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  • Get back to work!
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  • Level editor in the works
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  • bricklayer developers: Fountaindale
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  • The never-ending story...
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  • Old code never dies, it just fades away
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  • Life in the cereal box....
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  • Pixelante
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  • The Log: Cloud Ocean
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  • Don't forget, it's supposed to be fun!
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  • Just Glad to Be Here
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  • Ep's tool-dev diary
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  • IfThen Software
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  • Journal of Earthania
  • Journal of Lethargic Programmers
  • The Adventures of a Universal Traveller
  • Merry Prankster Games
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  • Software Renderer in 28 days
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  • Untitled
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  • My Newbie GD Journal
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  • Windows [Phone | 8] musings
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  • Isolate Development
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  • Tachyon Wars
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  • Treehouse Gaming
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  • Graphics Engine Development
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  • Elucidation
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  • DudeMiester Speaks!
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  • Dark Horse Software
  • Digital adventures through the third dimension
  • Gnoblins - Development journal of an indie game
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  • Wavesonics Pseudo-Random Journal Generator
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  • Dans Journal
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  • True, False, Maybe
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  1. 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
  2. I encapsulated Physics and Graphics with ECS successfully. Here is a simplified version :- Physics Rigid Body = Physic_MassAndInertia + Physic_Transform + Physic_Shape Graphic Polygon Body = Graphic_Transform + Graphic_Mesh I usually set their transform via :- findService<Service_PhysicTransform>()->setPosition(physicEntity,somePos); findService<Service_GraphicTransform>()->setPosition(graphicEntity,somePos); It works so nice, and there is no problem in practice, because I always know its "type" (physic/graphic). However, I notice that Physic_Transform and Graphic_Transfrom are very similar and duplicate. For the sake of good practice and maintainability, I consider to group them into Generic_Transform. findService<Service_Transform>()->setPosition(anyEntity,somePos); //cool However, there is a little difficulty. The physic transformation is quite complex for a child inside a compound body. Assume that a physic body B is a child of a compound body C. In this case, B's transformation component currently has no meaning (by design). If I want to set the child transformation setTransformation(B,(x,y,45deg)), my current physic engine will not set the B's transformation directly - it will set C's transformation that make B's position match (x,y,45deg). Thus, it is not so practical to group them, except I code it like (ugly and worse performance):- class Service_Transform{ public: void setPosition(Entity B,Vec2 pos){ bool checkIsPhysic = .... //check if B is physic if(checkIsPhysic){//physic Entity compound = .... //find C ComponentPtr<Transform> cCompound = compound.get<Transform>(); cCompound->pos=pos*someValue; //calculate some transformation for C }else{//graphic ComponentPtr<Transform> cTransform=B.get<Transform>(); cTransform->pos=pos; } } } Should I group them into 1 type of component? I probably should not group them because its meaning and related implementation are very different, but I feel guilty ... I may miss something. Advice about other things are also appreciated. Thanks. Edit: Hmm... I start to think that grouping component is OK, but I should still use 2 function (from different service/system). Edit2: fix some code (pointed out by 0r0d, thank)
  3. So, I've been in some forums in the past and I recall someone telling me that I sound like I want to play games instead of making them. This took place about 2 years ago, but I keep coming back to this scenario in my mind because I find it REALLY hard to not be passionate about games, gaming and then game development unless you're just looking to make some crappy 3 match clone game on the android. I truly feel that if you're interested in game development then your ass should at least be somewhat of a gamer. Perhaps you've gamed in the past and understand gamer terminology and genres. Like, RTS, MMO, RPG, Platformer, Adventure, Puzzle, 2D, 3D, third person, first person, Rail Shooter, Beat Em Up, Hack N Slash, etc. I think that if you want to at least have a 0.5% chance increase of luck in making a successful game, your ass BETTER BE a gamer. If not, then you're in the wrong business or you're just in the gaming industry but really don't play games and just know marketing or whatever job allows you the ignorance. A good example and proof of what I'm saying is....if you're developing an RPG game and don't know what DPS or AOE stand for, then you probably don't play RPG games and will fail....so ultimately, you should be a gamer years ahead of even contemplating designing/programming such a thing. Unless you're just a concept artist or someone who isn't involved in the actual mechanics of the game-play. (no offence, I love artists of all types.) Now that I have that off my chest, I have a question for people who got involved in game development because they were die-hard gamers earlier on in life or maybe still currently. How do you find time for learning more game dev, making your prototypes and balancing actual gaming and adult responsibilities? I'm in my thirties and I ask because even if you buy one game, it can have DLC and never-ending game-play and social interaction online with micro-transactions and a completely different world to lose yourself in. Do you stay away from MMO and just play single player campaign games or indie games to analyze and call it a day? There must be something you guys are doing right. What keeps you from reverting to the slacker you once were? If you were never a slacker then I apologize, but I must confess that I am one. I'm not a troll...just trying to figure this out. I own 20 something games for ps4 and just something like Elder Scrolls online can keep people on there for like 48 hours straight. I don't see it as easy as controlling other things. Maybe I have an addiction problem, I don't know, but I do want to design and have messed around with a few engines in the past. Please, if you have never made a game before and are an aspiring shovelware developer, don't answer this question. If you have made 1 or 2 games that have made at least 1$ profit in a month then I'd like your opinion.
  4. Hi everyone ! Starting this month, i will be working my personal projects for a year at least. My goal is to release a game and an album before this deadline. I am : - A former game designer by degree (3 years) - Half a programer (i did only 2/4 years) - Semi self-taught graphist (during my formation as a game designer and afterward) - Basic 2D animator (i took drawing and 2d animation evening classes) - Self-taught music composer/producer (my soundcloud ==> https://soundcloud.com/amerjongleur but i didn't post for a while now) My game is already advanced because i've been working on it now and then for a year already, but it's far from over. It's a small scale game, 1 room, 1 character, maybe less than two hours long, don't think i'll sell it for more than 2 euros. I use : - Unity as game engine - Adobe illustrator/photoshop for the graphics - Spriter pro for the animations - Ableton live for the music I'm looking for every advice i can get from you guys. I'm learning and discovering a lot of things by myself everyday but feel free to share your experience with me and talk about how you started working on your own projects and how it ended up. I'm actually kinda confident for the game itself. My biggest fear is communication. I'm really not a natural to the process and i'm not confident in getting my game noticed once it's done. I'm really looking forward advices on this matter. I'm from France and i think i can send demos and screens to the locals streamers and journalists but i don't know how to not make it a complete flop on steam. I posted a similar topic on reddit and i've been adviced to start communication right now, to build a community up before the release of the game, which make sense. But how should i properly do that since i don't have much more than a concept and some screenshots/arts to show the world. Should i get to people like "i have this game about this theme with those artworks, share it if you find it intresting" ? Seems a bit thin to me but i might be wrong. Tell me what you think ! Thanks in advance and have a nice day !
  5. I have a few key features that I want for my game's terrain mesh, but putting it all together into an terrain editor is becoming a headache. I need some advice from someone more experienced than myself. Perhaps there is some design pattern or object-oriented trickery to add some abstraction and turn this mess into something manageable. I am creating my terrain mesh as a problem of dynamic constrained triangulation. I start with a regular triangulation of a 2D plane into equilateral triangles, and then as I draw the game's map the existing edges and vertices are automatically removed to make room for the edges and vertices I'm drawing, and naturally the reverse happens when I erase. There are fairly simple algorithms for inserting individual vertices and edges into a triangulated plane. Using a half-edge data structure to represent the triangulation makes it quite manageable. Unfortunately there are a few additional important features. For one, a game map should be an infinite plane in all directions. The obvious solution to this is to break up the mesh into regular pieces, each one separately triangulated but sharing common points along their edges so that the multiple meshes fit together seamlessly in the game. The user should be able to draw map features across the boundaries of the map pieces seamlessly, without needing to care where one map piece begins and another one ends. An ordinary half-edge data structure doesn't have anything to deal with that and it would be nice if I could manage that complexity so it doesn't seriously affect my triangulation algorithms. Perhaps I'm asking for trouble, but I also want the terrain mesh to be able to change while the game is playing. I'm not so greedy as to try to implement animated terrain, but I would at least like to be able to remove a designated region of the map and substitute an alternative map of the same shape. We might think of it as having a hole in the map that can be filled by any one of several appropriately shaped meshes. Once we've got these meshes it will be trivial to pop them in and out during the game, but again it's another complication of the editor. Keeping the boundaries of the designated regions aligned with the rest of the map and allowing new edges to be drawn across that boundary is making the editor too complicated for comfort. What are the appropriate abstractions to use for this kind of situation? These seem like relatively simple features, but my design is turning into a tangled mess. What am I doing wrong? An ordinary half-edge structure doesn't seem to be the right tool for this job, but what would be the right tool?
  6. 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
  7. In case you missed it on the front page, we recently published an extensive interview with indie VR dev Eric Nevala (our very own @slayemin) where he shares some of his story, some design and VR development tips, general advice and more. Check it out:
  8. Background: So I'm developing my first 2d C++ fighting game (for learning purposes) and I have a setup where I have 'components' which are really just data holders with maybe some simple utility functions such as GetComp(), AddToComp(), etc. All components get passed to component systems which are just functions which act on certain components (e.g. MovementSystem(PositionComp pos, VelocityComp vel), etc.) which are split up into their respective domains (Graphics, Animation, Physics, etc.). All components are held by 'Fighter' class which acts as the component holder that keeps everything together. Issue: The problem I'm having is I'm not sure how I decide what exactly should be made into a component vs what shouldn't. For example, for my animations I have a system which essentially takes a 'spriteComponent' and a 'animationClip' obj like so SetAnimation(spriteComponent sprite, animationClip anim). As it stands, my animationClip class is not considered a component and is not currently attached within my Fighter class, though I guess I could implement it that way. How do I decide what classes/types should be made into components? How is this typically handled in other ECS (entity component) like systems?
  9. Hi there, im new to this forum. Just wanted to say hello and tell you guys that I make a lot of different music in various styles. [wording deleted by moderator - use the Classifieds to seek work] https://soundcloud.com/the_illist
  10. This game's 1st person mechanics really caught my eye. Mordhau Would anyone know the beginnings of the programming required for combo moves from the player? I understand this is a general question and has a broad answer, but any advice from someone who has programmed something similar on the PC is appreciated. Note: I intend to start with the Unreal engine. I am very early in C++ (I worked as a concept artist previously so all my game's UI/World mechanics have filled notebooks upon notebooks without programming to realize them). This is my first post on this forum, please excuse me and notify me if I am posting in the incorrect area. Thank you
  11. I've been a programmer for 17 years. Since middle school, I've been using the likes of BASIC to currently C++. I've done school programming, hobby programming, web development, and game programming (which has been the bulk of my programming experience). However, since I'm self taught, I'm doing a reevaluation of my skillset since I'm about to take on a very big gaming project of my own for commercial reasons. I've created two commercial games so far: Link #1 & Link#2. They're all self coded with contracted assets from artists and musicians. If there's one thing I will say I don't have an actual education much in (except from brief books), and I'm still wondering if I need to at all, it's the following: project organization task management project management I can use some advice from more professional programmers and game developers on how to proceed before I do my next project. Books, videos, anything will do. I almost want to employ myself with a professional development team for like a year or two to learn how they do it in the business world. I feel like that even though I've completed these projects, it felt like I was hacking together a bunch of wood and hoping the house stays afloat, which is typical of one man dev teams who are garage deving everything from their bedroom. Thank you!
  12. Hi guys,Quick question.. do you know good tips or know a good Unity Tutorial that includes the following:- How to make a small 2D Inventory that appears on the upper part of the screen- For Inventory to be "scrollable" from left to right, in case there are many inventory items- To be able to click on certain items and have a zoom-in on that object- Ability to not just use items on game objects but also to be able to combine certain game objects I'm using the latest Version of Unity. Thanks
  13. Perceiving is believing - part 2

    http://www.tinker-entertainment.com/sitavriend/psychology-and-games/784/ By now you know that our brain is remarkable and weird. How it perceives things and how it can fool us. But you are not yet aware of the two different methods our brain uses to perceive the world: top-down processing and bottom-up processing. Bottom-up processing is automatic, we instantly know and understand what we have perceived. Top-down processing is a more deliberate process where we sometimes have to dig deep to understand what we have perceived. These two methods we use for perception are related to the dual-process theory, top-down processing is a form of system 2 thinking and bottom-up processing is a form of system 1 thinking. Bottom-up processing is always on and can help us quickly make sense of the world around us. Bottom-up processing happens when salient (outstanding) features of a stimuli draw attention. This stimuli can be a loud sound from the timer you set when you are cooking an egg or an alarm. It can also be something visual, a smell, taste or a tactile sensation. But bottom-up processing can fail us in some situations, especially when the stimulus is ambiguous or vague (Gosselin & Schyns, 2003). That’s when we use top-down processing to understand what is going on. With top-down processing we use memories, expectations and context to interpret the stimulus. We use top-down processing when we look at modern, abstract art or clouds. It isn’t very clear what we perceive (beside from the fact that we are looking at a canvas with paint or a white fluffy cloud) so we have to think effortful to attempt to understand. Most of the time we use bottom-up and top-down processing interchangeably to perceive the world around us. For this we use perceptual sets: the readiness to interpret a stimuli in a certain way. Perceptual sets prepare us to perceive things in a certain way like the ‘13’ or ‘B’ in the picture to the right. Perceptual sets depend on what you expect to see and the context of the stimuli. In the picture your expectations depend on whether you read from top to bottom or from left to right. These different methods of perception processing are quite useful for game design (and art) as you can see in the Borderlands 2 screenshot. Using bright, saturated colors and heavy lines for objects of interest such as an enemy immediately draws the attention of the player. These ‘standing out’ or salient features help the player distinguish between what is important and what is not. Borderlands 2 aided visual bottom-up processing. They used bright and more saturated colors for objects of interest such as enemies. Signal detection theory plays with the ideas of bottom-up and top-down processing. The theory states that the information the player is getting from the game consists of ‘signals’ and ‘noise’. The visual and auditory information from any game are made up of noise and signals. Signals are objects of interest for the player such as collectable or special items, enemies, health packs or a direction the player should go. The signals in a game is any information that is important for the player to know. Noise would be anything that is less important to the player such as the environment art or the background music. As a designer and artist, you can play with the ideas of the signal detection theory. Many games should aim for weak noise and strong signals, important things should be easy to spot and recognize within the blink of an eye. Though hidden object games can benefit more from strong noise and weak signals else the game would be too easy. Spirits Spirits is a mobile and pc game that is a good example of how our methods of perception work in combination with the signal detection theory. In this puzzle game you guide spirits across dangers to a magical swirl. The game has three layers of objects: the boundaries of the level in black, the colorful background and the objects of interest. The main objects of interests are the spirits with which you play and the swirls which is the destination of the spirits. There are also gusts of wind represented by floating particles in the direction the wind is blowing. See how the characters and swirls are the most salient (outstanding) objects on the screen, they draw your attention. The designers and artists chose white as a color for the most important things in the game to make them standout more. As a player you immediately figure out that you have to do something with these characters and swirls. This is a good example of bottom-up processing. The artists and designers used size and shape to clarify the difference between the spirits and the swirls. The colorful background could have easily drawn more attention than the spirits, but the use of sharpness prevents this. The colors of the background are blurry and not the brightest things in the game. Spirits really aids the player’s perception with bottom-up processing by using color, brightness, sharpness and size. Ideas and suggestions Perception will mainly affect the artists’ work but it also has a place in game design. Both the designer and the artist should be aware how their work affects how the player plays the game. Any game can benefit from the different processes we use to perceive a game no matter the quality of the art. Of course it’s good to realize that the screen size also has an effect on the player’s perception. Depending on the type of game you are working on you should decide if the objects of interest in your game should standout or maybe which ones should standout (more). In many cases you want the player to instantly notice most of the objects of interest so they should draw attention. You can achieve this by changing the size of the object. Objects that are bigger that the others immediately standout. Color also have an effect, especially red draw attention. Player can easily find red objects even if they are partially covered. Artists might want to be careful using red for less important things or the background. Using a different, more vibrant color scheme for objects of interest and a more monochrome color scheme for less important information can help as well. The use of sharpness also works to grab to player’s attention. Think about a door that is more detailed and sharp compared to doors that are more blurry and less detailed. The sharp, detailed door draws the most attention. Often in a game there are more than one different objects that are of interest to the player, or the environment art is quite detailed. In that case you can benefit from redundancy: alternative physical forms make it easier to distinguish between similar types of information. Do not just use different color that attract attention for different objects of interest use sharpness, brightness and size as well. Using other features such as shape can help, and allows colorblind people to play your game. Level designers should benefit from these perception techniques as well. Making some places in a scene bigger, brighter or more colorful attracts the player’s attention. As a result, players are naturally drawn to where you want them to go and the game will feel less linear.
  14. Something under $750-1000 USD. I don't have a desktop so this is it. But it would also be nice to have something lighter, since I'll be carrying to school often, and will have an external monitor to use at home. New to game dev so not sure what to plan for... what specs are you guys using? So far, I've looked at these: Legion Y520 (~$790 USD): i5-7300HQ NVIDIA GeForce GTX 1050Ti 8GB RAM (single, but can upgrade to 32GB max with 2 slots) 15.6" and 2.4lb 1TB 5400RPM HDD, upgradeable (Can fork over $230 more to upgrade to an i7-7700HQ and 1TB 5400RPM + 128GB PCIe SSD........ is it worth it?) Ideapad 510 (~$880 USD): i7-6500U NVIDIA GeForce 940MX 4GB Soldered + 4GB DIMM (can upgrade to 12GB max in total) 15.6" and 2.2lb 1TB 5400RPM HDD, upgradeable Ideapad 510s (~$930 USD): i7-6500U AMD Radeon R7 M460 8GB (single, already maxed) 14" and 1.7lb 256 GB SSD, upgradeable Any thoughts on these? The main quips I have with the Legion Y520 is that the CPU isn't as energy efficient as the Ideapads, and it's also quite heavy. And it's a gaming laptop... I've heard those don't have a very long lifespan? Haven't looked at other brands yet. Any suggestions? I'll be working on 2D and 3D projects... I'll be using my own art and also using assets. Are these specs an overestimation... should I be looking for less?
  15. Hi I've been making games as a hobby for a long time, but it was some years since I actually finished a project. This is slightly frustrating, and I guess a pretty common problem for someone who isnt pushed by deadlines and economy to finish projects. I have typically at least 4 more active projects at any time (and many more games I've started but pretty much never touch any more). My projects are all fairly ambitious (but not impossible to finish, all are 2d for example) as I don't find working on very simple games fun. I think projects often loose pace after a while and I just gets fed up with that particular project/setting and it's just more rewarding to start a new one. I have too many ideas I want to realise (or sometimes just prototype). Do you have the same experience? Any advice? Thanks a bunch! Erik
  16. Hello, I am a complete beginner with an interest in making games on a older Windows XP computer with 512mb of ram and a pentuim 1.8ghz cpu. I've been looking around on the site reading articles on beginning out using newer and current game engines like Unity and Unreal engine to get started in developing games. And since I don't have a PC capable of running such software as of right now, so this is what I have to work with for the moment.I would appreciate it if you guys could give me suggestions,advice or links to older software I could use for my PC.
  17. Levels Polishing

    When you are polishing your game it's important do do as much iterations of level design as possible. On every level we do at least 5 cycles of: Steam page of Bouncy Bob with gameplay trailer and more screenshots: http://store.steampowered.com/app/680620/Bouncy_Bob/ Thank you for your time
  18. Hello, so I wanted to get an opinion on the best ways to manage gameplay logic in a multithreaded manner. After watching these two presentations : http://www.gdcvault.com/play/1020886/Killzone-Shadow-Fall-Threading-the http://www.gdcvault.com/play/1022164/Multithreading It seems that the best approach is to create a dependency graph for object updating, and for any object that needs to access another object that isn't a dependency, a message should be constructed and called after the "multithreading" phase. I wanted to know if anyone had any experience with multithreading game objects in this manner, or if they have any other solutions.
  19. Testing a chatbot

    Hey surfers, we are creating a space flight simulator more or less, with goofy twists. We would like to have a chatbot in place for the ship communications, a resource that can help define or tell you about the galaxy as you fly through it. I'm just looking for advice on whether you think the chatbot is engaging, as well as if there any tips you may have in developing it further (which we absolutely intend to to do). Also, feel free to just chat with it and let me know what you think. You can find the chatbot here. Thanks!
  20. Hello! I was reading this great forum for a while and now decided to share something with this great community. I'm a industry veteran, currently working at Ubisoft Toronto as senior engine programmer. I'm writing a blog about creating a game in Unreal Engine. The goal is to show people the whole process of creating a game from start to finish. Obviously it's not going to be AAA game, but it's not going to be simple jam prototype either. I'm using all my knowledge and experience I gained over the years, working on titles such as The Witcher, Street Fighter, Watch Dogs and others. I've shared some stuff already and I would love your feedback. Would you like more technical details? More theory? Specific UE4 implementations? Blueprint screenshots? C++ code? Let me know! I will release a playable build (there is one already!) whenever there is something new worth playtesting, so you can play it yourselves and maybe it will inspire you for your own projects. Here's link to the blog: http://myvolleygame.com Cheers!
  21. In this article, I'd like to share a method I used to help visually debug tree-like data structures by leveraging the DOT format and Graphviz. This may be useful to you if you ever end up having to work with low-level data structures and no way to visually see what your code is doing. The Problem During the early stages of development of my inverse kinematics library (which, at the time of writing, is in its alpha stages and not quite ready for general use yet), I was working on an algorithm which takes a scene graph as its input and generates an optimised structure consisting of a tree of "chains", specifically designed for use with an IK solver. The transformation is not that easy to explain in words, but here is an illustration of before (a) and after (b) (please excuse my MSPaint skills; I'm a programmer, not an artist): You can see here that each end effector in the scene graph specifies a "chain length" parameter, which tells the solver how many parent nodes are affected. Since the IK solver works most efficiently on single chains of nodes, it makes sense to break down the scene graph into multiple chains which the solver can then process sequentially. This is illustrated in (b). Notice how chain 1 (red) becomes isolated from the rest of the tree after processing, because its end effector only specified a length of 1. Also notice how in the new structure each chain consists of only a sequence of nodes with no branches. The algorithm had to be able to handle a few weird edge cases, such as: What happens when you place an effector on a node that has multiple children? What happens when there are multiple end effectors in a chain? What happens when an end effector specifies a chain length that doesn't quite join up with the rest of the tree? This of course meant it was harder to test and make sure it was working correctly. I did of course write a suite of unit tests using Google's testing framework, but I wanted more: I wanted to have the ability to visually look at what my algorithm was generating, and I wanted to do this without having to use some fancy 3D engine. Inroducing: DOT and Graphviz DOT is a simple graph description language. Graphviz is a set of open source tools for generating graphics from DOT descriptions. For example, the following DOT code: graph testgraph { a -- b; b -- c; b -- d; } Compiled with dot as follows: dot -Tpdf testgraph.dot -o testgraph.pdf Produces the following graphic: DOT is quite a powerful language. It's possible to specify colours, shapes, multiple connections between nodes, and much more! Read up on the format specification for more information. In only a few lines of code I was able to iterate the optimised chain tree and serialise it to DOT. This is what the example tree I drew in MSPaint looks like after it is broken down by my algorithm and exported to DOT: Things to note: The black edges show the connections between the original tree. The red edges show how the chains are connected (just like in the first figure (b)) Effector nodes are coloured blue Nodes that mark the start or end of a chain are square. You can see for example that node 6 is square because it has two child chains, but node 2 is not square because it's in the middle of the second chain. And just like that I had a powerful way to quickly spot errors in my algorithm. Using python and watchdog I wrote a simple script that would monitor the DOT file for changes and automatically compile it to PDF. Thus, every time I ran my program the graphic would update immediately on my second monitor so I could inspect it. Another Example In another application I wrote, I implemented an intrusive profiler which would dynamically build a tree from the callgraph and store timing information in each node. I thought it would be cool to also dump this tree to DOT format and see what it looked like. Note that in this case I didn't use the "dot" command line tool, instead I used "neato" (this is also part of the Graphviz package). Neato has a different layout algorithm based on physical constraints, which in this case produces much nicer graphs than "dot": I find it quite beautiful to look at. What you see here is a visual representation of how much time was spent where in the program. Nodes that are red are "hot" (meaning lots of time was spent in them) and nodes that are blue are "cold" (nearly no time was spent in them). If you zoom in a little bit you can also see that I exported some of the profiler parameters of each function. While this does provide a very nice birds eye view of where your program needs optimising, I would of course recommend using proper profiling tools to further analyse the slow functions. In conclusion Due to the simplicity of the DOT language, it's trivial to write an exporter for it, so if you ever find yourself fiddling with low level data structures, consider dumping them to DOT and visualising them. I found this to be extremely helpful during development of my IK library.
  22. Hi. To be honest, but the game design for me has always been something unique and interesting. My path of game development first started with programming. After I began to draw, in order to be universal, but later, I discovered the game design and that was for me, on a pedestal favorite direction. Today I would like to touch on the types of players, why they play the games and pleasures of games. Be brief and clear. In our nature there are 4 types of players: explorers, killers, sociable and those who like committed to something. Crooks. This type of players are focused more on the quick passing game. It does not matter the study and details in the game. Killer. These guys love to destroy everything and kill everybody. Just put them in the tank, tell them where it is necessary to blow - trust me, they will not leave anything alive there. Sociable. They love socializing, but most of all they love online games where can someone make friends, work in team and to tell you the recipe for a delicious mother's cookies. Researchers. How do you think, what you like to do this group of players? I also think that they are exploring every path in the game where you can collect all achievements. Every time you create a game, ask yourself the question: "what kind of player I do my game? Is it possible to combine these types of players in my game, changed some part of it?" Incidentally, with regard to online games. Why do you think people play online games? First, they like competition, will compete to get to the top and gain respect. Secondly, people like to work in a team. Personally I play team games and more hours spent in team modes rather than in single. I love this mode. Thirdly, people play online games in order to meet and chat with friends, spend time with them online and meeting them to have constant, friendly contact. As you know, men play more games than girls. Their main game is the first 20 years. Action and aesthetics - their element. From 20 to 30 years, men are already playing something more calm and tactical, where you do not need a lot of push on the joystick, but need to think. And about men from 30-35 years to play in something calm, for example in genres "I'm search" and "Farm". But women, as a rule, begin actively playing with for 30 years. More women in the world, but I don't like the game. But often after 30 years of playing farm frenzy. Identify the main fun of the players: Fantasy. We love to feel part of another world, which could be anyone. Plot. Sometimes the plot can cause a pleasant sense of his sudden change of events, a dramatic denouement and linearity. Partnership. Teamwork is enjoyable. Discovery. The opening of the new - is the main game fun. Expression. Everyone loves to brag about. Obedience. Cool when you can control others. Feeling. When you realize that step the expected event, then the waiting becomes a pleasure. The gloating. When you killed your enemy, it's nice. Gifts. We love to receive gifts? Humor. No comment. Choice. To go left or right? I have a choice? Fulfilled goal. We love to reach goals and to feel pride because of this. Surprise. We love to be surprised. The Japanese are masters at it. Fear. We love to be frightened and to feel the shaking. This is an interesting kind of fun that we both and hate. A miracle. When we are strongly of something was surprised and experienced a wild delight from something. A tough win. That moment, when initially there was little chance to win, but you win. So when making a game, think of the fun highlights of your game and how much to add. My name is Flatingo and I love to make games. If you also like to make games, welcome to my YouTube channel. Good luck in your projects.
  23. Hi everyone, I'm part of a small team in the early stages of developing a multiplayer game, and I came across Photon Engine (https://www.photonengine.com). Our initial plan was to write custom server logic with Node and socket.io, hosted on AWS or something similar -- and I still think that's a pretty solid option. But I can't deny that Photon's offering sounds attractive, especially considering we're not networking experts. So, I'm hoping to get some input to help make a decision. If anyone around here has had experience using their platform, I would love to hear about it. General comments would be much appreciated :). As well, here are some specific questions off the top of my head: How good is their reliability/performance? Any issues there? Are there any areas in particular where it shines, or where it's not so great? What's the dev experience like? How does it compare to the process of writing your own networking logic? Is there enough flexibility to make the exact game you wanted to? How good is their customer support? Did you find their pricing reasonable? Are there any competing platforms to consider? Any tripping points/"gotchas" to be aware of? Bottom line...would you recommend it? Thanks in advance!
  24. I want to share my experience and collected here the most common mistakes in creating and advertising your games. I'll be glad if it helps you.
  25. Hello, I'm in the process of writing down a large project into a mind map (and testing the suitability of these features in Unity) and I would love to hear the views of other people interested in game design and perhaps more experienced in game design than I am. I will keep it short since all the information about the games design is in the mind map, but I just want to mention that it's an "immersive sim survival game" with a high focus on collaboration with NPCs. Small disclaimer, the mind map is rather big, around 8 pages worth of text. https://www.mindmeister.com/912394562/group-focused-survival-game-system Any feedback on any of the mechanics, suggestions for improvements or additions would be greatly appreciated. Also the issue of death is still something I am not quite sure on how to do, I want something new and novel and not just the same old re-spawn system, the only two alternatives I can come up with is permanent death or that you continue playing as one of the NPCs you have around you when you die, but this feels very lacking since it's a survival game and death should really mean something, does anyone out there have a new and novel way of how to tackle death? This is also meant to be presented to a team of people so if anything is unclear I would be very happy if you told me