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Found 40 results

  1. Underwater Pandora Concept

    From the album PK Game Art

    Environment concept exploring what the underwater worlds of Pandora in Avatar 2 might look like. Fan art illustrated in Photoshop.
  2. Hexagon Game Tiles

    From the album PK Game Art

    Hexagon terrain tile set sample for the Mouchet Software game "Cohorts". These tiles are meant to be aerial views, and play important strategic roles in the game.
  3. Chinatown Luck

    From the album PK Game Art

    Environment Design for the AGS slot game "Chinatown Luck". The gate was modeled in 3D first, and then illustrated with the rest of the scene in Photoshop. Heavily animated in After Effects - the whole cityscape comes alive, with lanterns swaying, neon flickering and sparking, people moving, steam rising from street food stalls, rain drizzling, mist flowing, etc.
  4. Snowy Environment

  5. The Pillars of Ethios

    From the album Ethios: Valiant Plume Saga

    The world of Ethios is held aloft by massive trees known as the Pillars.
  6. Forest-themed levels in 3D linear games seem to be tricky to pull off. I primarily refer to first person games though this can easily be applied to third person games and possibly top-down games. Older games were limited by the hardware used at the time so texture space and polygon counts were important to manage. These games uses a flat texture of trees to create the illusion of depth or create rocky cliff walls to obscure parts of the scene the player is not meant to view. An example of a linear forest level is Forest Edge from Disney's Donald Duck: Goin' Quakers on the PlayStation 1. A relatively recent example of a linear forest level are portions the Outlands White Forest from Half-Life 2: Episode 2 on the PC. You can see that it looks more like a small narrow valley. For gameplay and readability it works well and doesn't feel artificial though it's not quite a dense forest. Outlast 2 did have areas set in tree-filled areas but the only indication of not being able to go through some bushes or trees are invisible barriers, which supposedly works but feels very artificial in my opinion. Some games in recent years like The Forest and Ark: Survival Evolved have made fully explorable forest levels but they are non-linear open world games. Since the respective games aren't linear in nature they have no need to funnel players through areas designed to be traversed. How can depth and believability be achieved without making the player confused or lose their direction? How can making a linear forest level be done without making the environment appear artificial? I created this topic as I'd love to hear what you guys think. I don't think there's a right or wrong way going about making a 3D linear forest level.
  7. I'm studying games art at uni and have been tasked with studying the phrase 'Character artists are higher skilled than Environment artists'. The topic is based around modelling in 3ds Max and ZBrush. I am required to gather opinions from outside sources.I myself think that character artists have more skills as they need to pay closer attention to details. They have an important job role as they are creating the main focal point of a game. Even in 1st person games there are cut scenes where the model is used.
  8. Alternative for an open world

    Hello there! First of all i don't know if this is the right section for this.. Ok so i need a little help with an idea. I have always been fascinated by open world games where i could explore the world freely and i would love to create a game like that but sadly it is rather impossible for a sole dev. So could you help me by giving me an alternative that would be easier to achieve and would give.. i don't know.. 'the same experience' in a way. For example i loved The Forest and it isn't very complicated having no set quests or side quests, you don't get to create a character etc. I have looked into other categories of games like platformers and such, but nothing attracts me like a nice world to explore. Btw i love designing terrain/world and creating a story if that's of any help. I know this is kind of vague, but i hope you can help and save me from wasting a huge amount of time by starting something i can't finish Thanks in advance
  9. Any self-respected JRPG has always an iconic city, a place that will stay forever in the player’s memory for years to come. There are so many examples of this kind of places in the industry. A fact that makes it more complex to come up with new ideas. Despite all this, at Abrego’s it has been clear to us that the main city of our game had to be special. Inspired by ancient greek and japanese culture, we aimed to create a place that would not only serve as a place to pass through but that could be as meaningful as the protagonists, a nexus between the story and the characters. From this desire, Shinn is born, one of the most important city in Feros. The cruel war between the North and South have made Shinn into a fundamental emplacement for each opposing forces. Shinn is a city surrounded by everlasting flows of clear water, and the draught that is hitting the south of Feros makes its control essential for the survival of both sides, so, ruling Shinn is one of the most powerful weapons to win the battle between North and South.This conflict has also been fundamental in the conception of Shinn. Before the war, the city didn’t have a wall around it and it was really only a small village surrounding a temple, but after the conflict began this circumstances changed, Shinn became then a bastion against the attacks of the enemy. Life in Shinn had began around the temple devoted to the Synchrony, the discipline used by the northerners to synchronize themselve with their allies and enemies, to control, improve or weaken their minds and bodies. The lasting battles made them build their homes, businesses and other places, with easy to repair materials like wood, but placing them on strong and solid rocks. The city layout is inspired by The Acropolis of Athens, but with clear reminiscences of traditional japanese villages. If we walk around Shinn, we’ll see all those characteristics of the old oriental cities, livened up by a soundtrack that will take us to those magic places, where the wind embraces honor and dreams. The final creation of Shinn in the video game has been as tough as fulfilling. The amount of details contained in the city, is only a little proof of the care we have put in its development. Shinn is not just an accidental location or a setting to place the story, it is where players will want to stop and watch the surroundings, interact with its citizens, improve their equipment and feel every little piece of story like a gong hitting their heart. As Leonardo Da Vinci said “water is the driving force of all nature”, in Noahmund’s world, Shinn is the power that will put in motion the charm from each corner of Feros. The second demo of Noahmund is out in www.noahmund.com
  10. Hey all! Me and 4 people are looking for a concept artist for our game. This is a hobby project which means we are mainly looking for someone who wants experience however if you do decided to make the game paid then profits will be split. If intrested email liondude12@gmail.com
  11. Anyone ever seen a stylized horror game? All most all of the horror games feature a very realistically rendered visual style! Can horror really be transmitted via a stylized world? Any thoughts?
  12. Multi-player level creation

    Hi all, I have been working on a project that enables multi-player level creation (ie. multiple level designers work together in real-time). Right now we have it working for Unity. Here is a video of it in action: This isn't a new idea, and has been tried before. The idea is that you get lots of benefits from working this way: 1) No more scene merging/conflicts. 2) People can see and react to each other's work immediately, they can iterate on things instantly. 3) Much easier for the lead designer to be active in the work, supervise, and provide feedback - camera following is actually being used as a supervision tool. 4) It's actually much more fun to work this way, so people are more motivated and work faster. So here is a question: Has anyone worked with a system like this in the past? What did you think of it?
  13. The Whaler - Dev Update #10

    Hey Captain`s Time for another update, we have been a bit busy in all ends this few weeks, with planning of how the character customization will work and look, as well as blocking out and starting to shape out Nantucket Island. Progress has also been very good regarding "The Pearl" and it is currently on track for the new milestone we have set. Finally, we have also heard the call from the community and the first zone that will be playable will be called "The Myth of The White Whale", we know a lot of followers have been asking questions about Moby Dick, but as this time period wont fit, it makes a possibility for a future set of content after release. If you know the history the book of Moby dick, it was based upon various true stories of other albino whales that ruled the sea, one of these was Mocha Dick, (together with cappuccino orca *phun*) who was a feared whale that supposedly survived over a 100 encounters with whalers in the areas around Mocha island. It is said that when he was killed, he had around 19 harpoons in him before the encounter even started. But the myth started somewhere! Character Customization: Here is the old and early sketch we made to try an visualize how the character customization will look like the style of this will be of old fine art, and you can choose hat, face and uniform in the portrait. Sketch by Dominik Mayer Environment, Nantucket: Captain Zackarias, Environment Artist Captain Zackarias made the Nantucket island and we have now started to block out and placing the assets. Nantucket is hard one, it`s and Island with almost no trees, and that`s pretty hard to get looking good without making it feel to empty, but it is a challenge we have no problem taking on. The most important thing is to get the port looking good and making it seem busy and alive. "The Pearl" A 16th Century Whaling ship: Captain Mike, Ship Builder Captain Mike is working hard and well on "The Pearl", you might have seen some of his ships in another age of sail game, called Naval Action. We are also opening discord for the public, where you can chat with us, give feedback, QA`s, sing some shanties or listen to shantie radio! Press the link to recieve the invite https://discord.gg/SUr35k9 I also want to thank everybody who voted for us during the indie awards 2017, we made it to TOP 100 and are currently the only game in upcoming realistic sim for the last vote batch. If you like what you see, we would appreciate the continuous support for the last run of votes! http://www.indiedb.com/games/the-whaler-working-title Thanks again for all the support we have gotten, emails, comments and so forth, it means a lot. With that, I wish you a Merry Christmas and an amazing new year. Looking forward for next year and all it will bring on our front! Cheerio, Captain Tommy
  14. Hello all! I'm currently in my third year on my 3D Animation & Games Development course, and I am in the process of doing some basic primary research for my dissertation project, which is to create a high quality 3D Environment for use in video games and potentially VR. I have a questionnaire (targeting other artists in the field), and I would really appreciate it if you took some time to have a look and fill it out: https://docs.google.com/forms/d/e/1FAIpQLScW12nFI8-fMlAUMNSQvOInxhnIfXpG91iRCm25TVlZufrvbQ/viewform?usp=sf_link Thank you in advance! Mike.
  15. Open/Infinite worlds in CryEngine

    Background I'm new to game development as a whole but I've been programming for almost 7 years now, it's my daily job. I work mainly in web development creating data aggregation and analytic tools. I currently work for a company called Concept Gaming, we design and develop online casino based games like roulette, slots and blackjack etc.. I'd like to move more away from my field and experiment with game engines like CryEngine in order to create AAA games. Now I'm not an naive, I understand that these types of games requires heaps of time and effort and usually a dedicated team. So my goal is not to create a game as of yet. That being said I've decided to learn CryEngine rather than Unity or Unreal. Most will probably mention that Unity has a much more community friendly environment in terms of helping beginners out and I will agree, however I've chosen CryEngine by preference. I found that after downloading all 3, CryEngine seemed to be the one to appeal to me the most. Question So I want to know how you'd go about creating an open/infinite world in CryEngine. I know it's practically impossible to just straight up create a universe due to memory constraints and processing power etc.. but if you take a look at games like Star Citizen who also use CryEngine, they've managed to actually achieve some way of simulating a seamless universe. Now I do know that they work closely with the CryTek team and they're solution is mostl likely proprietary, but could someone please explain how I'd go about achieving this in CryEngine? much appreciated, ~ Kieron
  16. https://www.cgtrader.com/3d-models/interior/house/victorian-sconce https://fr.3dexport.com/3dmodel-victorian-sconce-173747.htm
  17. i'm beginner at game development and i started to design some levels and environments but should i download my assets or learn how to create them like 3D modeling ,texturing etc if i want to have a job in the industry as a level designer ?
  18. We're developing an arena/battleground game that will revolve around unique builds, skillshots, aimed targeting and player skill. The game is currently at early alpha stage, almost everything is subject to change. Here is the latest gameplay video: https://www.youtube.com/watch?v=hpPGg9laotU (Note that it shows the game at stage when I developed it alone) We're looking for 2D/3D/VFX artists. Join our Discord server and PM @Ashstorm or @drcrack. Here is the link: https://discord.gg/zXpY29V
  19. Hi everyone! I hope you're all doing well. We don't have much to say this week, since we're preparing for WebSummit next week! Oh, how time flew! Ahah But we decided to start working on the looks of the game. So we started discussing one of the things you will see the most: the floor texture! So here is some of the texture ideas our artist came up with. I hope you like them as much as I do. (smiles) Share your thoughts with us! Don't forget to share your support and motivate us on Thunderclap! See you soon, The FAXIME Team Follow us and keep updated at: Facebook: https://www.facebook.com/FaximeGames Instagram: https://www.instagram.com/faximegames Twitter: https://twitter.com/FaximeGames Pintrest: https://www.pinterest.pt/faximegames SoundCloud: https://soundcloud.com/faximegames Thunderclap: https://www.thunderclap.it/projects/63892-support-project-spaceville
  20. Best Actions Montage

    Just 5 days left till release ! Take a look at Best Actions Montage From Yesterday's Play Session: https://www.facebook.com/bouncybobgame/videos/927268027431229/
  21. Dungeon Crawler Level

    As part of my environment design module, I have been tinkering with simple trap and puzzle ideas and have tested out some ideas in Unreal Engine 4. These traps and puzzles will hopefully be applicable in my dungeon crawler level designs. Trap For my first trap, I have decided to create a version of a classic trap: the dart launcher. This is the first trap encountered in the original Tomb Raider that is not an enemy. This trap is usually intended to damage the player a certain amount per hit without outright killing the player. Darts can also be modified to apply different effects on the player such as poison, stun and sleep; just like real darts! For my own darts, I have created a dart launcher that can be edited by designers to fire standard darts or poison darts. The darts can also be given different life spans so they do not enter areas they shouldn't. The rate at which darts are fired can also be modified as well as how much damage the dart can do in one attack or over different lengths of time. Players know if they have been struck by a dart via sound effects. For poison darts, the player hears the dart hit them, then another sound effect combined with a particle system to show that the player is taking damage over time. The poison will eventually run out and the effects will disappear. The variables in the dart and the dart launcher could have been placed in structures to make the blueprints tidier. I could have also added the ability to edit the velocity of darts to add a new dimension to trap layouts. As for hinting to the player that these flying objects are dangerous, I could have indicated the danger beforehand by having a dart strike an unwitting NPC and kill them. This would alert the player about the potential danger before being put in a position to be hit by one. Currently, the only hint of the presence of darts is the sound of the cannon (standing in for a crossbow or some other dart throwing weapon) firing. Puzzle The puzzle is a simple pressure plate that controls the lowering of a door. To make the puzzle more interesting I have added functionality that requires the player to lock the door in the lowered position. This must be done by remaining on the pressure plate to keep the door lowered and firing a dart at the switch beyond the door. The switch cannot be hit without lowering the door. To hint that the switch, represented by a statue with a torch on it, is interactable, I have added a lone version of the switch to the start of the level. This allows the player to observe the switch being struck by a dart and causing an effect. On reflection, it would have been more useful for the switch to be linked to a door or some other object in the wold to show that these can be connected to moveable objects. The switch’s presence is also not immediately obvious to the player on approaching the door and requires the player to advance right up to the door to see it. This may make it less obvious as the solution. I would appreciate any feedback on parts I could improve or have missed.
  22. As a student currently enrolled in Computer Programming, I have found it difficult to obtain an internship with my limited knowledge and underwhelming professional experience. Most companies I applied to required 3-5 years experience, which seemed impossible to achieve if I was not given the initial opportunity to be hired. However, I was determined not to let that stop me and thus created my own independent gaming studio - World's End Entertainment. Our current work force has grown and now consists of four artists, and three programmers. All friendly and hard working individuals. Our first game Shield Smash, is an RPG Idle Adventurer which is written using html, css, javascript and the game engine Construct 2. The art is created with Photoshop and Kritika. The game is still underdevelopment but is steadily progressing. We are currently looking to expand our team with more programmers and artists, especially those well versed with pixel art. Upon completion of the game, Shield Smash will be launched on Kongregate, where you will each receive full credit as a part of World's End Entertainment. If the game makes money, the money will be divided evenly among the team. Please feel free to showcase the game as part of your portfolio. To Apply If you would like to join our team at World's End Entertainment, please feel free to send me your resume at gerarddummett1@yahoo.ca where I guarantee you that I will personally get back to you in a timely manner. The subject line should state: Resume for World's End Entertainment. Our team currently consists of seven members from around the world and we are more than happy to have that number continue to grow. Discussions and meetings will be held via Skype and through Emails. Thank you for taking your time to consider working with us, and we look forward to hearing from you.
  23. Building Block Heroes - Secret Rocket Base After making their way through the depths of the Oceantide Channel, the Building Block Heroes find themselves at the Secret Rocket Base! Description The Secret Rocket Base is a well-hidden military installation that houses a space-faring rocket that the Building Block Heroes will need to commandeer in order to attack Rupert's Moon Base directly. The Secret Base is probably the most difficult area in the game if time limits are enabled due to the barriers the players encounter. The barriers in this case are literal, as the new type of block encountered in this area are called Barrier Blocks. Barrier blocks are more durable than regular blocks, requiring three blocks or breakers of the same colour to be detonated next to them before being destroyed. The enemies in this area are relatively benign and just patrol back and forth like enemies in earlier areas. However, the enemies in the Secret Base are much bigger than other enemies, which forms a problem in and of itself. The boss of the Secret Base is Rupert himself! Or, rather, Rupert taking potshots at the heroes from a gun turret. Rupert will follow the heroes around with a targeting reticle, taking aim until firing a shot that obliterates all the blocks around him or her. It does help to have a friend for this battle, as Rupert can only target one hero at a time. However, he does fire more frequently when there are multiple targets for him to take aim at. Design The Secret Base was a huge pain to design. The colour scheme for this area wasn't immediately obvious, and it was difficult to think of one that would be unique. Specifically, I was having trouble figuring out how to make the mechanical parts stand out among the rocks. The breakthrough came when I decided to turn the rocks into a brown/tan colour, which immediately solved the problem of making the area look unique. This itself lead to the design of the rocket because it opened up the possibility of a more cartoony and colourful rocket rather than the plain, grey mechanical one I envisioned at first. I'm a big fan of Tintin comics, and while I was designing the rocket I was reminded of the one that Tintin took to go to the moon (which itself was inspired by the appearance of the infamous V2 rocket designed by the Germans in WW2). I figured I could use a similar checkerboard pattern for my rocket. I knew I wanted a gun-based boss to fit with the military theme of the area. Originally, the boss was a regular Mechafolk boss, like in the other areas. However, as I was designing the boss, I decided to throw Rupert inside it to add a dash of colour to the boss. The music was inspired by early Command and Conquer games, with their industrial funk tracks that took a military/industrial setting and made it catchy rather than being serious or sober like one might expect. For this I started off with the electric guitar hook and added a fast, upbeat percussion track. Thankfully, military settings tend to lend themselves quite well to brass melodies, which at this point were starting to become something of a hallmark of my music. The melody, then, was an absolute cinch to compose once I had the background hook nailed down. Let me know what you think! The game is on sale this week on Steam: Building Block Heroes on Steam
  24. Building Block Heroes - Oceantide Channel After the bright neon lights of the Mechafolk Capital City, the Building Block Heroes find themselves forced to cross the Oceantide Channel in order to reach the Top Secret....er, nothing. Crossing the Channel requires going under the sea, through a twisting maze of colourful coral. The Oceantide Channel marks the return of environmental obstacles. In this area of the game, every level will contain a giant stalk of seaweed slowly waving back and forth in the background. After a while, the seaweed will speed up, which serves as a warning that a powerful ocean current is on its way. Once the current arrives, the Building Block Heroes will be swept to the left of the screen, unable to resist the onrush. Hopefully, they'll have something to brace themselves against until the current passes through! The enemies in this area act similarly to their counterparts in the city, except that they move in a random pattern rather than moving consistently. The boss of the Oceantide Channel holds the distinction of being the only one in the game that isn't attacked directly. After all, the Building Block Heroes are simply trying to get into the Top Secret...nothing. Fighting the boss directly would be a distraction! As the heroes make their way to the door, the boss swims back and forth dropping breakers. This can make the boss very easy or very difficult depending on how you build your way to the door's weak point. Design The Oceantide Channel was a fun area to design, because coral doesn't necessarily follow any kind of patterns or rules with regard to shape or colour. This meant I could draw random shapes with different colours and still use them as part of the environment art. The seaweed was kind of tough to design. I had to make a decision as to whether or not it would appear on top of or below the blocks. In the end, I chose to have it appear underneath the blocks. Although this can affect the player's ability to tell when the wave is coming through, having the seaweed on top of the blocks prevents the user from seeing what he or she is building underneath, which in turn interferes with the core gameplay of the game itself. I compensated by making the seaweed quite large, to lower the chances of covering it up entirely. This boss, like the one before it, required me to animate a turn. However, because his turn is faster, I didn't need to draw as many frames. His relatively simple shape also made it quite easy to animate the turn. Turn animation notwithstanding, this boss was a cinch to draw, because neither the boss itself nor the door required any real animation. I originally envisioned an area that would take place above the water, on a sailboat. The ocean currents would instead have been wind currents, indicated by the movement of sails in the background. This was going to require a pirate-shanty style background theme. However, the appeal of drawing coral was too strong, and I redesigned the area to take place underwater. This necessitated a shift away from a pirate theme to a more mellow and mysterious sounding theme. I started off with a slow violin intro punctuated by piano hooks, to capture the feel of descending into the deep. I then added flutes because, to me, they sound melancholy. The trick was deciding the pace of the flute melody. Originally, the track remained quite slow, but I found that it began to sound tedious about halfway through. For this reason I added a soft percussion track and sped up the melody once it kicks in. This, in turn, helped me come up with the final brass flourish at the end of the track. Let me know what you think! Feel free to check out the store page and wishlist if you're interested! Steam Page
  25. Game environment concept art

    From the album Concept art

    Environment concept art for a mobile game. More of our concept art can be found on our website.
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