from platform, and his stone skin that Goopy can use to survive attacks, Goopy will gain access to six further bizarre abilities throughout the game - regaining his powers until he’s finally ready to return home. ——— The first thing that Team Amber are hoping to create as a team is a show level for this game - a level to demonstrate the potential we feel the game has, and hopefully allow us to create the full game in the future. To help in that process we’re looking for pixel artists, to help create unique, animated sprites for the main character and a few others. Ideally you won’t be doing too much work - we want to spread the work thin, and already have background assets in development, as well as various sprites for enemies. For a little context of the quality of sprites we’re looking for, this is one of the backgrounds we have so far. Requirements A talent for pixel art and animating sprites. That’s it. Ideally You Would Also Have Experience on working on other games. Yeah it’s not a long list. If you are interested in the role, or would like to chat about it further, then drop us an email at AmberGameDev@gmail.com . If we like the sound of you then we’ll organise a chat.
    15. Thanks for the link, @LandonJerre, it’s just what I was looking for! I made a few modifications to my particle system to exploit the fixed number of active particles. I use a single RWStructuredBuffer<Particle> to update each particle’s state each frame and an SRV to the particle buffer for the vertex shader to use once updated. As I have a fixed index buffer and particle count, can I use DrawIndexed() (as it says in the slides) instead of DrawIndexedIndirect(), or does this require copying vertex data back to the CPU?
    16. GoliathForge

      Custom GC_sideScroll_promo_01

      week 3 progress.Trying to polish the original concept. Baby stepping into a sound implementation with another provided mini access header/wrapper. Takes time to learn to use which hurts today. We're doing it!

      © pffttt!2019

    17. He's a little too tall and wide to fit into the existing Fateless structures, so I put him outside. He's doing fine hanging around out and about area 2 so far. He is always equipped with some kind of rotating chaingun-type weapon, or at least one that needs cooling. So far, his mission is to make area 2 harder.
    18. rattlercreed

      Nuclear Basic Help

      Hi All I know this is a long shot but any help would be great. Does anyone still use or have used Nuclear Basic/ Fusion that can help? I still really like the language and still use it. But need help in hardware skinning for animated entities I cant seem to send the bone information over to the shader. These are the commands I've found that might help but can't figure out how to use them. GetSurfaceBoneOffsetMatrix( Surf, mat, boneind ) GetSurfaceBoneCount(Surf) GetSurfaceBone(Surf,boneind) GetEntMatrix( handle, inmat, global=False ) SetShaderMatrixArray(handle, pname$, mat,[cnt=1] ) Here is the shader I am using. float Script : STANDARDSGLOBAL < string UIWidget = "none"; string ScriptClass = "object"; string ScriptOrder = "standard"; string ScriptOutput = "color"; string Script = "Technique=Technique?Skinned;"; > = 1.0; float4x4 wvp : WorldViewProjection < string UIWidget = "None"; > ; float4x4 worldI : WorldInverse < string UIWidget = "None"; > ; float4x4 worldIT : WorldInverseTranspose < string UIWidget = "None"; > ; float4x4 viewInv : ViewInverse < string UIWidget = "None"; > ; float4x4 world : World; // array for bones matrices uniform float4x3 bonesMatrixArray[60]; extern int NumVertInfluences = 3;//<--- Normally set dynamically. // ambeint light float4 ambientLight = float4(1,0,0,1); texture diffuseTexture : TEXTURE_0; sampler diffuseSampler : register(s0) = sampler_state { Texture = <diffuseTexture>; }; // Vertex shader input data structure struct VSINPUT { float4 Position : POSITION; float4 BlendWeights : BLENDWEIGHT; float4 BlendIndices : BLENDINDICES; float3 Normal : NORMAL; float3 texCoords : TEXCOORD0; }; // Vertex shader output data structure struct VSOUTPUT { float4 Position : POSITION; float3 Normal : COLOR0; float2 texCoords : TEXCOORD0; }; // skinning vertex shader VSOUTPUT VSMain(VSINPUT Input) { // Output object VSOUTPUT Output; // Clear vertex position and normal Output.Normal = float3(0.0f, 0.0f, 0.0f); Output.Position = float4(0.0f, 0.0f, 0.0f, 0.0f); // extract bones indicies and weights from vertex float lastWeight = 0.0f; float4 blendPos = Input.Position; // This next code segment computes formula (3). for (int i = 0; i < NumVertInfluences; ++i) { blendPos += float4(mul(bonesMatrixArray[Input.BlendIndices[i]], Input.Position).xyz, 1.0)*Input.BlendWeights[i];//Input.BlendWeights[i] * mul(Input.Position, bonesMatrixArray[Input.BlendIndices[i]]); } Output.Position = mul(blendPos, wvp); // transform normal float3 norm = Input.Normal; for (i = 0; i < NumVertInfluences; ++i) { norm += mul((float3x3)bonesMatrixArray[Input.BlendIndices[i]], Input.Normal) * Input.BlendWeights[i]; } Output.Normal = normalize(norm); Output.texCoords = Input.texCoords; // return result return Output; } // skinning simple pixel shader float4 PSMain(float2 texCoords : TEXCOORD0) : COLOR0 { // just return diffuse color return ambientLight * tex2D(diffuseSampler, texCoords); } // skinning tchnique technique Skinned { pass p1 { VertexShader = compile vs_3_0 VSMain(); PixelShader = compile ps_3_0 PSMain(); } }
    19. What if you need to draw text with simple graphics? For example, you have a task in your college to draw plots with some text using C++. You can still use deprecated/legacy OpenGL 1.1 and FreeGLUT. This example shows how to draw a text using FreeGLUT and deprecated/legacy OpenGL 1.5. And this example shows how to set up FreeGLUT in Visual Studio 2015. Text_FreeGlutOpenGL15Cpp.zip - Just download and run this solution in your version of Visual Studio. But do not forget to set "Platform Toolset" to "Your Version Of VS" in the project settings. See screenshot: If you want to set up FreeGLUT from scratch then download the "Libs" folders and set settings by yourself: Libs: Libs_FreeGlutOpenGL15.zip Settings: main.cpp
    20. Just create a SRV for the buffer, you can read it back through that. Being an append/consume buffer isn't the property of the backing buffer itself, if you look at it, you specify the append flag during the UAV creation. That means anything that makes that buffer an append buffer, is handled/stuffed in by the UAV, without that it's just a generic data buffer that behaves the way it's own creation flags dictate. The vertex shader can "emit" vertices, it doesn't have to read them from a vertex buffer, and if you don't read from a VB, you don't need an input layout either, you just submit a draw call with the amount of vertices you want to draw. Basically in your case you take the vertex id input that you have available, and look up the particle data through the SRV you created in the previous step, then using that data you fill out the fields of the vertex. Actual example for point sprites: https://www.slideshare.net/DevCentralAMD/vertex-shader-tricks-bill-bilodeau Slides 15-19
    21. VS2015: Sin_FreeGlutOpenGL11Cpp.zip (Everything has been set up already. Just download, select your version of VS in "General/Platform Toolset" in the project settings and run) Release: Sin_x86_EXE.zip Tools: Visual Studio 2015 "Win32 Console Application" FreeGLUT deprecated/legacy OpenGL 1.1 (docs: https://docs.microsoft.com/en-us/windows/desktop/opengl/opengl) Settings main.cpp
    22. 8Observer8

      Text. Legacy OpenGL 1.5, FreeGLUT

      I renamed a name of the blog entry: from "Drawing a Text using FreeGLUT, OpenGL 1.5" to "Text. Legacy OpenGL 1.5, FreeGLUT" Because I need to add accent that it is legacy/deprecated OpenGL 1.1. I made this example to show the simplest way to draw a text using FreeGLUT and OpenGL 1.1.
    23. 8Observer8

      y = Sin(x). Legacy OpenGL 1.1, FreeGLUT

      I moved the sign "y = Sin(x)" on a new position.
    24. intenscia

      Mod API & SDK

      UPDATE: Support for Steam & GOG authentication is now available in the mod.io API, SDK & Unity plugin. The functionality has been implemented by Foundation game & used by over 10000 players in the first week. If you want to enable immediate and secure authentication for your players using mod.io, reach out to our team today to see how we can accommodate your authentication flow. Support for more stores will be added on request.
    25. pindrought

      Accepting IPv4 connections as IPv6 Server

      Great reply! This makes perfect sense. Thanks so much for the detailed explanation.
    26. For a dual-stack socket, the only differentiation between IPv6 and IPv4 traffic is the "format" of the IPv6 IP address. Everything is handled on (your) code side as IPv6 (AF_INET6). The only thing that is different is that IPv4 traffic will have a special "mapped" IPv6 IP address (the ::ffff:x.x.x.x format you see above). To send IPv4 traffic you need to translate to that mapped address (in your case just use the same address that connected), and if you care you can check to see if the received connection/traffic is IPv4 by checking to see if the upper 12 bytes of the address match 0000:0000:0000:0000:0000:ffff. The lower 4 bytes of the IPv6 address will be the IPv4 IP address. This page lays it out clearly (and references a few handy Microsoft/windows-specific macros for checking for and translating between IPv6 mapped addresses and IPv4, presuming you are doing a win32 project): https://docs.microsoft.com/en-us/windows/desktop/winsock/dual-stack-sockets
    27. Hey guys. I am extremely interested in jumping into the whole RayTracing bandwagon to get with the times and increase the realism in my app. Problem is, this technology is so new, it is difficult to find any sort of tutorial on this sort of thing, even if it is a simple triangle. However, after doing some digging, the main method used is to use a Compute Shader. To be quite honest, I never used one. I mainly have been using only vertex shaders and fragment shaders. Compute shaders I found are not part of the rendering pipeline at all, but somehow feed information in parallel to the GPU to speed up processing, which adds more confusion because it only feeds information not rendering to the GPU. I could not find any sample code showing what this could look like. And the code that is out there are either too complex with way too much overhead in getting the bits needed in rendering a simple ray tracer, or are all Unity and Unreal Engine. Try Googling it yourself and its mainly all Unity and Unreal Engine, and very difficult to find anything. It gets to the point you end up finding Chinese sites. So I gave up in the search and brought up this topic here. I was curious in knowing if any of you have any information in doing a simple Ray Tracer. What is a Compute Shader, and how exactly does a Compute Shader get used for Ray Tracing because I am still lost? Thanks in advance.
    28. I am trying to accept IPv4 connections on my server that is listening on an IPv6 TCP socket. I was currently working on porting a blocking socket example i'm using for some tutorials i've been making, and i've noticed behavior that I did not expect. Current github dev branch: https://github.com/Pindrought/PNet/tree/TCP_Blocking_Winsock_Tutorial_17Dev My client is connecting using an IPv4 socket. My server is accepting connections on an ipv6 socket, and i've disabled the IPV6_V6ONLY socket option to allow both ipv4 and ipv6 incoming connections. The connections are accepted just fine - the confusion for me arises in the fact that the accepted connection appears to be an IPv6 connection according to the address family in the sockaddr struct. https://github.com/Pindrought/PNet/blob/TCP_Blocking_Winsock_Tutorial_17Dev/PNet/PNet/Socket.cpp#L128-L145 I was under the impression that the ipv4 connection would have an address family of AF_INET6. Is this expected behavior? I just want to make sure that i'm not doing anything wrong here. If this is expected behavior, is there any way I can determine from the server side if the connecting client did so using IPv4 or IPv6? Thanks! Edited to add: This is the output my server has
    29. KrisWolfe

      A lesson in Version History

      So, today, while going through my code, my computer crashed. It's an old computer from 2011 that I haven't the heart to replace. When I loaded up Unity, I got over 1000 errors, all talking about the GUI not being able to load. My scene was gone. I double clicked my scene, and it was empty. I had no backup. All my assets were fine, but it was extremely disheartening. Looking up support, it appears my scene got corrupted and is gone. I might've been able to save it if I hadn't loaded Unity, but I didn't know. Unity stores a backup scene to the last it loaded. But once you load unity, that backup is overwritten. Everything I had was UI, luckily. No custom settings or anything. I think I had some fonts that were not the same, so this will give me a chance to get the measurements correct for everything. My scripts were doing all the settings, so I literally just have to drag the UI into their slots once I have them up, and it'll work as plug and play. So a lesson learned. Back up your work. Use version control. I had no back up to this scene. I didn't think it would happen to me. Luckily it was stuff that I can reproduce in a day, and not my code.
    30. Lendrigan Games

      Mature themes on a game I'm working on

      Since it's a horror game, I'd recommend figuring out possible prices for the PC to pay in order to take the good option. Essentially, "you can come out feeling better about yourself, or you can come out unscathed." That the player will take the good path, at least the first time around, is so safe of a bet that it's almost a guarantee, so adding a price to the virtue and a reward to the vice to the margin wherein the player almost accepts, or barely accepts, the vice is the magic area where the horror gets to the player's head.
    31. WitchLord

      AngelScript 2.33.1: Bugs && Features

      Thanks, I'll look into this one too. It will take a while though. I'm short on time and in order to work on this problem I'll need to recreate my Linux environment, which unfortunately got corrupted some time back.
    32. Taking another step to the first release with improved Audio System and Behavior Elements. View the full article
    33. _Silence_

      Take the IGDA Developer Satisfaction Survey

      One of the question is: for how many employers did you work the last 5 years. And there is a choice between 1 and 100 !! And, among the multiple language mistakes (at least in French), there's room to ask how serious this kind of survey is.
    34. The IGDA is conducting its annual Developer Satisfaction Survey until April 30, 2019. Take the survey here. The DSS serves the IGDA in its mission to advance the careers and enhance the lives of game developers worldwide by understanding what they do, who they are and how they feel about their industry. Take the survey to voice your opinions on a wide variety of topics affecting the game industry, from platform preferences to general outlook to diversity and work-life balance. The survey is open to anyone who is involved in the video game industry in a professional or academic capacity, including professors, students, contractors, independents, and so forth. Click here to access the survey. View full story
    35. The IGDA is conducting its annual Developer Satisfaction Survey until April 30, 2019. Take the survey here. The DSS serves the IGDA in its mission to advance the careers and enhance the lives of game developers worldwide by understanding what they do, who they are and how they feel about their industry. Take the survey to voice your opinions on a wide variety of topics affecting the game industry, from platform preferences to general outlook to diversity and work-life balance. The survey is open to anyone who is involved in the video game industry in a professional or academic capacity, including professors, students, contractors, independents, and so forth. Click here to access the survey.
    36. Yyanthire Studio

      Moonrise

      Moonrise is an open-world real-time strategy game. Explore a vast land rich with demonic creatures. Establish a base, and venture forth to eliminate the powerful beings that have overtaken it. As you venture, you will come across great artifacts to bolster your warriors, and great resources to enhance your fortifications. In this land, the will of the leaders is absolute. One false step, and all of your creation will fall under. Intricate care is necessary for your warriors to survive to the next battle. The creatures of this world are powerful- are you able to stand up to them? Explore- Explore a world rich with conflict, where there’s always a new challenge to endure. And reap the rewards of such ventures. The lands are wide and vast, and the journey will be perilous. Do not get lost- always know your way back home. Gather Resources- All of this world has something to offer- whether it be the nature around, or from the souls of defeated enemies. Use those resources to build your base and your army, and wage war against the vast enemies of this land. As you explore more, you will find powerful foes- slay them, and grow your warriors even stronger with the mystical objects they have to offer. Build an Army- Build up your home base not only to act as a fortitude against the enemy onslaught, but also to enact key, pivotal research points. Whether you wish to give your warriors greater health and mana, or advance them down further into their class, building your base is the only true way to get the advancements necessary for engaging more powerful foes. Research- Whether you choose to spend your hard-earned, limited resources on empowering all warriors, or just a select few, researching various upgrades for your army will allow you to further craft and define the complexities of your army to a solid degree. And those who wish to venture even further will find themselves that much more fruitfully rewarded. Wage War- At the heart of Moonrise is waging war against the multitudes of foes of the land. Foes will wildly vary in volatility, and it is up to you to command your warriors in such a way to slay them without becoming slain yourself. Never stop moving- movement is key to avoiding attacks from enemies while still striking at them yourself. You can avoid enemy attacks by simply moving out of the way before the attack lands. By using clever tactics, you can survive many adversaries and come out unscathed and ready for the next fight. Invoke powerful spells to your advantage- there are many different beings at your disposal. Making use of their talents is the only way to come out successful, and to defeat even the strongest of enemies. In Moonrise, there are dozens of spells, each with wildly different uses, able to be enacted and used as how you see fit to command. State of the Game- This project is very deep into its development cycle now. There is a considerable amount of work that has been done to make the game playable, and as the game sits, it is currently in an Alpha state. There is still more work to be done- we have yet to finalize key features like a saving system, and have yet to get further into our desired open world elements. In addition, while we do have a lot of art done for the project, there is still some remaining, and we have a lot of animations we still need to create. Music and sound effects are the same story. But, as of right now, the game definitely plays like how we envisioned it- lots of tactical complexion backed up with a lot of intricate micro requiring you to not only think intelligently about what you are engaging, but also act swiftly before your units get overwhelmed and killed. Our current goal in regards to the project is to be able to release a playable game by 2020, or sooner if plausible. We may also consider releasing a Beta version of the game for many to play and test, given enough people are interested, but even with that there will be some time before we reach that point. Given the game’s current state, we believe that it would be beneficial to begin to show off the game to you all, the community. Let us know what you think of the project, just by simply typing a comment below. We’ll be happy to answer any questions regarding Moonrise. Thank you for viewing our page! Check us out on IndieDB: https://www.indiedb.com/games/moonrise
    37. Yesterday
    38. The Indie Showcase, Develop:Brighton’s annual competition to find the industry’s hottest new indie game, is now open for submissions. Developers can submit their games until 20 May here. Judged by a panel of industry experts, the Indie Showcase, sponsored by Xsolla, is a fantastic opportunity for up-and-coming developers to exhibit their latest game at Develop:Brighton. The competition is completely free to enter, with the top ten finalists securing an incredible chance to showcase their game to media, fellow developers, and potential publishers who attend the conference. All 10 shortlisted games will be featured in the Expo for visitors to play on Wednesday 10 July and Thursday 11 July at the Hilton Brighton Metropole during the conference. Finalists will also receive a three-day pass to Develop:Brighton, pre-event publicity, and a profile on the Develop:Brighton website. On Thursday 11 July, two finalists will be selected as the winners of the competition. The People’s Choice award will be decided by attendees, and the Overall Winner by a panel of judges. The winners will be announced during the final session on the final day of Develop:Brighton. In 2018 more than 100 titles entered the Indie Showcase, with popular parody golf physics simulator WHAT THE GOLF? and fast-paced arcade platformer Skybolt Zack elected the Overall and People’s Choice winners respectively. "Develop:Brighton was hands down the best B2B event we attended. As a new indie studio, the showcase gave us the opportunity to meet many publishers, compared to other events,” said Maxime Jehenne, Producer of Skybolt Zack. “You should definitely give the competition a try with a nice polished demo. The networking and the whole event is really worth the shot!" Another highlight from last year’s Indie Showcase was Tanglewood, a game developed on cartridge specifically for the SEGA Mega Drive, which went on to win the Game Development World Championship Fan Favourite award in 2018. The deadline for entries is Monday, 20 May 2019. Full entry details can be found at: https://www.developconference.com/indie-showcase-competition “At Xsolla we’re here to ensure the best ideas get made, get seen and get played,” said Aiman Seksembaeva, Director of Business Development at Indie Showcase sponsor Xsolla. “Supporting the Indie Showcase is a perfect fit for us and we can’t wait to see and play the games that get shortlisted.” The Judges Judging Panel Chair: Alistair Aitcheson - Indie Developer, Alistair Aitcheson Games Judges: Andrew Smith - Indie Developer, Spilt Milk Studios Bruce Slater - Indie Developer, Radical Forge Katie Goode - Director, Triangular Pixels Korina Abbott - Indie Videogame Marketeer, KAGames Phil Gaskell - Director, Ripstone Romana Ramzan - Lecturer in Games Design, Glasgow Caledonian University “I’m really excited to open up the submissions for this year’s Indie Showcase,” said panel chair Alistair Aitcheson of Alistair Aitcheson Games. “Last year we had some outstanding entries, full of wit and personality and resulting from incredible amounts of skill and dedication. I can’t wait to see what this year’s developers have to offer!” View full story
    39. The Indie Showcase, Develop:Brighton’s annual competition to find the industry’s hottest new indie game, is now open for submissions. Developers can submit their games until 20 May here. Judged by a panel of industry experts, the Indie Showcase, sponsored by Xsolla, is a fantastic opportunity for up-and-coming developers to exhibit their latest game at Develop:Brighton. The competition is completely free to enter, with the top ten finalists securing an incredible chance to showcase their game to media, fellow developers, and potential publishers who attend the conference. All 10 shortlisted games will be featured in the Expo for visitors to play on Wednesday 10 July and Thursday 11 July at the Hilton Brighton Metropole during the conference. Finalists will also receive a three-day pass to Develop:Brighton, pre-event publicity, and a profile on the Develop:Brighton website. On Thursday 11 July, two finalists will be selected as the winners of the competition. The People’s Choice award will be decided by attendees, and the Overall Winner by a panel of judges. The winners will be announced during the final session on the final day of Develop:Brighton. In 2018 more than 100 titles entered the Indie Showcase, with popular parody golf physics simulator WHAT THE GOLF? and fast-paced arcade platformer Skybolt Zack elected the Overall and People’s Choice winners respectively. "Develop:Brighton was hands down the best B2B event we attended. As a new indie studio, the showcase gave us the opportunity to meet many publishers, compared to other events,” said Maxime Jehenne, Producer of Skybolt Zack. “You should definitely give the competition a try with a nice polished demo. The networking and the whole event is really worth the shot!" Another highlight from last year’s Indie Showcase was Tanglewood, a game developed on cartridge specifically for the SEGA Mega Drive, which went on to win the Game Development World Championship Fan Favourite award in 2018. The deadline for entries is Monday, 20 May 2019. Full entry details can be found at: https://www.developconference.com/indie-showcase-competition “At Xsolla we’re here to ensure the best ideas get made, get seen and get played,” said Aiman Seksembaeva, Director of Business Development at Indie Showcase sponsor Xsolla. “Supporting the Indie Showcase is a perfect fit for us and we can’t wait to see and play the games that get shortlisted.” The Judges Judging Panel Chair: Alistair Aitcheson - Indie Developer, Alistair Aitcheson Games Judges: Andrew Smith - Indie Developer, Spilt Milk Studios Bruce Slater - Indie Developer, Radical Forge Katie Goode - Director, Triangular Pixels Korina Abbott - Indie Videogame Marketeer, KAGames Phil Gaskell - Director, Ripstone Romana Ramzan - Lecturer in Games Design, Glasgow Caledonian University “I’m really excited to open up the submissions for this year’s Indie Showcase,” said panel chair Alistair Aitcheson of Alistair Aitcheson Games. “Last year we had some outstanding entries, full of wit and personality and resulting from incredible amounts of skill and dedication. I can’t wait to see what this year’s developers have to offer!”
    40. U will find here: http://www.humus.name/index.php?page=3D and http://www.3dcpptutorials.sk/index.php?id=14
    41. Rule of thumb: initially, write all your classes as unrelated, even if they share a common function or two. Only introduce OOP relationships where and when it's clearly necessary. For example, if 4 out of 10 functions in the two classes are the same, that warrants the creation of a common ancestor.
    42. Today at Unreal Engine Build: Detroit ‘19, the latest stop in Epic Games’ series of bespoke events serving Unreal Engine enterprise customers, Magic Leap revealed that the company will provide 500 Magic Leap One Creator Edition spatial computing devices for giveaway as part of Epic MegaGrants. Announced last month, Epic MegaGrants is Epic Games’ $100 million initiative to support media and entertainment creators, game developers, enterprise professionals, students, educators, and tools developers doing amazing things with Unreal Engine or enhancing open-source capabilities for the 3D graphics community. Developers building Unreal Engine spatial computing applications across entertainment, architecture, automotive, healthcare and many other industries can apply now via online submission to receive Magic Leap One devices, free of charge. There is no deadline, with grants awarded on a rolling basis and hardware available on a first-come first-served basis, based on project merit. The Magic Leap One Creator Edition is currently available on magicleap.com, in select AT&T stores, and at AT&T online for $2,295. “The Epic MegaGrants program allows developers to pursue new goals and raise the bar for what they can accomplish, and we’re glad to support that mission by making Magic Leap One Creator Edition available to creators working in the spatial computing arena,” said Rio Caraeff, Chief Content Officer, Magic Leap. “Putting these devices directly into the hands of promising developers, along with the financial grant from Epic, will help accelerate the industry and lead to new innovation.” “We’re thrilled that Magic Leap is offering their support to the Epic MegaGrants program with this generous giveaway of 500 Magic Leap One Creator Edition devices, which offer incredible opportunities to explore applications from digital humans to product design,” said Simon Jones, Director, Unreal Engine Enterprise, Epic Games. “The option to receive this hardware as part of an Epic MegaGrant means that more of the funds can be available to spend in other areas, so developers have more financial flexibility and freedom to create.” For more information and to apply, visit https://www.unrealengine.com/megagrants.
    43. Today at Unreal Engine Build: Detroit ‘19, the latest stop in Epic Games’ series of bespoke events serving Unreal Engine enterprise customers, Magic Leap revealed that the company will provide 500 Magic Leap One Creator Edition spatial computing devices for giveaway as part of Epic MegaGrants. Announced last month, Epic MegaGrants is Epic Games’ $100 million initiative to support media and entertainment creators, game developers, enterprise professionals, students, educators, and tools developers doing amazing things with Unreal Engine or enhancing open-source capabilities for the 3D graphics community. Developers building Unreal Engine spatial computing applications across entertainment, architecture, automotive, healthcare and many other industries can apply now via online submission to receive Magic Leap One devices, free of charge. There is no deadline, with grants awarded on a rolling basis and hardware available on a first-come first-served basis, based on project merit. The Magic Leap One Creator Edition is currently available on magicleap.com, in select AT&T stores, and at AT&T online for $2,295. “The Epic MegaGrants program allows developers to pursue new goals and raise the bar for what they can accomplish, and we’re glad to support that mission by making Magic Leap One Creator Edition available to creators working in the spatial computing arena,” said Rio Caraeff, Chief Content Officer, Magic Leap. “Putting these devices directly into the hands of promising developers, along with the financial grant from Epic, will help accelerate the industry and lead to new innovation.” “We’re thrilled that Magic Leap is offering their support to the Epic MegaGrants program with this generous giveaway of 500 Magic Leap One Creator Edition devices, which offer incredible opportunities to explore applications from digital humans to product design,” said Simon Jones, Director, Unreal Engine Enterprise, Epic Games. “The option to receive this hardware as part of an Epic MegaGrant means that more of the funds can be available to spend in other areas, so developers have more financial flexibility and freedom to create.” For more information and to apply, visit https://www.unrealengine.com/megagrants. View full story
    44. Today, the Substance team unveils the first Substance Painter update of 2019, reconfirming its commitment to artists of all skill levels through a host of new features requested by users. Leveraging Substance’s unmatched R&D, today’s new features will help speed up the creation process by utilizing dynamic painting, material blending, real-time sculpting and more, all without sacrificing quality. After debuting a prototype at Substance Days at GDC, displacement mapping and tessellation are now both available directly through the Substance Painter realtime viewport and in Iray. With the addition of tessellation and displacement, artists now sculpt their mesh and textures at an infinitesimal level, chiseling art in real-time. Today’s update also introduces “Dynamic Strokes,” a new way to paint complex materials and environments. With Dynamic Strokes, brushes evolve over time to increase the uniqueness of a 3D asset, using an artist’s own parametric directions to guide it. Rather than painting each individual leaf and branch of an ivy vine, placing a single ivy asset will see the vegetation expand into lush overgrowth. A footprint in the sand can quickly become a trail walking off into the distance, and that’s just the start. Dynamic Strokes can help to create manicured patterns or randomly placed expansion, all within set parameters. Time cues can also be factored in, helping brushes to fade out, change color and morph depending on how long an artist has been painting. The new feature ships with 20 preset assets, and artists are encouraged to create their own. Along with the Dynamic Strokes, the update also brings a simple way to blend and layer materials using height data using the “Compare Mask” effect. Artists can now compare the content of the current layer they are working on with the previous layer, then blend the two. This works with any channel in an artist’s texture set, and when paired with the “Seamless Material” template, can create tileable environments faster than ever before. “2019 is going to be a big year for Substance Painter. We are full steam ahead on development, and this first update is a sign of our continued ambition,” said Jeremie Nogur, Director of Strategy Entertainment. "The new update delivers on requests by industry leaders, from games to product design, as well as our indie and hobbyist community." Additional features include: New Projection Modes – Spherical and Planar projections have been added, expanding the options for the Fill layers; Decal movement has been simplified as well. Radial Symmetry – The Symmetry tool now features a radial option, making it easier than ever to create new geometric shapes, including complex spirographs. Layer Stack – Photoshop-like Eyeballs are now available in the layer stack, so artists can easily turn layers on and off. Texture Set List – Users can now select and change the resolution of multiple texture sets at once. Channels List – Users can now press the Alt key and click on a channel to single it out, then click it again to reactivate all channels. Dithering Override – In response to a request from users, the option to override dithering has been added. New Content – New effects, alphas, filters, materials and two new environment maps have been added. The Substance Painter update is available now at no cost to Substance subscribers. Pricing/Availability The new update to Substance Painter is available today. Following the 30-day trial period, individual users will be able to subscribe to the Substance Indie or Pro plans. Substance Painter is also available for individual-license purchase, which includes 12 months of maintenance. Subscriptions to Substance Indie cost $19.90/month; Pro plans cost $99.90/month. Enterprise and education pricing is available upon request. Students and teachers can request a license at no cost.
    45. Today, the Substance team unveils the first Substance Painter update of 2019, reconfirming its commitment to artists of all skill levels through a host of new features requested by users. Leveraging Substance’s unmatched R&D, today’s new features will help speed up the creation process by utilizing dynamic painting, material blending, real-time sculpting and more, all without sacrificing quality. After debuting a prototype at Substance Days at GDC, displacement mapping and tessellation are now both available directly through the Substance Painter realtime viewport and in Iray. With the addition of tessellation and displacement, artists now sculpt their mesh and textures at an infinitesimal level, chiseling art in real-time. Today’s update also introduces “Dynamic Strokes,” a new way to paint complex materials and environments. With Dynamic Strokes, brushes evolve over time to increase the uniqueness of a 3D asset, using an artist’s own parametric directions to guide it. Rather than painting each individual leaf and branch of an ivy vine, placing a single ivy asset will see the vegetation expand into lush overgrowth. A footprint in the sand can quickly become a trail walking off into the distance, and that’s just the start. Dynamic Strokes can help to create manicured patterns or randomly placed expansion, all within set parameters. Time cues can also be factored in, helping brushes to fade out, change color and morph depending on how long an artist has been painting. The new feature ships with 20 preset assets, and artists are encouraged to create their own. Along with the Dynamic Strokes, the update also brings a simple way to blend and layer materials using height data using the “Compare Mask” effect. Artists can now compare the content of the current layer they are working on with the previous layer, then blend the two. This works with any channel in an artist’s texture set, and when paired with the “Seamless Material” template, can create tileable environments faster than ever before. “2019 is going to be a big year for Substance Painter. We are full steam ahead on development, and this first update is a sign of our continued ambition,” said Jeremie Nogur, Director of Strategy Entertainment. "The new update delivers on requests by industry leaders, from games to product design, as well as our indie and hobbyist community." Additional features include: New Projection Modes – Spherical and Planar projections have been added, expanding the options for the Fill layers; Decal movement has been simplified as well. Radial Symmetry – The Symmetry tool now features a radial option, making it easier than ever to create new geometric shapes, including complex spirographs. Layer Stack – Photoshop-like Eyeballs are now available in the layer stack, so artists can easily turn layers on and off. Texture Set List – Users can now select and change the resolution of multiple texture sets at once. Channels List – Users can now press the Alt key and click on a channel to single it out, then click it again to reactivate all channels. Dithering Override – In response to a request from users, the option to override dithering has been added. New Content – New effects, alphas, filters, materials and two new environment maps have been added. The Substance Painter update is available now at no cost to Substance subscribers. Pricing/Availability The new update to Substance Painter is available today. Following the 30-day trial period, individual users will be able to subscribe to the Substance Indie or Pro plans. Substance Painter is also available for individual-license purchase, which includes 12 months of maintenance. Subscriptions to Substance Indie cost $19.90/month; Pro plans cost $99.90/month. Enterprise and education pricing is available upon request. Students and teachers can request a license at no cost. View full story
    46. Tom Sloper

      Fantasy MMORPG in Development

      Yes. I recommend the OP edit the post, add line breaks. (It's UX design.)
    47. Prototype

      Mature themes on a game I'm working on

      There is no way you can touch these subjects without upsetting a lot of people. Especially in these days where people seem to be overly sensitive and prepared to gang-up on you on social media or screw up your Steam ratings. If you want to stir up controversy that's okay but you have to be prepared for some hot wind. Personally I wouldn't even go there within a mile radius.
    48. DerTroll

      Mature themes on a game I'm working on

      From my personal point of view, I think it is okay to address such topics, especially in a horror game, as long as rape and other very horrible things are not shown explicitly. However, you should keep in mind that hard topics can easily backfire on you if somebody feels insulted and that sometimes happens faster than expected and gets ugly quick... Greetings
    49. Hello Guys, I created a funny uv mirror x effect with uv.x > 0.5, uv.x = 1.0f - uv.x but if i translate the uvs before i lost my mirror effect. So have any math genius a solution how to keep the mirror effect if i translate my uvs before? Greets
    50. DerTroll

      can not link program

      Glad I could help a bit. Good luck with your project
    51. r1ckparker

      Perfect Circle

      Sin and Cos are a programmers best friend! I was looking at other games for inspiration and I saw this image from r-type A circle of aliens spins around the player and you have to shoot them from the inside. To calculate the points of a circle is quite easy, the calculation is - x=(radius*cos(angle)) y=(radius*sin(angle)) Therefore I have an array of 10 objects which is calculated as follows - cx=(230*cos(i*36)) cy=(230*sin(i*36)) 230 pixels from the 'origin' and I have 10 objects - 360/10=36. I is incremented by 1 each step. I now have a nice circle of aliens, I can increase the number by reducing the number 36. I can make the circle smaller or larger by increasing the radius. The first level is more or less complete, with boss monster at the end. On to the second level!
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