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Found 22 results

  1. 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
  2. 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
  3. 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/
  4. 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.
  5. 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.
  6. 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
  7. 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
  8. 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.
  9. Consider how one makes terrain using marching cubes. By having a grid of floats we can represent a continuous field that marching cubes will interpolate and turn into a nice smooth isosurface for the player to walk around on. This is easy and excellent for creating mountains and valleys and so on, but what if we want more variety in our game? A game is not normally made of just grass and sky. Maybe some places should be sand, or water, or road. How could that be worked into the mesh that we're getting from marching cubes? The obvious approach seems to be to have multiple fields, so each point on the grid has a certain level of sand, soil, rock, water, and so on. Then we modify the marching cubes algorithm to look for transitions between materials, so it puts a surface between areas of mostly one material and areas that are mostly other materials. We'd also want to keep track of when these surfaces touch the air, because that's the only time when we'd actually want to triangulate and render the surfaces. Suddenly the delightfully simple marching cubes algorithm is looking a lot less obvious. Has anything like this ever been done? Does anyone have any tips? Is this the right approach? Edit: Embarrassing mistake! I didn't think of phrasing the problem as "multiple materials" until I went to post this question, but now that I have I see there are plentiful google results for marching cubes with multiple materials. I'm still interested in any tips and advice, but now I have other resources to help with this problem. From the Google results, this paper looks especially interesting: Automatic 3D Mesh Generation for A Domain with Multiple Materials
  10. Unreal Amazing Unreal Engine 4 Showcases

    I believe that this is scanned, what do you think? Is it possible to create this in UE4? Anyway looks awesome.
  11. hi people! I'm trying to land a job in the video games industry (I don't mind if it's a low end mobile studio as long as it's a stable job) I have a BSc in CS, and some years of work experience in programming, graphics design and UI/UX design. I also have some game prototypes (art/animation/scripted by myself) and I'm hoping of doing 2D art (characters/environment) on video games. However I'm willing to put to use any one and all of my other skills if my character/environment drawing skills are not up to the task, whereas something else makes me a candidate. After all I need to get my foot through the door! I seriously lack industry insight, so it would be very helpful if you could have a look at my portfolio and come up with some feedback/critique and some suggestions on what job positions/company sizes should I be tailoring my search towards! Feel free to be blunt/honest, I am in serious need of a reality check :-) Thank you so much, -Fotis
  12. I want to make game terrain using something like a heightmap, but I want vertical cliffs and none of the usual artifacts that go along with the limited resolution of a heightmap. So why not use marching squares to turn the heightmap into a contour map? Next we can triangulate the contour map to generate a 3D mesh with smooth lines at any angle and no difficulty with vertical cliffs. Here is a youtube video summarizing an algorithm for triangulating contour maps: Contour Map Triangulation, Visualization & Pathfinding Unfortunately it looks quite complicated and computationally intensive. Is there any hope of being able to recalculate that mesh frame-by-frame as the user draws the heightmap? Does anyone know of a way to simplify this problem?
  13. Building Block Heroes - Mechafolk Factory Now we're starting to get into the heart of Mechafolk territory! In this week's feature I discuss the birthplace of all Mechafolk, the Mechafolk Factory. Description The Mechafolk Factory is a large-scale industrial zone from which all Mechafolk are assembled. The Building Block Heroes find themselves winding around large conveyor belts and cranes, taking care not to slip on the patches of oil on the ground. The Mechafolk Factory introduces moving blocks, which have a nasty tendency to ruin everything the Building Block Heroes have built. Moving platforms display one to three green arrows on them, which denote how many spaces they will move and in which direction. After a certain amount of time, the glowing arrows turn from green to red. Once the blocks are "armed", the player is given the chance to place the block currently under his or her control, providing an opportunity to prepare for the sudden movement of the level. The blocks were originally supposed to move immediately, but for gameplay purposes it was deemed to unfair to the players to have everything suddenly shift without warning. Thankfully, the Mechafolk Factory employs a streamlined shipping process that sends out completed Mechafolk as soon as they are finished, meaning that there are no enemies in any of the Mechafolk Factory's levels. The only one present is the area's boss, which launches attacks based on colour rather than simply smashing things. This boss likes to wind himself up before he attacks. As the screw on his head gradually twists upward, the screw body turns into whatever colour will be targeted next. Eventually, the screw drops and destroys all on-screen blocks of the same colour. This can be especially painful if the Building Block Heroes have been relying too much on a single colour to work their way around the level. Design Like the Mistypeak Mountains before it, the colour scheme of this area was one that had to be chosen carefully. A mechanical factory necessitated lots of grey, so I added hints of blue, green, and purple in order to mix things up a bit. Still, I didn't want a single colour to dominate too much, so I added copper piping for contrast. As a general rule, I try to have the boss sprites match the overall colour scheme of whatever area they reside in. However, because this boss attacks based on colour, I deviated from that rule to include all four colours of block into its sprite. This gave me an excuse to throw in some yellow gas tanks into the scene, because then there would be some precedent for them rather than having them stick out for no reason. The resulting thumbnail thus contains an enormous amount of contrast while still feeling mechanical. The background music was meant to sound kind of industrial and workman-like, so I started off by composing a strong bass line, complete with a fast-paced percussion track. Once it came time to compose the melody, I chose to rely on heavy brass coupled with saxophones and honky-tonk pianos. This gave the track a funky-sounding blue-collar vibe, which I felt captured the feeling of "men at work". Let me know what you think! The levels in the Mechafolk Factory were very fun to build and test, although people playing the game might hate me for it. Feel free to follow me on social media as well if you're interested! Twitter Instagram SoundCloud
  14. Building Block Heroes - Mistypeak Mountains Continuing the series of articles detailing the different areas in my game, I'm going to talk about the third area - Mistypeak Mountains. Mistypeak Mountains comprises a network of mountain passes perpetually shrouded in a dense fog. However, the Building Block Heroes aren't nearly stupid enough to stumble around in such thick fog, so they take the action above the cloud line, into the gentle light of the rising sun. The gameplay feature introduced in the Mistypeak Mountains appears in the form of Gem blocks, which are essentially Breaker blocks in their natural, unrefined state. They destroy any chain of same-coloured blocks that touch them, so the player must be wary of where their blocks are placed. This destructive effect carries over to blocks that fall in their vicinity, so you must be extra vigilant in order to prevent multiple chains of blocks from being wiped out instantly. Naturally, Gem blocks have been placed everywhere in the Mistypeak Mountains - the gentle hand-holding of Jollyville is a long way away at this point. Mistypeak Mountains is where the enemies really start to get annoying. The first enemy walks around like the others the player has seen up to this point. However, it now possesses the ability to jump onto blocks and jump down from them, meaning that its route becomes far less predictable! The second enemy is more consistent, which would be fine if it didn't soar through the air and get in the way even before the player had a chance to decide where to place his or her block! The third boss in the game is a giant humanoid Mechafolk boss with a nasty penchant for tossing enormous boulders towards the player. There are multiple trajectories that this boss throws rocks at, all of which are intended to be as annoying as possible by targeting the areas immediately behind each barrier in the level, as well as the area in front of the boss itself. The attacks occur in two phases. First the boss catches a rock that falls from the ceiling, then he throws it. While the rock is being held aloft, the boss is invulnerable - it is only in the short gap after the rock is thrown that the player will have access to the boss's weak point. Design With Mistypeak Mountains, I had to be very careful not to use too much grey or blue lest the background become an eyesore to the player. This is why I decided to design the background with a sunrise. It allowed the foreground to stand out a lot from the background, as well as adding a burst of colour onto the scene. This is also why I added the cliff in the middle of the scene, to add a dash of green to the mix. However, mountains are generally comprised of rocks, which don't tend to be too brightly coloured. I got around this by making the rocks less saturated versions of cool colours like blue, green, and purple. This way they still retain some of the blandness of typical rocks while avoiding too much monotony in the colour scheme of the area. Even in the map, which isn't able to make use of a rising sun as a backdrop, minor shifts in hue make all the difference! Judging from the thumbnail of the background, the use of purple definitely makes Mistypeak Mountains stand out. The orange and purple of the sky are unique to the area, and add a lot of character to a potentially boring area. For the music, the percussion is meant to evoke a sort of caveman-type feeling, so I made copious use of bongo drums. At the same time, the music was never meant to be ominous or dark - the players aren't travelling inside the mountains or caverns, just over them. Instead, I tried to capture the feeling of a sunrise by using rising violin themes and lots of french horns. I found that by using several french horns playing deeper notes, I was able to create a triumphant-sounding melody, which I felt fit the sunrise motif. I feel I was able to take a potentially boring area in the game and make the most of it with Mistypeak Mountains. Let me know if you agree or not! I'm always open to feedback. Feel free to follow me on social media as well if you're interested! Twitter Instagram
  15. Eclipse

    This is how Odd Oliver see eclipses. Follow my places to learn more soon! @gygestudios gyge.co @yotingo
  16. Hi everyone! Today’s screenshot is, as you can see, a cherry tree! You will be able to plant lots of trees in your village! This is one of them! Do you like cherries? Cya next week, everyone! 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/
  17. World of Shinobi

    Game Concept Doc: https://docs.google.com/document/d/1B5eS_eGMke3gk5xPyMLekZY1T7uE2q1pO4vFdALIOC8/edit We are looking for every position. From Game designer, to marketer, to programmer, to 3D modeler. Any further questions can be discussed through discord DISCORD: Gator#5635
  18. a hidden spring

    From the album The Story of Little Fire (WIP)

    One of my favourite rooms that I've designed so far (also the smallest). Samus is a stand-in for my protag until I get a proper sprite, but everything else is mine.
  19. Greetings everyone, my name is Jack. I am proud to represent SymmetryGames LLC as both an Artist and business member. Before I continue with more details about the various 3D artist positions, I will lay out basic background information regarding SymmetryGames LLC/Z-Warz. About SymmetryGames LLC: SymmetryGames LLC is a new, independent game development company, founded by myself and two other business partners. Currently, our team consists of two programmers, one 3D artist (myself), one concept artist and one sound designer/composer. Currently, we work overseas and communicate via Discord/Skype. For about the past 3 months we have been designing and developing the prototype for what will be our first official game title, Z-Warz. About Z-Warz: Z-Warz is a top-down 3D zombie survival game designed for the web and later, mobile platforms. The main mission behind Z-Warz was to create an interesting low-budget multiplayer game that players could access for free. We are basing Z-Warz off of “.io” games which are essentially free to play online video games with simple yet entertaining mechanics. Such titles as Agar.io, Slither.io and Wings.io all fall under this “.io” category. All or most of these “.io” games make a profit from ad-based revenue. One very important question that I receive often is, what separates Z-Warz from other top-down zombie survival games. The core principle in Z-Warz is the multiplayer aspect. We have designed Z-Warz so that almost everyone will only be a few mouse clicks away from connecting with potentially hundreds of players. Within Z-Warz there will be multiple different game survival modes. Some game modes allow players to battle each other while others establish a cooperative playing field. The team game mode, for example, will allow up to 16 players (subject to change) to connect in one world and battle waves of zombies together. The Battlefield game mode, however, is more of an open-world every person for themselves environment. More public information about Z-Warz will be detailed later as well as described on our social media pages. (links will be placed below) Development/Timeline information: For the past 3-4 weeks, our small team of volunteers has been working on a basic single player prototype of Z-Warz. We have determined that Unity 5 would be our best option in terms of game engines. Long before we began work on the Z-Warz prototype we knew we wanted to run some form of crowd-funding campaign. For multiple reasons, it seems as though we have settled with running a Kickstarter. Being a new studio we figured running a campaign would be difficult. There would many pieces that would need to be in place to effectively fund our project. We decided it would be best to develop a small prototype of Z-Warz as proof of concept while we built up our basic social media pages. The Z-Warz prototype will mainly be used for game footage for the Kickstarter video as well as an alpha test backer reward for our project on Kickstarter. As we come close to finishing our alpha prototype, we are beginning to work on the Kickstarter video. We have a basic concept/outline as well as basic storyboard concepts for each cinematic scene. 3D Artist Basic Information: Now that our storyboard conceptual sketches have been completed, we are ready to move to the next step which will be 3D Previsualization. To ensure that we put forward the best possible Kickstarter video, we plan to recruit roughly 3-4 volunteer 3D Artists/Animators to improve the quality of the Kickstarter video. It should be noted that any artists and animators who are interested in working on Z-Warz post-Kickstarter will be paid as standard freelancers. All artists will receive approximately 3 to 6 % royalties from any and all Kickstarter campaign profit. (NOTE: Post-Kickstarter, all software will be paid for by SymmetryGames LLC.) Who are we looking for? There are about four main positions we are looking to fill: 1) 3D Lead Generalist (3D Modeling, 3D Texturing, UV Mapping) 2) 3D Animator/Rigging Technician (Rigging, Animating) 3) 3D Environment Artist (3D Modeling, 3D Texturing, Lighting, Scene Design) 4) Visual Effects/Simulation Technician (Simulation Skills, Rendering) (NOTE: These are basic overviews of each position, details will be provided upon request via email) Time/Involvement: For each position, the average involvement time in hours will vary. There is a current total of 17 scenes in the Kickstarter video. Nine of which will be cinematically rendered 3D scenes. In terms of project due dates, we plan to launch our Kickstarter campaign within the next two months. Applying: If you are interested in working with a creative and talented team of artists and designers as either a 3D Generalist, Animator, Environment Artist or VFX Artist, please email us at business@symmetrygames.net Please include a short bio or resume as well as a portfolio or any artwork you would like to share. Closing: Unfortunately, there are way too many questions to answer in one job post. If you have any questions or concerns feel free to email us at business@symmetrygames.net Thank you for your time, - SymmetryGames LLC Team Social Media Links: Facebook: https://www.facebook.com/symmetrygames/ Twitter: https://twitter.com/SymmetryGames Instagram: https://www.instagram.com/symmetrygamesco/?hl=en
  20. Low Poly Art Series

    Hello! We are Tornado Bandits Studio, a small game development studio based in Bucharest, Romania. Our main focus in the last couple of months was modelling different Low Poly Packages for Unity Asset Store. Until now we've released 5 packages, each of them coming with different environments. Our latest pack and our masterpiece is Low Poly Dungeons Pack. It contains more than 1200 meshes and 8 different demo scenes. We are sharing it with you and waiting your sincerly feedback. You can check all the screenshots and the presentation video on our asset store page. For any information, feel free to contact us: contact@tornadobandits.com Don't forget to follow us on Facebook! Thank you!
  21. I am bogged down by this for a while and I can't figure out a proper way to do it. In a multiplayer game, a player should be able to see other players' visible states on the same screen/ same zone. For example, my player should see other players' state change when they change size or color or collide with some entities if these players are in my player's viewport. The same applies to other players, so they can see what my player is doing, seamlessly. I have designed a architecture that if each player has some collection called "nearbyPlayers", each player can iterate through them one by one and get the state changes and then send them to the current player. But on the server because these players are at the same zone some state changes will be iterated many times. Assume A, B, C and D are on the same viewport, to get the environmental screen state changes for A, I need to iterate through collection = [A, B, C, D]. And for B, C and D I need to iterate through the same collection. I think this way my structure has repeatedly computed some states many times, which wasted a lot of CPU cycles. Maybe there is a term to describe the problem but I don't know. I have also tried to design a pub-sub pattern, so that if players are on the same screen/same zone, each of them are subscribed to each other and if one player changes state the others should know the change. But still, the player need to tell all the subscribers the change. And in a simple implementation of this pattern I didn't find much performance improved. In both ways I find it easy to make mistakes such as detecting collisions with the same entity multiple times. Is there a generic or standard way to solve this problem?
  22. Hello everyone, We are looking for some talented artists to join our team in developing a new classic style adventure game. Open Positions Our team is currently looking for two artists, one 3D model artist and one 2D concept artist. 2D Concept Artist Help us translate the concepts into visuals to improve our 3D model workflow 3D Artist Help with creating 3D environments, buildings, props, dressing etc. 3D Animator Someone that can bring our models to life and make them feel less static. What we are looking for We have a fun and talented team working on an ambitious project, but we need help in creating 3D assets. We need people with experience, comfortable with defining streamlined workflows and producing work in a quick pace. We also need someone to help bring our ideas to life in 2d concepts first to better improve our workflow in creating the 3D scenes. Although it is a hobbyist project, we take the project seriously and we are committed to finish the project, so we need people that can commit to the project with the goal to end it. The ideal candidate Is used to work for milestones and timelines Used to working in a collaborative approach within a team environment Has time available to be present on a regular basis, appear on slack and provide updates Can output work on a fast pace That understands what it means to work in a project The skills For 3D Modeler Skilled in creative 3D environments, including props and scene dressing Ideally that has worked with Unity before Bonus points if you have talent for character creation Bonus points if you have actually worked on a title until the end. Experience with Unity (double bonus) For 2D Concept Artist Experience with concept art Bonus point if you have created concepts for a game Bonus points if you have actually worked on a title until the end. Experience with Unity (double bonus) For 3D Animator Experience animating humanoids and animals Experience animating inanimate objects Experience animating environments (vegetation, ocean etc) Bonus point if you have created concepts for a game Bonus points if you have actually worked on a title until the end. Experience with Unity (double bonus) The Background The game takes place in a world almost submerged by water, where all the land that is left are small islands, where the remains of the human race try to survive after the cataclysm known as the Seven Tides. You play the story of Jon Riley, a young boy living in the Island of Chelonii, in the Eastern Kingdom of Khalandrie. After a visit from an old mysterious acquaintance, his grandfather, the only relative Jon has mysteriously disappears and Jon embarks on a quest to find what happened to him, while discovering the truth about himself, and the underlying mystery of the Island. For a full description of the game check out The Game page. (user: seventides pass: indie) The Mechanics The game will be mainly feed from the traditional mechanics of adventure games popular in the 90’s with games like The Broken Sword, Monkey Island, The Longest Journey, Full Throttle, The Dig etc. It also introduces some RPG elements that promote exploration in order to immerse the player deeper in the world. The main driver of the gameplay experience is going to be the story as it's traditional in this genre of games. The Art Style Currently the adopted art style is a flat shaded, low poly style. You can see some examples below and the full gallery here (user: seventides pass: indie). Please not all of the screens are work in progress as we are working in iterations to move faster. The Music We are lucky to have an amazing musician and talented producer in the team that is composing amazing musical scores for the game. If you want to hear some music samples get in touch! The Tools The game is being developed in Unity 5 in 3D low poly flat shade style. We are currently using the following main tools: Unity 5 - Game engine Dialog System - Dialog System for non linear interactive dialog databases Adventure Creator - State machine for the traditional adventure game workflows FMOD - Sound Engine Blender - 3D Modelling Sculptris - 3D Char sculpting Slack - Communication Trello - Task Management Our Trello Board! The Team We are a team mostly composed by professionals in our areas but new in applying our skills in game development. Game Designer/Project Lead - Background in Computer Science and working professionally as the technical director of a leading web development agency in Sydney. Duarte brings maturity in project management methodologies and technical leading. An obsessive adventure game player and very seasoned technologist, Duarte is the founder of the project. Lead Developer - A very experienced developer, Joao is the main man behind the implementation in the Unity engine. He will translate the specs and game design workflows into the engine. He is a professional web developer currently working in Vienna, Austria. Music Producer/Sound Design - A professional musician and music producer, Richard is a guru in enhancing the experience with sound and musical scores. He works professionally as a musician and music teacher and lives in London. 3D Artist/ Character Design - An aspiring musician and hobbyist game designer and 3D artist, Kevin is mainly responsible for character art. He currently lives in Puerto Rico. 3D Artist/ Environment Design - A hobbyist 3D artist, Joshua is mainly responsible for environment art, buildings, landscapes and props. He lives in London. If you are interested If you want to join the team, get in touch and I will supply the full game design document, our wiki containing character references, sound design cues etc and provide access to our Slack team chat. If you are interested contact me through private message. Looking forward to hear from you!