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Found 120 results

  1. dyl_pickle

    Art Dump

  2. Hello everyone! I've decided to implement a destructible enemies system. Description: When bullet hit enemy in specific part of his body(arm fo example) armour, which covers that part of body, will fall off. Enemies in my game are robots so this means that when shooting them certain plates of their armour will fall off. All enemies will have a different amount of armour plates My solution: The only solution I came up with is to make an actor with a static mesh and attach it to the bones of enemy's skeletal mesh. When bullet hit that actor it detaches and fly away with add impulse node. Question: Maybe there is a better solution, which I'm missing and it's more efficient.
  3. Cubic Motion is proud to announce a major hardware update to Persona – the technology behind the world's first high-fidelity digital humans across video games, films, broadcast media, and immersive technologies. Known for bringing to life characters such as Siren, Meet Mike and most recently Akali, Persona continually captures and translates an actor's performance onto a computer-generated counterpart. This enables immediate animation in real-time engines such as Epic’s Unreal 4. Persona’s core technology also drives facial animation for the iconic game characters seen in Marvel’s Spiderman, God of War, Anthem and other AAA titles. Steve Caulkin, CTO at Cubic Motion, comments: “Persona continually evolves to deliver the world’s best capture and live animation solution. This new release, which makes the hardware even more actor-friendly, is especially significant for immediate broadcast and live events.” New features and functionality Many of the improvements to Persona are based on customer feedback, gathered since its initial release in April 2019. Persona’s latest update focuses on performer flexibility and ease-of-use. Most significantly, the helmet-mounted camera system (HMC) and on-body animation system are now 70% smaller – going from 2.3kg to 1.25kg. Additional features include: Quick-release on body mounting system for rapid setup and ease of use Smart battery device with 1.5 hours run time on a single battery, or infinite lifetime with hot-swap capability Physical record button for quick, manual capture in emergency situations LED indicators that allow everyone on set to monitor whether the system is idle, recording or streaming to UE4 Basic audio recording capability to aid animation quality and allow for quick turn around on set Persona’s update will be available from 1st October 2019, paving the way for a new era in digital performance and virtual production. An era where characters, actors and audiences all co-exist and interact.
  4. Cubic Motion is proud to announce a major hardware update to Persona – the technology behind the world's first high-fidelity digital humans across video games, films, broadcast media, and immersive technologies. Known for bringing to life characters such as Siren, Meet Mike and most recently Akali, Persona continually captures and translates an actor's performance onto a computer-generated counterpart. This enables immediate animation in real-time engines such as Epic’s Unreal 4. Persona’s core technology also drives facial animation for the iconic game characters seen in Marvel’s Spiderman, God of War, Anthem and other AAA titles. Steve Caulkin, CTO at Cubic Motion, comments: “Persona continually evolves to deliver the world’s best capture and live animation solution. This new release, which makes the hardware even more actor-friendly, is especially significant for immediate broadcast and live events.” New features and functionality Many of the improvements to Persona are based on customer feedback, gathered since its initial release in April 2019. Persona’s latest update focuses on performer flexibility and ease-of-use. Most significantly, the helmet-mounted camera system (HMC) and on-body animation system are now 70% smaller – going from 2.3kg to 1.25kg. Additional features include: Quick-release on body mounting system for rapid setup and ease of use Smart battery device with 1.5 hours run time on a single battery, or infinite lifetime with hot-swap capability Physical record button for quick, manual capture in emergency situations LED indicators that allow everyone on set to monitor whether the system is idle, recording or streaming to UE4 Basic audio recording capability to aid animation quality and allow for quick turn around on set Persona’s update will be available from 1st October 2019, paving the way for a new era in digital performance and virtual production. An era where characters, actors and audiences all co-exist and interact. View full story
  5. Bacrylic

    AlexMove2.gif

    From the album: The Book of Alex

  6. COMPANY AND THE PROJECT INT is a 3D Sci-fi RPG with a strong emphasis on story, role playing, and innovative RPG features such as randomized companions. The focus is on the journey through a war-torn world with fast-paced combat against hordes of enemies. The player must accomplish quests like a traditional RPG, complete objectives, and meet lively crew members who will aid in the player's survival. Throughout the game you can side and complete missions through criminal cartels, and the two major combatants, the UCE and ACP, of the Interstellar Civil War. Please note that all of our current positions are remote work. You will not be required to travel. For more information about us, follow the links listed below. INT Official website IndieDB page Also follow social media platforms for the latest news regarding our projects. Facebook Twitter UNITY ENGINE PROGRAMMER We are looking for Unity Programmers. You will be working with our Coding team Lead to implement systems and mechanics using C# language. Your duties will include: 1. Attendance of regular team meetings. 2. Timely completion of implementation of assets. 3. Direct contact with Project Lead and other Department Leads for the implementation process. 4. Utilization of version control suites. 5. Utilization of our project management boards (Trello) and communication channels to obtain up-to-date assets. REQUIREMENTS To be successful in this position, following requirements apply: 1. Clear communication and self starter - pushes to meet deadlines and contribute to the project. 2. Ability to complete tasks with limited input/direction from management. 3. Comfortable with working with people remotely and via Trello management system. 4. Good internet connection with ability to update assets/builds quickly, with large dependencies. 5. At least 15 hours of availability each week. 6. Proficient experience using the Unity Game Engine. 7. Proficient experience in implementing assets into the Unity Game Engine. OTHER OPEN POSITIONS 3D Environment Modeler Website Manager 3D Character Modeler 3D Animator REVENUE - SHARE The project is marching increasingly closer to be ready for our crowd-funding campaign. Being an Indie team we do not have the creative restrictions often imposed by publishers or other third parties. We are extremely conscientious of our work and continuously uphold a high level of quality throughout our project. We are unable to offer wages or per-item payments at this time. However revenue-sharing from crowd-funding is offered to team members who contribute 15-20 hours per week to company projects, as well as maintain constant communication and adhere to deadlines. Your understanding is dearly appreciated TO APPLY Please send your Cover Letter, CV, Portfolio (if applicable), and other relevant documents/information to this email: JohnHR@int-game.net Thank you for your time! Please feel free to contact me via the email provided should you have any questions. We look forward to hearing from you! John Shen HR Lead Starboard Games LLC
  7. Hello everyone, Scanning of the environment has been completely reworked and now looks completely different. Now there is a trace that our alien must follow to collect builders for the nutrition chest. This makes searching of nutrients more fun and unpredictable because the builders trace can take you far from the start of scanning. Also, now the alien needs special building resources. To find them the player needs to watch the environment and catch the resources with an energy pole. The whole building system will be described in next devlogs. Another feature that has been already added to the game is a simple dynamic weather system. Now we can watch wind speed changes, clouds and rain. The rain can cool the alien's body and may dangerous or useful in different situations. Here is a video with demonstration of the new features:
  8. Now its time for me to create some hands for my fps, this is pretty much useful especially for gun game I'm intended to create. So this is the fist step - high poly sculpt for idle position, more stuff will be available as soon as possible)) when its done)) More shots is available here
  9. Bacrylic

    0FA63DD4-D3CD-4E6E-8E96-68CBEE6D617D.png

    From the album: The Book of Alex

  10. theaaronstory

    Isometric Untitled ARPG (ISO TEST NO.3)

    Since my last experimental project came to a halt, I thought to satisfy my urge to play with some potential game assets (for an ARPG), after making so many pixel art. Think you'll guess right away where I'm going with this . . . This is my third test, where I tried out different things/characters: aka. completely rebuilt it from scratch, and this time I started to toy with a simple animation.
  11. Hello everyone, Scan system has been improved and now it consists of 2 stages. It has become more fun, easy to learn, but hard to master. Also the game now has some people in the map that came to arrange a barbecue and brought some stuff with them. The alien can search their stuff and find some things required for repairing of his spacecraft or for developing new skills. This can cause some aggression from the human side and troubles for the alien. The completely new feature is creating of levitation circles. This skill will help the alien to move more efficiently and unnoticed. Video demonstration is here: https://www.youtube.com/watch?v=suwxGF7_PWQ
  12. Charly Men's BIZARRE

    The #GameplayVideo is out! Sprint 37++

    What's up!? 😎 We did a lot of gamedev stuff during the last 2 months, primarily for the recently published #GameplayVideo. This one right here: Happy 2. Birthday, Charly Men's BIZARRE!! WIP 🎉 But before the publishing, we had a lot of items to move, i.e., We produced a bizarre #GameplayVideo Song: We released the BIZARRE book Charly Men's BIZARRE Episode I (German Edition) as eBook and paperback on Amazon worldwide. As you can see right here: We talked about how it felt to write a bizarre book. In German. Get the blog entry right here: We installed a lot of meshes, boxes and collisions for the new #GameplayVideo, and in general! We created too dark videos, just for fun! 😉 Therefore, we built light until we dropped dead! And yes, we did all the items we mentioned in the last blog entry, except the game planning. To transport the elements from the book into the game, that's kind of complicated and needs more time. It's an issue for the current sprint 38. I mean, the game must be fun and horror, thrilling and bizarre. Now, we should design it like that! Okay, after 2 years of gamedeving Charly Men's BIZARRE, from the scratch, this is what we have achieved! A first game level, not completely finished but good looking. A main-character, not completely finished but good looking. A whole BIZARRE book containing the game plot and a couple of BIZARRE videos on YouTube, like the #coloredWoman video - a figure from the BIZARRE book! A comment on this video was like "Now I'm completely disturbed". OH YES! We terminate the two years test period as much as we can, and start to realize the game levels as planned (To Do). We start with the second game level, the scene in the desert and we begin to model and texture the objects based on the painted concept art. After that, we start to program the logic. Next sprint, we publish the rough game planning. Later, we lock us up in a dark cellar and gamedev for years until we lose consciousness. In case you have any questions on our texture, coding, Blueprint, C++ stuff, etc. please feel free to ask! Our speaker @SBoijan (Twitter) will help! 😁 Love is the answer!
  13. (Image by an artist, who's now deleted their twitter unfortunately) Foreword I am building a game project that includes a massive amount of characters and character writing. Writing is not one of my strong skills (as I'm sure you will see in this article) so I meet with skilled writers. I find their feedback invaluable. These meetings have taken place on rushed streets, swigging pints in pubs, through emails and through arguments. I'm confident I have met with a range of people with different opinions, but out of it all there are a few very consistent points which seem to form the backbone of writing characters. What follows are some notes on character writing that I have collected from these meetings. Complimented by the book Into The Woods by John Yorke (Notes supplemented by Into The Woods will be marked with [ITW]). Hopefully they can be of use of you. Character Versus Characterization The conflict between how we wish to be perceived and what we really feel is at the root of all character [ITW]. To see it another way: The conflict between how we wish to be perceived (characterization, facade) and what we really feel (character) is at the root of all (drama). Thus, for a character to be interesting and three dimensional, a character must be conflicted in some way. They will have a facade, built out of aspects that they think is beneficial (whether they are aware of it or not). But as time goes on, the facade will become detrimental instead. Until the character throws off the characterization, they will not win. In keeping up their facade, characters will speak according to the way they want to be seen [ITW] unless their guard is down. Hence dialogue, which is important. It should, at some level, reveal intent and how they want to be seen. Script for Apocolypse Now (1979), a movie based on Joseph Konrad's Heart of Darkness (1899) Writing the Dialogue When a character says something, and does something completely different, they are engaging, and drama comes alive. If dialogue is just explaining behavior, it is not engaging. Dialogue then, should show us character, not explain characterization. In other words, dialogue should not explain what a character is thinking, it should explain Key to getting natural sounding dialogue is having a character you can mentally draw forth rather than having to think about each individual line. That part comes later. Countless are the writers that sit in front of a page, thinking of something for a character to say. Instead, we create the character and they speak for themselves. For now, creating the character is first. To create a character, you must consider it as much as possible, from as many angles as possible. Here are some questions to consider about a character. They're not exhaustive and they're not the even the best, but they are a starting point: In public, what are they like? Are they kind, short-tempered, rushed? As soon as they lock themselves in a toilet, away from the public, what are their first wandering thoughts? Where do they come from and where are they going? Are they from a poor place or a place of riches? A quiet place or a busy place? Do they bounce between places? What do they like? What don't they like? If they are on a date, and their food is ordered for them and they don't like it, how do they react? Can they drive? Do they like driving? How do they react to traffic? They find a picture of themselves from the past: depending on when the picture was taken, and with/by whom, how do they react? And so on. The more questions about a character you consider, the deeper and more engaging they become. Eventually, the character becomes so concrete that the dialogue writes itself. A woman, between 26 and 29. Through-out school, her social life was mediocre. With little to do, and not many people with things in common, she leaves town the instant she graduates. In a busier city, she plucks up the courage to go out for a drink. After all, there are thousands of people of in this city, the chances of meeting someone is pretty high. She enters a pub. She has to push her way in. Immediately she notices she is the least fashionable in the room. It takes her a minute to find a spot to sit, but she finally settles in. After two hours, she is approached by a man. "How are you?" he asks. After a beat, she replies "Allright. Thank you." "I'm good, too" the man says. "Oh. Of course." she says. The man clears his throat. The man is obviously more experienced, and some what full of himself. He does not wait for her to ask him how he is, instead get its out of the way. "Oh. Of course" the girl replies, in surprise; partly because she considers this an oversight on her part, and partly because the man was slightly rude to her. She is not used to the short-handed, rushed city life that the man experiences. The man is expecting a conversation at the same pace as city-conversation. He realizes his mistake, clears his throat in embarrassment. The subtext here is that they both have much to learn about each other. Their lives run at different speeds and if they are to become good friends, they will have to learn from each other and grow. A better example of this in action is the opening scene of the film The Social Network (2010), where the characters talk past each other. There are a myriad of videos analyzing this scene from a writing perspective, so I wont go through that here. A quick search will enlighten you easily. The opening scene of The Social Network (2010, David Fincher) So, to create dialogue, we must create character. The better the character, the easier the dialogue is to write. In some ways writing character dialogue is acting out the character. Channeling what the character might say if they were here. Gathering Character Reference You need stuff to create stuff from. In all creative output, the input is just as important. People are characters. You are a character. You put a character out instead of yourself, as we have discussed further up. Therefore, you must talk to people to gather material. People hold a hundred stories about themselves and others. Nearly everyone relishes telling you about themselves, so just ask. Then listen carefully. I had a talk with an alcoholic in a pub. He was, in his hay-day, a good property developer and property salesman. We talked for a long time. One of the interesting things he said was his theory about dwindling men. This claim was thus: In the 70s and 80s, men's clubs were shut down en-masse. Because of this there was largely nowhere for men to hang around with other men (that is: without wives and women). Except for betting shops. Therefore the demand for betting shops spiked and many, many, many of them opened. Lots of men dwindled away in betting shops. I asked him if the closing of the mines in the North (and the subsequent massive unemployment) also added to the demand of betting shops. He agreed, satisfied with addition to his theory. But then he tapped his temple with his finger and said "But people like, like us, don't end up- you know, people who are switched on. We don't end up dying slowly in betting shops. Mug's game..." With a triumphant nod he drank his way through what was probably his 25th pint that week. In a dark pub in the afternoon. Conflict personified. Chuck Palahniuk, the author of Fight Club, has hours of talks along this line. Collecting and retelling stories from real people until they take on a life of their own. Looking up any of the talks of Chuck is a must. Along with talking to real people, you must also read stories written by authors. And private blogs released by anonymous writers. And listen to confession podcasts. And character study documentaries. And so on. There is a documentary on a handful of influential flat earth advocates called Behind The Curve. It is it not a very deep slice of the flat earth ideology or belief, but it is great character study of these characters. One of the characters is a woman called Patricia Steere, who runs a Youtube channel centered around discussions and daily chats on flat earth theory, the flat earth community, flat earth news, and so on. She's stand-out in the conspiracy community, and she does not look like a conspiracist at all. She wasn't always a flat-earther either: she arrived there via a path of different conspiracies. Lizard people, global control, etc. As her channel gained in popularity, and more people from the conspiracy community noticed her, conspiracies about her started to circulate. The problem with being in the conspiracy community is that your beliefs are ridiculed constantly, therefore the big, bad world is always against you. So it is natural to feel that if someone does not believe as you believe, they are the enemy. This can even go as far as to other members who's beliefs have changed. They've been compromised. There is a short segment in the documentary where she says something along the lines of (and this is not verbatim, but the jist is there): Then, there is a moment where she is just on the cusp of a realization. As she is speaking you can see the gears in her head clank to a halt as she thinks: What they are saying about me is silly and not true. I have said the same things in the past about other people. It was not true and silly then. And therefore, what if flat earth is not true? Have I been wrong all this time? Then, just as there is about to be a logical explosion somewhere deep in her brain. She brushes it off with some comment and continues to believe what she believes. Instead of dealing with that sudden break in the pattern, she simple ignores it. The conflict within this character just flashed by in a monumental, internal battle and the illogical side won. It's a compelling five seconds. People can be a collection of compelling five second flashes. Summary Are you staring at a page, wondering what a character is going to say? You have not developed the character enough for them to speak yet. You will have to think through your character and build up aspects of them to dislodge dialogue. A quick search for character building questions is a good start. Your character is made. But they are stiff and not very engaging. They will need conflict, a facade. They need friction and difficulty. Characters make characters of themselves. Keep a look out for characters in real life. NOTE: This article is a condensed compilation of a lot of notes from meetings. It is also a mirror to the original article I wrote and posted on Minds