SPECIAL FEATURE: 2009 FRONT LINE AWARDS

VOL17NO1JANUARY2010

THE LEADING GAME INDUSTRY MAGAZINE

1001gd_cover_vIjf.indd 1 12/17/09 9:18:09 PM

CONTENTS.0110 VOLUME 17 NUMBER 1

POSTMORTEM DEPARTMENTS

20 NCSOFT'S AION 2 GAME PLAN By Brandon Sheffield [EDITORIAL] AION is NCsoft's next big subscription MMORPG, originating from Going Through the Motions the company's home base in South Korea. In our first-ever Korean postmortem, the team discusses how AION survived worker 4 HEADS UP DISPLAY [NEWS] fatigue, stock drops, and real money traders, providing budget and Open Source Space Games, new NES music engine, and demographics information along the way. Gamma IV contest announcement. By NCsoft South Korean team 34 TOOL BOX By Chris DeLeon [REVIEW] FEATURES Unity Technologies' Unity 2.6

7 2009 FRONT LINE AWARDS 38 THE INNER PRODUCT By Jake Cannell [PROGRAMMING] We're happy to present our 12th annual tools awards, representing Brick by Brick the best in game industry software, across engines, middleware, production tools, audio tools, and beyond, as voted by the Game 42 PIXEL PUSHER By Steve Theodore [ART] Developer audience. Tilin'? Stylin'! By Eric Arnold, Alex Bethke, Rachel Cordone, Sjoerd De Jong, Richard Jacques, Rodrigue Pralier, and Brian Thomas. 46 DESIGN OF THE TIMES By Damion Schubert [DESIGN] Get Real 15 RETHINKING USER INTERFACE Thinking of making a game for multitouch-based platforms? This 48 AURAL FIXATION By Jesse Harlin [SOUND] article offers a look at the UI considerations when moving to this sort of Dethroned interface, including specific advice for touch offset, and more. By Brian Robbins 50 GOOD JOB! [CAREER] Konami sound team mass exodus, Kim Swift interview, 27 CENTER OF MASS and who went where. This technical artist-oriented article from an ex pro gymnast shows how you can use math and physics (specifically dealing with gravity) 52 EDUCATED PLAY [EDUCATION] to improve your character animation. The author most recently Focus on ENJMIN's student game AZ66 worked on UFC UNDISPUTED 2009, which has some of the best body interpolation and animation seen in games. 56 ARRESTED DEVELOPMENT By Matthew Wasteland [HUMOR] By Eiko Oba Dear Mr. Wasteland

COVER ART: NCSOFT ART TEAM WWW.GDMAG.COM 1

1001gd_toc_vIjf.indd 1 12/17/09 9:20:16 PM GAME PLAN // BRANDON SHEFFIELD www.gdmag.com Think Services, 600 Harrison St., 6th Fl., San Francisco, CA 94107 t: 415.947.6000 f: 415.947.6090

SUBSCRIPTION SERVICES FOR INFORMATION, ORDER QUESTIONS, AND GOING THROUGH THE MOTIONS ADDRESS CHANGES t: 800.250.2429 f: 847.763.9606 IS GESTURE CONTROL REALLY THE FUTURE? e: [email protected] EDITORIAL PUBLISHER THE YEAR 2010 IS UPON US. gyroscope and accelerometer year old male to bring the console Simon Carless l [email protected] It should prove to be a time of were a step beyond what had been into the house (Sony may have EDITOR-IN-CHIEF Brandon Sheffield l [email protected] iterative improvements, rather than done previously, and the iPhone’s it easier here, with its Blu-ray PRODUCTION EDITOR major hardware shifts, and the area multitouch interface hadn’t player, but the jury’s still out on Jeffrey Fleming l [email protected] in which this is most apparent is really been done before with that), and market the peripherals ART DIRECTOR peripherals. Within this year, or so games in mind. The innovations as something they can plug into Joseph Mitch l [email protected] CONTRIBUTING EDITORS it is said, there will be three home were subtle—what was really their existing system. Microsoft is Jesse Harlin systems with motion or gesture disruptive, as Nintendo might say, rumored to be preparing a relaunch Steve Theodore control—the Wii of course, the was the marketing. for the console with Natal, likely Daniel Nelson Soren Johnson PlayStation 3 with its motion wands, responding to the predicament Damion Schubert and the 360’s Project Natal. YES, THESE ARE YOUR MOM’S I’m describing. Quite simply, my ADVISORY BOARD Everyone’s chasing the motion question is, no matter how nice Hal Barwood Designer-at-Large VIDEOGAMES Mick West Independent and gesture train, after the success » Nintendo told us that its systems the motion controls and cameras Brad Bulkley Neversoft of the DS, the iPhone, and the Wii. were new, and disruptive—but what themselves may be, will these Clinton Keith Independent Bijan Forutanpour Sony Online Entertainment But is motion really the reason they told moms, grandmothers and companies be able to rebrand Mark DeLoura Independent these consoles are successful? grandfathers was that this device themselves properly for the family Carey Chico Pandemic Studios Partially, sure—but that’s not the was fun for everyone. They could set while continuing to push the ADVERTISING SALES whole story. say that this was brand new, and blockbusters that have been their GLOBAL SALES DIRECTOR just for them, and mostly be right in bread and butter? Right now, the Aaron Murawski e: [email protected] YOU LOOK FAMILIAR saying it. Nintendo took out ads in 360’s best selling game is CALL OF t: 415.947.6227 UTY ODERN ARFARE MEDIA ACCOUNT MANAGER » Motion controls have been parenting and women’s magazines, D M W 2. Far from John Malik Watson e: [email protected] around for a long time. Light gun and blazed a trail of accessible a family game, that one, and a t: 415.947.6224 games in arcades and at home are television marketing that placed its market the company is not likely GLOBAL ACCOUNT MANAGER, EDUCATION primitive motion controllers, and consoles far away from the others, to abandon. AND RECRUITMENT Gina Gross e: [email protected] they’ve been around since games which were, at least in terms of t: 415.947.6241 began—one of Ralph Baer’s first marketing, very clearly for 17 year CATCH ME IF YOU CAN COORDINATOR, EDUCATION AND RECRUITMENT prototypes before the legendary old boys in the early days. Sony and Microsoft have a long Rafael Vallin e: [email protected] » t: 415.947.6223 Brown Box was a light gun that Nintendo reminded people that way to go before they can steal worked with a television. Touch it was the company that made Nintendo’s thunder. Sure, the 360 ADVERTISING PRODUCTION controls, likewise, have been around MARIO, and they all remembered and PS3 have the edge in terms of PRODUCTION MANAGER Robert Steigleider e: [email protected] for quite a while. The DS brought MARIO, right? That was probably game to hardware tie ratio, but that it to the masses, and the iPhone the only game the target market goes hand in hand with the hardcore. REPRINTS hammered it home, but PDAs have had ever played that wasn’t TETRIS. The Wii was purchased by a lot of WRIGHT'S REPRINTS had touch control for years now, and Nintendo knew the market it was people who only wanted WII SPORTS, Ryan Pratt e: [email protected] t: 877.652.5295 have been host to games with major going for, and targeted it perfectly. and maybe another Nintendo game industry backing to boot (remember Parents, grandparents, and most every year thereafter. THINK SERVICES the Tapwave Zodiac?). importantly, families. My concern is that Sony and CEO THINK SERVICES Philip Chapnick GROUP DIRECTOR Kathy Schoback I would submit that aside from Now, Sony and Microsoft Microsoft may have a stigma to CREATIVE DIRECTOR Cliff Scorso outstanding games like WII SPORTS are releasing motion control overcome before they can get the CHIEF INFORMATION OFFICER Anthony Adams OOM LOX or B B , much of what’s done expansions, both with the express moms and grandmas involved in AUDIENCE DEVELOPMENT on the Wii with motion control could intention of broadening their their console. They’ve both spent a TYSON ASSOCIATES Elaine Tyson be done with a normal controller, if a consoles’ markets. But can they do lot of time promoting their machines e: tysonassoc@aol.com few design issues were solved. The it from where they are now? These as homes of blockbusters—and LIST RENTAL Merit Direct LLC t: 914.368.1000 thought struck me as I was playing companies don’t have the benefit unlike the movie definition of that MARKETING NEW SUPER MARIO BROS. WII, tilting of a completely new launch with word, game blockbusters only appeal MARKETING SPECIALIST Mellisa Andrade the controller to raise the end of a which to brand themselves, and to a certain set of people. e: [email protected] platform so that he could access a have spent most of their consoles’ 2010 will be a very interesting UBM TECHNOLOGY MANAGEMENT higher area—this could easily be lifetimes marketing to the hardcore. year, with battles fought between CHIEF EXECUTIVE OFFICER David Levin done with shoulder buttons. (Let’s face it, Nintendo, aside from Sony and Microsoft for dominance CHIEF OPERATING OFFICER Scott Mozarsky My point is not to trivialize the perhaps a brief stint in the 90s, of the hardcore set, and between CHIEF FINANCIAL OFFICER David Wein CORPORATE SENIOR VP SALES Anne Marie Miller Wii Remote, but rather to point never targeted the hardcore very all parties for the “emerging SENIOR VP, STRATEGIC DEV. AND BUSINESS ADMIN. Pat Nohilly out that what Nintendo did when directly, choosing to go after the market” set. As that demographic SENIOR VP, MANUFACTURING Marie Myers it released the DS and the Wii was youthful and light players with the increasingly turns to social network not to revolutionize control. There bulk of its marketing bucks.) games and the iPhone, this will be a were subtle upgrades certainly— Sony and Microsoft most battle that's hard won. the DS’ two screens, and the Wii’s likely have to rely on that 17–34 —Brandon Sheffield

2 GAME DEVELOPER | JANUARY 2010 WWW.CMPGAME.COM

1001gd_gameplan_vIjf.indd 2 12/17/09 9:21:17 PM Perforce_SpaceS_GameDev_HI

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All trademarks and registered trademarks are property of their respective owners. Adobe screen shot reprinted with permission from Adobe Systems Incorporated. HEADS-UP DISPLAY

2010 space is the place SPACE GAMES MAY HAVE FALLEN OFF THE COMMERCIAL RADAR IN RECENT YEARS (WITH THE NOTABLE EXCEPTION OF EVE ONLINE) BUT INDEPENDENT DEVELOPERS HAVE KEPT THE FUSION DRIVES LIT, ILLUMINATING THE INTERSTELLAR REACHES WITH AN ARRAY OF OPEN SOURCE AND COLLABORATIVE PROJECTS. HERE’S A SAMPLING OF WHAT’S OUT THERE:

ELITE be enjoyed today thanks to been established at The stable version 0.5.0 for OS X, approval. However, the NOCTIS www.iancgbell.clara.net/ Toys For Bob’s release of the Celestia Motherlode (www. Windows, and Linux. community has created a elite/index.htm 3DO version’s source code. celestiamotherlode.net). number of essential add-on Now integrated into an open including NoctisMapper to David Brabin source project called THE facilitate exploring the game. and Ian Bell UR-QUAN MASTERS, the game created the runs on OS X, Windows, and FREESPACE OPEN archetypical Linux. THE UR-QUAN MASTERS http://scp.indiegames.us space sim adds a number of new ELITE for the features including add-on NOCTIS IV Volition Inc’s FREESPACE 2 is a BBC Micro remix music packs from http://anywherebb.com/bb/ fondly remembered warfare back in 1984. A completely the Precursors collective layout/html/frameset.html simulation that featured open-ended experience, ELITE (www.medievalfuture.com/ OOLITE lithe corvettes and fighters was a true sandbox that precursors) and networked www.oolite.org NOCTIS (now in its fourth slugging it out against massive allowed players to explore multiplayer combat. iteration) is an ambitious capitol ships in deep space. its procedurally generated Bringing the ELITE experience attempt at creating an entire Although it was published wire-frame space, eventually into the 21st century, OOLITE procedurally generated a decade ago, players can fighting and trading their way (OBJECT ORIENTED [E]LITE) is galaxy for players to explore. continue to enjoy the game on to an “Elite” ranking. In the an open source project that Explicitly not a simulation of modern hardware. Released as years since, the game has closely follows the spirit of the known universe, the vast open source code in 2002, the been ported to a wide range ELITE with the addition of space of NOCTIS is completely FREESPACE 2 engine is now the of computer systems and Ian OpenGL graphics for Mac unique to the game and basis of the FreeSpace Open Bell has made ROM versions OS X, Windows, and Linux. players have mapped only a project for OS X, Windows, of ELITE freely available for a CELESTIA The game also supports a portion of its true dimensions. and Linux, which continues to number of them, including www.shatters.net/celestia vast selection of community Playing NOCTIS is a quiet, polish and improve what was the Nintendo Entertainment built mods through its OOLITE solitary experience, devoid of already a graphic showcase. System. Not exactly a game but eXpansion Packs. the combat and commerce Although playing FREESPACE 2 equally compelling, that are the mainstays of with the upgraded engine still CELESTIA is an open source other space sims. Instead, requires you to own a legal space simulation for OS X, players drift through the copy of the original software, Windows, and Linux that game’s cold reaches, logging enterprising coders are attempts to recreate the their discoveries into a shared utilizing the engine to create known galaxy and beyond. database. standalone games as well. Incorporating the latest NOCTIS is the creation of A few of the more ambitious THE UR-QUAN MASTERS data from space research, Alessandro Ghignola and he standalone efforts include http://sc2.sourceforge.net CELESTIA allows the user to VEGA STRIKE has made the source code THE BABYLON PROJECT (http:// explore the tremendous http://vegastrike. freely available although it babylon.hard-light.net), and Toys For Bob’s STAR CONTROL scale of the universe, sourceforge.net is under a limited license WING COMMANDER SAGA (www. 2 has remained a classic of from individual satellites that makes changes and wcsaga.com). the genre since its release measuring only a few feet VEGA STRIKE is an open source redistributions subject to his —Jeffrey Fleming in 1992. Combining open- across, to star clusters project that aims to create world trading, exploration, that cover light years of an expansive 3D space FREESPACE OPEN and combat with a deep and distance. Using simple, simulation. Very much in the cleverly-written dialog system, space-ship like controls, style of ELITE, VEGA STRIKE STAR CONTROL 2’s vast universe the user can set out in provides a dynamic universe was given extra charm by any direction and along for players to freely explore, a quirky graphic design the way discover just how trade, and fight across. The that included art and music incredibly big our galaxy project also forms the basis contributions from old school is. Its source code is freely of a number of conversions TSR illustrator Erol Otus. available and a central including a remake of WING Fortunately STAR CONTROL repository for user-created COMMANDER: PRIVATEER. 2’s refined game play can add-ons for CELESTIA has Currently VEGA STRIKE is in a

4 GAME DEVELOPER | JANUARY 2010

1001gd_hud_vIjf.indd 4 12/17/09 9:22:17 PM gamma announces free nes audio engine one-button game nijuu released competition for gdc

NEIL BALDWIN WAS AN NES CHIPTUNE approached writing a NES audio engine,” MONTREAL’S KOKOROMI COLLECTIVE HAS ANNOUNCED maker back in the old days, adding his added Baldwin, “free from the constraints of its theme for the Gamma 4 competition, with scores to Eurocom’s games, where he was existing within a game (for example no CPU game makers challenged to make “innovative, a cofounder, and still works today. Most use restrictions and no RAM restrictions). experimental new games played with just one recently, he’s created and released Nijuu, So I set about trying some of the crazier button.” Kokoromi is partnering with Think a free audio engine for NES music creation, ideas and the foundations of Nijuu were Services’ Game Developers Conference to bring using only the original 4 channels, “so conceived.” the fourth edition of its renowned Gamma game no DPCM samples,” he says. “It does Baldwin has provided us with a mini- showcase to GDC 2010 next March. have some pretty sophisticated features postmortem of the audio engine’s creation: Comparable to a longer-form, targeted version though, such as automated single-voice “After going through several different of the “indie game jam” concept, previous years’ echo, voice multiplexing and a ‘wavetable’ 6502 assemblers I settled on one called themes have included Gamma 01: Audio Feed virtual drum track.” 'ASM6,' written by a guy who goes by the (games driven by live audio), gamma 256 (games Nijuu is available now at the official name of ‘loopy.’ Using this in combination with extremely small pixel dimensions), and website (http://dutycyclegenerator.com/ with the emulator Nestopia, I had a quick GAMMA 3D (games using red-blue stereoscopic nijuu/nijuu.html). To further describe the development method through which 3D). Standout games like PASSAGE, PAPER MOON, to prototype all the mad ideas I had for and SUPER Nijuu. Amazingly, you can get tons of NES HYPERCUBE development tools for free, and there’s a resulted. wealth of information for developers on This time sites such as nesdev.” around, the “Many of the structural ideas for Nijuu Gamma organizers were taken directly from my old NES audio have framed engine, but I added so many features the competition and effects that it now shares very little as follows: similarity with that old code.” “Gestural controls, “I didn’t start creating it with any real multi-touch goal in mind, certainly not to release it to surfaces, musical the public. I just set out to prove several instruments, voice ideas I’d had from when I was creating NES recognition—even software, “It’s not a tracker and it’s not music in the old days. The development brain control. Games are moving beyond the really MML (music macro language),” says process was pretty much “Wouldn’t it be iconic hand-held controller, and into the future. Baldwin. “You do have to type (or copy and cool if Nijuu could do X, Y, and Z!?” and But is the secret to good games found in high- paste) the music into text files and compile then I’d figure out a way to do it. Some tech interface hardware? Kokoromi proposes the binary data using a 6502 assembler. It were easier than others—the single-voice that game developers can still find beauty in can output either binary data that you can echo effect was the most difficult to solve. absolute simplicity.” include in your own project/ROM, or .NSF The actual code is relatively small and Taking place on the evening of Wednesday files if you just want to play back the music simple but it took me quite a lot of head- March 10th, 2010, the Gamma 4 kickoff event in a NES audio player.” scratching to figure out a (usable) way to bridges the end of the Independent Games Summit Baldwin was inspired by hearing some achieve it.” and the start of the main GDC. The playable games of his old game tracks on YouTube, and “At some point I recognized that what will be revealed at the Mezzanine, a venue housed subsequently discovering the thriving I was creating was unique, and might be in a historic two-story warehouse near Mint Plaza, modern chiptunes scene. “I read a lot about of interest to other NES composers—so I in the heart of San Francisco’s SoMa district. composers using MML,” he says, “and while began to try to shape it into something that The curated games will be featured on large I could see the benefits (and similarity to other people could use.” projections, and accompanied by live DJs. my own old NES audio working method), it Nijuu is a work in progress, but is Game creators who are selected for left me wanting some of the features of my currently available in beta form for presentation at Gamma 4 will be awarded GDC old audio engine, most specifically the use interested musicians. Baldwin is also 2010 All-Access passes, and developers around of multiplexing/virtual channels.” in the process of creating a NES tracker the world now have from December 1st 2009 Baldwin’s music was known for bringing called NRTQ—find more information, until January 31st 2010 at midnight Pacific a very C64-like sweeping electronic quality as well as selected soundtracks to time to complete and submit their single-input to the NES, making for some of the best his NES titles, on his site: http:// creations. Full submission rules and guidelines Western chip music of the era. “This in dutycyclegenerator.com. are available at www.kokoromi.org/gamma4. turn got me thinking about how I might’ve —Brandon Sheffield —Staff

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GAME DEVELOPER MAGAZINE’S MISSION FOR OVER FIFTEEN YEARS HAS BEEN TO PROVIDE GAME CREATORS WITH INFORMATION, NEWS, AND articles that pertain directly to them. The Front Line Awards are an official way of recognizing one specific aspect of the industry: the tools that developers need to do their jobs. Each year, we look at the lineup of new products and new releases of important tools in the categories of game engines, books, art tools, middleware, audio tools, and programming/production tools. The resulting Front Line Award winners represent the most innovative, user-friendly, and useful products from behind the scenes of the world’s best video games. In addition to the Front Line Award winners we also want to pay special tribute with our Hall of Fame Award to a product that has made a lasting impact on the game industry year after year (and which was not eligible to win in its specific category as a result). Nominations for this year’s Front Line Awards were open to all new software products and new versions of software products related to game development released between September 1, 2008 and August 31, 2009. In determining the winners of the 2009 awards we went through a multistep process. Open nominations were held in October, and from that list we consulted with our advisory board to narrow down the results to five entries in each category. We then handed the finalists over to you, the readers of Game Developer, via an invitational online survey in November, so that you could have a voice in picking the recipients of the Front Line Awards. After tabulating the survey responses we are proud to present the winners along with commentary by developers from throughout the game industry. A special thanks goes out to everyone who contributed to this year’s Front Line Awards and congratulations to all the finalists and winners. —Jeffrey Fleming

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1001gd_frontline_vIjf.indd 7 12/17/09 9:23:43 PM Game development was huge, expansive areas, tell Bink’s integration with the their original size, without With a little help from our once described to me as a rich and fleshed out story, Unreal Engine came in. By the players noticing a engineering department, building a house on top of and still fit within memory bringing the movies into the difference. This allowed we decided to turn the a moving train. In space. and performance constraints. engine as texture movies, us to stream the Binks off introduction into a Bink, With dinosaurs. It’s never Using Bink let us solve those we could manipulate them the disc, and reinvest that and strive for a continuous an easy process, and you challenges. Bink’s strong with the material shader memory overhead back into experience from the have to learn to deal with integration with Epic’s Unreal system. We were able to key the game world. moment the player starts a the unexpected. Storytelling Engine 3.0 meant that we out colors, add distortion Our use of Bink doesn't game to the time they gain in games is no different. could use the technology and alpha masks, with just stop here—it extends control of their character. Unreal allowed us to do a Gearbox Software's BORDERLANDS. frame-by-frame capture of our intro, while Bink allowed us to take the result and play it back in high definition with no artifacting. Both technologies worked seamlessly together, and the result was a taking a great intro concept and turning it into a great experience for the user. Bink didn’t stop there, though. With another assist from our engineers, we were able to turn Bink’s support of multi-track audio into our one-stop solution for localization. We did this by separating one track for effects and music, and using the remaining tracks to store dialogue tracks for each region we planned to ship in. Instead of having to manage five different videos, we could use one Whether it’s a last minute straight out of the box, and hit a few clicks. The resulting deep into the game. Our single Bink video to do the re-write, cutting a level, or the ground running. material could easily be introduction cinematic work of all of them. bending the game engine The largest technical used in UI, or anywhere else was created in-engine, and As storytellers, our goal is beyond its imagined limits, challenge we faced was in game. was originally intended to keep the player engaged there’s always a new integrating our female But the work wasn’t quite to be played that way. and entertained, while challenge to conquer. That’s narrator, the Angel, into our done. We now needed a way As the game neared the reminding them as little as what makes flexibility such UI. We needed a way for her to do this without blowing end of development, we possible that they’re playing a comforting thing during to hack your communication our memory constraints. began to understand that a piece of software. Achieving development. That’s why system to deliver her Bink’s toolset allowed us the user’s experience was that goal is a different Gearbox chooses to use Bink. messages. We chose to to easily scale, compress, being marred by watching process for each game, and When developing our latest do this with some highly and tweak our FMVs until too many loading screens it requires flexible solutions. title, BORDERLANDS, we had stylized FMVs, but the effect we found that magical as the game transitioned That’s why we use Bink. some very difficult hurdles we were looking for wasn’t spot where the resulting between the menu, the — Brian Thomas, to clear. We needed to create quite there. This is where videos were a fraction of intro, and the game. Gearbox Software

8 GAME DEVELOPER | JANUARY 2010

1001gd_frontline_vIjf.indd 8 12/17/09 9:23:49 PM ART TOOL FINALISTS ★ Corel Painter 11 ★ Autodesk Mudbox 2009 ★ Luxology modo 401 ★ Pixologic ZBrush 3.12b

I have been a 3ds Max user and they are just as easy to In video game production ring tools. The flow connect is at home and at work for use with their sliders. you need to be fast and clean also very useful for high-res five years, and I employ it I often use its cloth simula- with optimization; in 3ds modeling. But my favorite in all my high-res modeling tion to quickly generate a Max 2010 the Pro-optimizer new tool is the swift loop, for video game or high-res rough pass on the cloth of and the Multi-res tools make which allows me to create scenes. I have also been a some of my characters. I that job very easy. I have new geometry in one click, big user of mental ray for use it for capes, pants, and also been a big Polyboost and gives me the ability to my renders, and 3ds Max’s scarves, and 3ds Max 2010 user, and to see that most of place it where I want in a click. mental ray integration allows me to work with more Character these tools are now part of Another nice feature of the is very easy to use, with polygons on screen and to model by the default toolset of 3ds Max 3ds Max 2010 viewports is the preset settings for global generate nice cloth effects Rodrigue 2010 is just great. The new ability to display soft shadows Pralier. illumination’s Final Gather and hair quicker than before. Graphite modeling tool set and ambient occlusion on with draft, low, medium, high, I really like that when I on my low-res model. It’s a has all the tools that modelers your models in real time. and very high settings. All do my projections, if I put very quick way to have nice need and the smoothing I was very happy with the these features are still there a bump map or a normal details and it allows me to display of your objects can be 2009 version but 3ds Max but with 3ds Max 2010 we map on my source model keep my 3ds Max scene changed in one click. 2010 is a pleasant surprise have even more like soft the projection will take all very light with fast render Among these tools, the ones that has made my work flow shadow Precision, glossy this bump information and times and more details in I use the most are the loop even faster. reflect, and refract Precision, bake it onto a normal map my occlusion passes. and ring modes and the dot —Rodrigue Pralier, EA Montreal

AUDIO TOOL FINALISTS ★ FMOD Designer 4.27, Firelight Technologies ★ Miles Sound System 7.2e, RAD Game Tools PRO TOOLS 8 ★ Vivox Precision Studio SDK v. 3.0.6, Vivox ★ Wwise 2009.2, Audiokinetic

Beginning life as a stereo During the game develop- among others, it is incredibly orchestral recording and load- platform, allowing the user to recording and editing ment cycle, from planning to quick and easy to record, edit, ing up the Pro Tools session import various data and set- system way back in 1989, final implementation, the Pro and process thousands of for mixing, mastering, and tings, tracks, channel strips, Digidesign’s Pro Tools Digital Tools platform has become an lines of dialogue, all named implementation, either at audio and video regions from Audio Workstation (DAW) now essential part in the creation and time stamped and con- another facility or the develop- any Pro Tools session file, packs some serious punch of audio assets, be it from verted to your desired format. ers own studio. Indeed, many even if they were created with by offering up to 192 audio a simple dialogue recording Sound designers often uti- developers now ask for Pro older versions of the Pro Tools tracks, 128 virtual instrument right up to a fully interactive lize third party sound library Tools sessions as the final software. This enables users tracks, a fully functioning music score. The software is applications such as Sound to swap data from any corner MIDI sequencer and score packed so deep with features, Miner, and having drag and of the world, and with remote editor, as well as high resolu- that one often asks the ques- drop functionality can quickly recording functionality from tion recording up to 192kHz tion "how do you use yours?" get their effects into the Edit the likes of Source Connect, across 160 channels of I/O. When recording dialogue window to begin designing or Jacques used Pro Tools the virtual recording session In its latest incarnation Pro for your title, you will find Pro editing—whether designing to record music for is indeed alive and well. Tools 8 is available on both Tools at the heart of any pro- cinematic sequences via Pro MASS EFFECT. And even though all the Mac and PC platforms, which fessional voice over studio, Tools' integrated movie play- deliverables, giving them above features and potential opens the doors to many PC- and with such a great array back, or creating sounds for even further flexibility for final usages barely scratch the only developers and offers of dialogue-specific plug ins implementation directly into tweaking and last minute surface, Digidesign really extensive file output options, from the likes of Celemony the game. implementation. The “Import has put the "pro" in Pro Tools. suitable for all in-house Software (Melodyne), Mu For composers, there is Session Data” function is How do you use yours? or middleware audio tools Technologies (Mu Voice), and nothing simpler than leaving also one of the greatest time —Richard Jacques across all platforms. Synchro Arts (VocALign Pro) the scoring stage after a large saving features of any audio www.richardjacques.com

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1001gd_frontline_vIjf.indd 9 12/18/09 10:04:40 AM Volition Inc's RED FACTION: GUERILLA.

MIDDLEWARE FINALISTS ★ NaturalMotion morpheme 2.0 ★ Scaleform GFx 3.0 ★ Havok Behavior 6.6.0 ★ Interactive Data Visualization SpeedTree 5.0

Simply put, RED FACTION: the engine itself is less on the Xbox 360 only took happy to deliver a custom have the ability to call up GUERRILLA would have been than impressive, far from weeks to port over to the build for you. Not in the a friend on the inside who stillborn in the concept it. Havok Physics’ strength PS3 with full SPU support for next release or patch—now. knows exactly what is going phase without Havok. What and stability allowed us to our destruction engine. And now is the best time to on. Whether it is through started out as a designer’s build a custom destruction The real reason Havok have what you need. email, on the phone, or pipedream became a living, engine on top of its base deserves this award is its A key factor is that each on-site, the Havok support breathing, crumbling, that can handle everything stellar support staff. Even product is assigned a engineers are a pleasure to and violently exploding from a simple wooden crate if the documentation is caseworker that gets to work with. reality thanks to the power to an eight-story skyscraper perfect there will always know you and your game. So thank you Havok, for and flexibility that Havok without missing a beat. The be issues that crop up that You don’t have to waste time letting us stand on your brought to the table. But extensive documentation require human interaction. on each new ticket bringing broad shoulders and build it is not the extensive, provides a wealth of Whether you find a bug in a new guy up to speed on amazing games that were constantly evolving code knowledge about fine-tuning low-level code or are trying the structure of your game the stuff of dreams a few base and feature set that all the knobs and switches to figure out the best way before diving in to the short years ago. Keep doing won it this award for the to keep the frame rate to accomplish a given problem at hand. It may not what you do so well and we second year in a row; it is steady even when the sky task, help is only a short sound important now, but will keep finding ways to the top-notch support that is literally falling. Its cross email away. On the off- when you are moments from use Physics to make those comes along with it. platform support meant that chance that there is a bug shipping there is no better dreams come true. That is not to say that what took years to develop in internal code they are feeling than knowing you —Eric Arnold, Volition, Inc.

10 GAME DEVELOPER | JANUARY 2010

1001gd_frontline_vIjf.indd 10 12/17/09 9:24:37 PM ENGINE FINALISTS ★ Crytek CryEngine 3 ★ Emergent Game Technologies Gamebryo LightSpeed ★ Valve Source 1.6.1.6 ★ Unity Technologies Unity 2.5.1

I started using Unreal things that I know would as a three-step process. The idea or a graphical effect in the official support channels Technology in the late have been simple using first step is a solid idea, the a very short amount of time, and throughout the wider '90s. With every year that Unreal Engine 3. During my second step is making the and iterate fast. I have never Unreal developer community passed I saw the engine career I have worked on five idea technically feasible as seen another game engine is immense. and its accompanying tools Unreal Engine games, and a game, and the third step is come even close to that In short, Unreal Engine 3 improve in giant leaps, giv- the speed at which we were making the game fun to play. much power and speed! and its tools are not only ing developers ever more able to develop those games By using Unreal Engine 3 you Unreal Engine 3 is not only the result of many years power and possibilities. was mind blowing. get to skip that second step. a very powerful engine and of development, but also Over the years I have also Can you make an awe- You get to take your idea, and toolset; it also has a strong years of polish and fine worked with various in-house some game with pretty much turn it into something fun community backing it. There tuning, years of testing engines. While the games we any engine? Of course, but at right away, something that is a big pool of experienced in big productions, and produced with those engines what cost? Is reinventing the just works. Unreal Developers to tap perhaps most importantly, were awesome, we always wheel in today’s competitive I especially value the into, allowing you to jump- years of feedback. The lost time during production games industry sane? power Unreal Engine 3 start your production, result is an unrivalled piece because of the limited capa- One of Unreal Engine’s gives me, as an artist and removing the need to of technology, which is bilities and weaknesses of strengths is that it allows you designer. Features like the intensively train new hires being constantly refined the engine used. I have seen to focus on the game rather visual scripting tool Kismet on in-house technology. The and improved. problems seriously hamper than the technology. I always and the Material Editor allow amount of info and support — Sjoerd De Jong, production many times, look at game development me to prototype a gameplay that can be found via both Toltec Studios

Toltec Studio's THE BALL.

WWW.GDMAG.COM 11

1001gd_frontline_vIjf.indd 11 12/18/09 10:05:44 AM PROGRAMMING/PRODUCTION TOOL FINALISTS ★ Hansoft 5.3 ★ Perforce 2009.1 ★ SlickEdit 2009 ver 14.0 ★ Microsoft XNA Game Studio 3.1

friendly tool by doing things quickly take an idea from extremely well and for When I was approached to Bethke's FLIP THE BEACH write an article awarding as simple as adding sliders concept to completion is one anyone considering Flash CS4 the Best for most value setting of Flash’s greatest strengths, making their first game or Programming Tool award inputs or adding advanced and makes working with seasoned veterans looking I simply said to myself: new features such as Bone this tool a very rewarding for new tools, I would highly Of course it won, Flash is and 3D Rotation tools. experience because you can recommend Flash CS4. The awesome! Having worked One of the reasons that almost immediately see the blending of an animation as a Flash game developer Flash is such a great tool results of your efforts. suite and programming tool for the last six years I for game development in There's a lot of focus in CS4 that CS4 provides continues definitely recognize Flash general is the ease with on the new animation and some room for improvement to build upon the solid as an invaluable tool in the which users can get started content related features, but but unlike Flex Builder, I think reputation of both Adobe industry and Adobe’s latest and get results. A beginner this should in no way detract it has achieved a special and the Flash product and work on Flash CS4 continues can easily jump into the IDE from the programming balance between content make it a clear winner for the to reinforce that sentiment. and almost immediately capabilities that this tool and code creation that really programming tool award. Flash CS4 has taken begin animating and coding, offers. Admittedly, when makes it stand apart as the —Alex Bethke many of the strengths of while a veteran has a robust compared to other products definitive all-in-one tool for the previous versions and feature set that allows them like Adobe’s Flex Builder 3, simpler game development. enhanced them to provide to do both small and large- the Flash code authoring The bottom line is that a more robust and user- scale projects. The ability to environment definitely has what Flash does, it does

BOOK FINALISTS ★ Game Coding Complete 3rd Edition by Mike McShaffry, Charles River Media ★ Game Engine Architecture by Jason Gregory, AK Peters ★ Racing the Beam: The Atari Video Computer System by Nick Montfort and Ian Bogost, The MIT Press ★ Real Time Cameras: A Guide for Game Designers and Developers by Mark Haigh-Hutchinson, Morgan Kaufmann

The downside to being able Unreal Engine 3. I really wish right into the good stuff. Most stop to think about why this would have expected, yet by to make anything you want resources like this were avail- people would completely chapter was included. In my guiding the reader through is figuring out where to start. able when I first started! overlook chapter 2, “Overview opinion, it’s the most impor- the process slowly, it never With an engine as powerful 3D Buzz has been in the of Game Development,” but tant chapter. becomes overwhelming. as Unreal, opening the editor Unreal scene for over five I’m glad that the folks at Buzz The rest of the book And to drive home the point Rachel Cordone's years now and has produced knew the importance of put- gets into the nitty gritty of that this is the only resource PROMETHEUS an incredible amount of ting this before any actual UnrealEd, and there is a lot you’ll need, you get a free video training guides for the tutorials. Too many people of material to cover. From copy of UNREAL TOURNAMENT 3 Unreal Engine, including an come into the community basic geometry construction, with the book. Bonus! entire DVD’s worth in the with sky high ideas without lighting, materials, and I’d like to congratulate UNREAL TOURNAMENT 2004 realizing that game develop- terrain—everything is 3D Buzz for winning the for the first time can be very SPECIAL EDITION and again in ment is a lot of hard work, and covered not just with simple Front Line Awards. I’m intimidating. Luckily for any- the UNREAL TOURNAMENT 3 sometimes gets monotonous, descriptions but also with looking forward to seeing one just getting into the game COLLECTOR’S EDITION. Needless and yes, downright boring. step-by-step examples. The how they go about teaching development scene, 3D Buzz to say, they know Unreal. They release a few concepts, Kismet chapter in particular UnrealScript in their continues its Unreal series of The book starts out with a make no further progress, get goes into much more upcoming Volume 3! books with Mastering Unreal quick history of Unreal and frustrated and quit. Anyone detail and creates a more —Rachel Cordone, Technology Volume 1 for the the engine, and then gets reading this book should complicated example than I www.angelmapper.com

12 GAME DEVELOPER | JANUARY 2010

1001gd_frontline_vIjf.indd 12 12/17/09 9:24:51 PM EXPERIENCE THE POWER OF EXTREME 3D

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Autodesk and 3ds Max are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. Autodesk reserves the right to alter product offerings and specifications at anytime without notice, and is not responsible for typographical or graphical errors that may appear in this document. © 2009 Autodesk, Inc. All rights reserved. EVEN IF YOUR COMPANY BUDGET EQUALS YOUR CREDIT CARD LIMIT, your game can be Unreal.

No matter what size your budget. No matter what type of game. Unreal can be your game engine. Email Mark Rein at [email protected]. BRIAN ROBBINS

GAME DEVELOPERS HOPING TO CREATE GAMES FOR THE LATEST TACTILE-ORIENTED PLATFORMS today are facing an incredible challenge. The best of these developers will turn this challenge into an opportunity to innovate at a level not seen in the industry for years. The fact is touch input and accelerometer controls are becoming commonplace for many platforms, and game developers can ignore this trend only at their own peril. While the success of the iPhone and iPod Touch has resulted in a viable market for game developers, it is not the only platform incorporating touch, multi-touch and accelerometer input. Nearly all next-gen mobile devices use some combination of these technologies, including Google Android-based devices, the Zune HD, Palm Pre and Pixi, and even the latest Blackberry smartphones. Looking ahead, it is highly likely that over the next couple years the majority of higher-end mobile devices will use some or all of these features. The impact goes beyond just mobile applications though—multi-touch support is built into the core of Windows 7 and Apple's Magic Mouse is a multi-touch device. Users will soon start to see and expect this type of interface on their primary PCs and not just their cell phones. This article covers several specific things that developers need to be concerned about when developing around these capabilities. While some may seem superficially obvious, most require careful attention and subtle rethinking in terms of how players experience and interact with the game, and what changes developers need to make in order to better enable ease of use for players.

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1001gd_user_interaction_vIjf.ind15 15 12/17/09 9:26:27 PM DUDE, WHERE’S MY SCREEN? » Visibility of the screen becomes a huge issue when working with touch screen and accelerometer input. A player’s hands and fingers will constantly be covering parts of the screen, and the simple act of controlling the game via accelerometers may make it hard to see what’s happening. As a general rule if a player is touching something then they will be unable to see anything below that point and angling out toward the edges of the screen. Poorly-designed controls and UI placement can easily result in the player’s hands blocking out large portions of the visible area while playing the game. Fortunately this is a very easy fix for most game UI, as the general solution is to flip element placement vertically. Instead of placing drop down menus and controls at the top of the screen, make popup menus come up from the bottom of the screen. This way players can still quickly interact with the UI, but they don’t need to block the visuals to do so. This also has the advantage of being more natural for the player as it is much easier to touch and interact with the bottom parts of the screen than it is to reach up and touch the top. It can be slightly more problematic to redefine how the player interacts with the actual game elements. Most games require the user to block parts of the screen to interact with elements near the top, so developers should consider how much of the screen will be blocked by that action, and how long it will be blocked for. Quick touches or swipes will likely not be a concern, but if a game requires precise or prolonged drags, then the game should not also require the player to see or respond to something on the blocked portion of the screen at the same time. When a player is asked to drag or directly manipulate game elements, their finger will likely be covering what they are being asked to control. Unlike a traditional cursor, which takes up just a few pixels on screen, a player’s finger will block out a much larger area that completely surrounds the point reported as the touch location. A general rule of thumb is that the area being covered by a finger is a circle SCRABBLE. with a diameter of around 40–45 pixels. For most buttons and game UI elements, this is not a large concern as the player simply won’t be able to see part of the rollover or hit state for the button. But dragging and dropping, or precise placement of game objects by the player, will require a way to deal with the large screen space being covered by the player’s finger. Apple resolves this issue when selecting text by opening a magnifying GEODEFENSE. glass above the user’s finger showing what is actually being selected. This magnifying method may work with some game mechanics, but in most is very tempting to use large input gestures like those used in many Wii cases will likely prove impractical. The developers of SCRABBLE decided not titles to control gameplay. The problem with this is that unlike the Wii, mobile to worry about the blocking of tiles when being placed, which allows direct devices have the accelerometer attached to the screen. Thus making large connection to the piece, and any mistakes are easily resolved due to the swinging gestures with the device result in the player not being able to see forgiving nature of the gameplay. the screen while doing the movement. Some iPhone titles like FLICK FISHING Another solution that has been used to some success in games like have managed to deal with this quite successfully. However, in most cases it GEODEFENSE is to offset the position of anything being dragged to a position is a recipe for failure. If the game truly does require large movements of the above the touch location, and sometimes to the left or right as well. This allows accelerometer, then there are a few things that can be done to help refine the user to easily see the object being dragged, and its general location on the overall playing experience. screen. The trade off is that the user now has slightly indirect control of the First, it is important to make sure that very little is happening on the object because of the offset, making it a good idea to also show a highlight screen while the player is performing the input gesture. Since the player or similar effect indicating exactly where an element will be dropped. This won’t be able to see the screen at that point, the game should pause or slow placement highlight is important to ensuring that users don’t get frustrated down the action so that there is nothing the player actively needs to touch or when trying to manipulate game objects, particularly in grid-based games. look at while they are performing the gesture input. Another tactic that can help this immensely is using audio cues to ALL SHOOK UP inform the player how they are performing. ISAMURAI uses this to great » While touch input causes very obvious visibility issues, less obvious effect by having sword swinging and hitting sounds play when the desired (but just as problematic) are the ramifications of accelerometer control. It movement is made, resulting in a game that is entirely gesture-based,

16 GAME DEVELOPER | JANUARY 2010

1001gd_user_interaction_vIjf.ind16 16 12/17/09 9:26:39 PM and which does not require the user to see the screen at all. While wild accelerometer movement is generally not a good idea for handheld devices, even games that use subtle accelerometer movements will need to find ways to mitigate the movement of the screen while manipulating the accelerometer. Several techniques have emerged to help minimize the impact of screen movement, though no single perfect solution exists today. Driving games or anything where the player needs to tilt left and right, have perhaps the easiest and best solution to the problem. Whenever the device is tilted to one side, the game camera can be tilted the same amount in the other direction to compensate. This has the effect of keeping the ground level during play, and treating the screen like a window into the game world that the player rotates during play. This has become such a commonly-accepted practice in most driving games, that its absence will frequently be commented on by players and reviewers. Another suggestion, particularly for games that require movement in all directions, is to not force large movements, and instead allow for smaller tilt motions to have the same in-game effect. The challenge with this approach is that players may find the controls too sensitive and be unable to properly play the game. There is also the issue of making it clear to the player how much movement they need to do, and training them that they do not need to overdo the movements. Many players will assume they need large movements to affect accelerometer based-elements, even when they don’t. Accordingly, without proper player education, players may feel that accelerometer-based controls force them to not be able to see the screen, even if that is not true.

IT JUST DOESN’T FEEL RIGHT » By its very nature touch input is far less accurate than mouse input. With traditional cursor and mouse-based input, the user can easily get near pixel perfect accuracy, and games can safely require that of their users. With touch input the actual touch location given is the result of a certain amount of guesswork and interpretation logic performed by the underlying systems, before giving the interpreted point to the program. The impact this has on games is twofold. First, for anything that requires the user to touch a specific location, the hit area needs to be very big, and the logic for detecting hits needs to be very forgiving. Buttons, for example, should have a hit area of at least 40x40 pixels, and game (TOP) FIELDRUNNERS. (MIDDLE) HARBOR MASTER. (BOTTOM) DEBLOB calibration progression. elements should be as close to that size as possible (or larger). For some styles of games, it may be elements are large enough to touch. FIELDRUNNERS For games that require precise placement acceptable to go smaller than this, but when doing handles this exceptionally well through a of game elements, it is also important to so developers need to ensure they do enough combination of advanced touch detection logic and compensate for movement that may happen at testing to know that players do not have difficulty allowing users to zoom far into the gameboard as the end of a touch. As a finger is picked up off of interacting with the game elements. One solution to well. For slower paced games this can work quite the screen, it is normal for the interpreted touch this is to allow users to zoom into the gameboard, well, but forcing players to constantly zoom in and location to shift by several pixels in any direction. so they can reach a point where the interactive out to play the game will become tedious. This becomes particularly problematic in grid-

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1001gd_user_interaction_vIjf.ind17 17 12/17/09 9:26:54 PM based games, where the user may be near the boundary of one grid location, but as they pick up their finger, the shift may result in the last touch location being in a different grid than they intended. Logic to detect and counteract WORDFU showing how this movement will dramatically improve this problem and will make users the device tilt shows much less frustrated with the results. sides of the dice. For games that use accelerometer input, calibration is extremely important. Each player will naturally want to hold the device at a particular angle, and if the game does not treat that orientation as a neutral starting position, then players may quickly become frustrated at being forced to learn a different way to hold and manipulate their device. Further, each player’s natural device orientation may change between plays, making the timing of this calibration step critical. Ideally calibration should happen as the action is starting, and again any time the player is returning from having the action paused. The games that do the best job of this will typically have a button and possibly onscreen text informing the player what is happening, so they are sure to hold the device at their preferred angle. Not doing this may cause lots of unnecessary frustration. Calibrating too early is especially problematic as many users, particularly reviewers, may set their device down or hold it at an odd angle during load times, and will only hold it properly when the gameplay begins. The calibration screen in DEBLOBS is somewhat involved, but very clearly shows the user what they are doing and gives an indication of how far they will need to tilt to play.

IS THIS TROUBLE REALLY WORTH IT? » The best part about developing games for new devices and interfaces is discovering new ways for players to interact with games, which are often as fun as the game itself. It turns out that directly touching and dragging on a screen is an extremely natural way for even casual players to interact with a device, and this innate familiarity results in highly enjoyable gameplay. This is evident through the wild success of games like FLIGHT CONTROL and HARBOR MASTER, which would be incredibly tedious, if not nearly impossible, to play with traditional mouse or joystick input controls. Similarly, games that require very frequent input on different parts of the screen are also much easier to do with touch and especially multi-touch input, than they would be with traditional controls. Some game types like CASTLE DEFENSE, which would be nearly impossible to play with a mouse, end up being quite manageable with touch input. While accelerometers may prove too problematic for game control in most titles, if a game relies solely on touch input, subtle accelerometer- based effects can add a lot of perceived polish and depth to the final presentation. Effects like gently moving the camera, or shifting the background when the device is tilted are very simple to implement, but make a big impact. One of the best examples of this is from WORDFU, where tilting the device around will tilt the camera allowing the player to see the letters on the sides of each die on screen.

CONCLUSIONS » Today’s devices are providing new and better ways for players to interact with games. The degree to which players can viscerally connect to the experience is greatly increased when given the ability to more directly control events. As game developers, it is our responsibility to make sure we harness the new tools at our disposal to enhance the player’s experience. When developing games with these input mechanisms it is imperative to not only consider the big picture elements like how a player’s hands will block the screen, but also focus on the subtle results of the player’s interaction. Doing this well will provide a much better connection to and enjoyment of the title.

BRIAN ROBBINS is founder of Riptide Games, an indie game developer in Denver, CO. Since 1999 he has programmed over 100 games, and is an active participant in the game development community, currently serving on the IGDA Board of Directors. He can be reached at [email protected]. FASTLANE STREET RACING

18 GAME DEVELOPER | JANUARY 2010

1001gd_user_interaction_vIjf.ind18 18 12/17/09 9:27:01 PM www.seapine.com/gamescm Pro [ Satisfy your quality obsession. [ ® QA Wizard QA Wizard ® Seapine CM ®

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1001gd_pm_aion_vIbs.indd 20 12/17/09 9:21:34 PM eveloping an MMORPG is a task fraught with peril—doubly so when you’re mak- ing something that must appeal to both Eastern and Western MMO audiences. These are demanding users who already have concrete ideas on what they want their next MMO to be. AION sought to bridge the gap with art, gameplay, and story, delivering an MMO experi- ence that would resonate with gamers from Seoul to Soho to SoCal. Like all MMOs, AION is a work in progress. While we’re buoyed by our first year in Asia and our good start in North America and Europe, we’re keenly aware of the effort it took to give AION its wings around the world. From the start, we wanted Aion to be a flying game, with movement on all axes. But we had no idea how easy 2D battles were until we started working with the Z-axis. The flight system con- sumed double the usual development resources, and even now is somewhat difficult for some players to control. A player’s field of vision is necessarily limited on the ground, but up in the air, the number of visible game elements expands exponentially. Some players have wound up using the flight system for exploits, but we’ve felt the results were more positive than negative. Indeed, like Icarus, we flew ...

WHAT WENT RIGHT 1} CRYTECH’S CRYENGINE—FLEXIBLE ENOUGH FOR AN MMORPG. We used an engine optimized for first person shooters in an MMO because we really wanted AION’s environment to “pop” off the screen. CryEngine handles landscape textures with ease, and it’s great at processing light effects, which is particularly important in a world where available light tells part of the game’s story (and AION is based on the world of angels). That said, CryEngine isn’t an MMO engine per se. We had to rearrange about 90 percent of the engine to make it work for AION. The building blocks were there; they just needed to be reas- sembled. The team has since worked hard to improve the graphical quality without switching graphics engines. Whereas before our artists might have simply designed something to be as gorgeous as possible, as we become even more familiar with the technology we are finding ways to improve quality without any major perfor- mance or polygon hits.

2} ART AND ANIMATION. Western and Eastern gamers have sophisticated tastes, and they don’t always match up. Art-wise, Western gamers prefer heavier lines and rougher textures, while Eastern gamer prefer cleaner lines and charac- ters that border on “cute” or “cartoon-like.” We wanted to satisfy as many players as possible, so that meant walking a tightrope in terms of art direction, but allowing some specific detours into more Eastern or more Western styles. This meant that our character customization system necessarily grew to an enormous size to compensate for all tastes—but the players

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1001gd_pm_aion_vIbs.indd 21 12/17/09 9:21:45 PM found it to be enormously fun. illegal in many countries, and we care about this issue, as the other from South Korea, approachable for gamers who MMO players spend countless certainly does not help create they’re all able to witness the and he was born in Japan, had never tried an MMO before, hours staring at their charac- a fun game environment. Real RMT’s destruction. while being of Korean descent. so we intentionally moved both ters, whether they’re fighting, money traders are difficult to These origins inspire his cul- key MMO tropes (crafting, skill/ exploring, or just using in-game identify, and even when you 4} A BIG, BOLD SOUNDTRACK. ture-bridging music, which was power decisions, PvP, group chat to talk to their friends. We do, it’s hard to know what you Another demonstration of important to our East-meets- instances) and AION-specific really wanted to make even should do about them. AION polish was the largest-scale West product. elements (branching chain “idle time” evocative of the took a unique approach. original soundtrack in the AION’s soundtrack was attacks, flight, access to the world. AION characters shiver We have a team called the history of Korean games. recorded with the London Abyss) later in the game. and breathe steam when it’s Game Surveillance Unit, or Composer Yang Bang Ean Symphony Orchestra, and Players don’t fly until they cold outside, and they wipe GSU. The GSU’s job is to identify spent three years directing engineered at the famed reach level 10, for example, and their brows when it’s hot. If and eliminate these the soundtrack. He comes Abbey Road Studio in London. they can’t access the Abyss they’re left idle in shallow goldfarming RMTs, from an interesting A soundtrack CD was included (where flight is largely unlimit- water, they try to grab the fish bots, and chat background, as in the AION SPECIAL EDITION pack- ed) until level 25. Veteran MMO swimming past. When it rains, spammers. The a Japan-born age, emphasizing the impor- players will get their wings in they get out umbrellas. Those big difference Korean who origi- tance of unique, iconic music a matter of hours and will be animations paid big dividends; between what nally studied as a to the overall AION experience. swept up in PvP battles in a they’re an effective way to we do, and doctor, and in fact Additionally, there are a matter of days. But AION takes demonstrate that ever-elusive what a surveil- worked for several total of 6,000 types of sound great effort to manage the flow “polish” in an MMORPG. lance unit like years in a Tokyo hos- effects in AION, including 650 of complexity, opening the FINAL FANTASY XI does, pital (in Japan he is often musical pieces, of which 50 valve one gameplay element 3} THE BAN BUNNY. All is we eliminate them publicly. credited as Ryo Kunihiko). were played during battle. at a time. MMOs experience some form Rather than quietly deleting He began learning piano of trouble with real money them from our servers, our at age 6 at the Tokyo National 5} EASY TO LEARN, DIFFICULT WHAT WENT WRONG trading (RMT), and AION is GSU spawns in a giant rabbit, University of Fine Art and TO MASTER. This was a bedrock 1} DEVELOPMENT WAS no exception. For those who fire breathing squirrel, or other Music, has since released sev- principle from the very start— PART SOAP OPERA, PART don’t operate MMOs, this is odd creature to literally blow eral albums, and scored anima- and it survived unscathed MEATGRINDER. We knew early when players will farm for the offending bot or character tion, films, and games. He was through all the develop- on what we wanted AION to be— in-game gold exclusively, and out of the world. This not only perfect for our multicultural ment-team turnover in AION’s a global MMO that could reach then sell this gold to players shows the RMTs we mean busi- approach, as one of his parents early months (more on that across the Pacific. But how to for real-world cash, which is ness, it also shows the players comes from North Korea, and later). We wanted AION to be get there from here? Those first

22 GAME DEVELOPER | JANUARY 2010

1001gd_pm_aion_vIbs.indd 22 12/17/09 9:21:51 PM tentative steps—the basics of complete very soon thereafter. can be healthy; it’s a virtue in the world and gameplay—were And even surviving that churn and of itself. But those compari- aion users by gender group steps we took over and over wasn’t enough. Two producers sons came so early that it was (as of august 2009, South Korea only) again. We’d settle on a design in charge of AION quit due to hard to ignore the other games direction, then start questioning stress-related health issues. and figure out what we wanted it almost immediately. Every The pressure was intense, and AION to become. There may be a time we faltered after a few AION was eating us alive. place for reactive game design, steps, morale plummeted. but it’s not at the beginning of In late 2007 we announced 2} COMPARISONS WERE the development process. that the AION closed beta INEVITABLE, BUT EARLY test (CBT) was going to be COMPARISONS WERE TOXIC. 3} IS THAT YOUR VOICE? It was postponed for three months. The pressure on the devel- early 2008 before the CBT took Because NCsoft was banking opers wasn’t just internal. place. We had not yet integrated on AION to breathe new life and Almost as soon as it was voice into the game, so our excitement in the company, announced, gamer media gave developers were taking turns the morale of the entire orga- AION the “WOW-killer” tag. That recording the voices. Almost age male female total nization was at risk, and the inheritance was unwanted but all the voices (including PCs, 10+ 6.1% 1.1% 7.2% health of the development probably inevitable, because Shugos, children, the elderly, team was compromised. To there hadn’t been a truly global and even villains) were record- early 20s 17.0% 4.0% 21.0% add insult to injury, the biggest MMORPG success since WORLD ed by the current team leader in late 20s 20.4% 5.0% 25.4% consequence at that time was OF WARCRAFT. Comparisons with charge of AION, and eleven of the the fact that stock price fell both Western games (HELLGATE: female voices were recorded by early 30s 16.0% 3.0% 19.0% because of the postponed CBT. LONDON, WARHAMMER ONLINE) a colleague in the development It wasn’t just a question of and Eastern games (PRIUS team (luckily a female) to fill in late 30s 9.0% 2.0% 11.0% developers feeling disillusioned ONLINE) soon followed. Even the missing voice actors. 40+ 6.0% 3.0% 9.0% with their work. The develop- before launch—even before we The problem popped up ment team was replaced knew what we were going to abruptly when we needed a 50+ 2.4% 3.0% 5.4% three times in four years. The launch—we were in competition key voice recording. We had game got a complete reboot with a half-dozen great games. a demo test the following 60+ 1.0% 1.0% 2.0% in 2006, and at that point We make games, so we day, and needed the voice of total 77.9% 22.1% 100.0% the game was mandated to know firsthand how competition "Ariel," one of the goddesses

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1001gd_pm_aion_vIbs.indd 23 12/17/09 9:21:59 PM aionfacts GAME DATA

PUBLISHER NCsoft DEVELOPER NCsoft NUMBER OF DEVELOPERS 130 LENGTH OF DEVELOPMENT About 4 years 133 RELEASE DATES CURRENT NUMBER OF November 11, 2008 South Korea SERVERS FOR AION September 22, 2009 North (WORLDWIDE) America September 25, 2009 Europe

60 BUDGET KRW 23 billion (about NATIONS IN WHICH THE US $20 million) GAME IS DISTRIBUTED PLATFORM PC 7* NUMBER OF LANGUAGES SERVICED in AION. The female developer year after the South Korean areas, which also helped man- produce a large amount of lag in *Korean, English, Japanese, French, who was going to record the launch, there are still lots of age the userbase. the game. We put a lot of effort German, Chinese, and Russian voice was so ill she caught voices recorded by the same toward maximizing both the laryngitis and could not make team leader. In the end, 30 5} WE FELL INTO THE ABYSS. beauty of the game and smooth 43,269 any sound at all much less professional dubbing artists let Once we settled on the gameplay when large amounts AVERAGE NUMBER OF record a voice over. their voices to the NPCs. Abyss as our way of building of people gathered in one place, CHARACTERS CREATED Time was running out so that pyramid structure, our particularly during the large DAILY DURING AION'S we tested with other female problems were only begin- scale battles in the Abyss. FIRST YEAR 4} IT’S HARD TO SERVE TWO developers, but because the MASTERS. One of our early ning. Once again, we’d come That’s a lot of moving 3:2 recording had more to do design goals was to make a up with a good answer that pieces, and ensuring they were RATIO OF MALE TO FEMALE with the "acting" rather than game that would support a proved maddeningly difficult well-behaved pieces was an CHARACTERS CREATED the "voice" itself we were all “pyramid” of users: a wide base to implement. arduous forced march. becoming desperate. The best of more casual players, nar- The Abyss is triple the size 2,500,000 idea we could come up with rowing upward to a minority of AION’s other zones, and it’s FLIGHT OF FANCY TOTAL NUMBER OF WORDS at the time was to record the of hardcore users that would far more active. It’s a realm of » AION’s been out for more than IN AION team leader's voice and change play AION with real fervor. That’s unfettered flight and omnipres- a year in South Korea, but just it digitally. As soon as this idea easier said than done, of course. ent PvP. Fortresses and Artifact a few months in North America 31,000 came up we put it in action. What’s “boring” to the hardcore sites scattered all over the and Europe. Yet in all regions, NUMBER OF ITEMS IN AION Of course, the team leader player is “impossibly frustrating” zone deliver faction-wide buffs it feels like our flight has just recorded it by himself (if some- to the casual gamer. This prob- when controlled. And the zone begun. There’s nothing like a 16m/s body else saw or heard it at the lem was compounded by the has a third “faction”—mobs (AI- project with a big, bold vision: MAX FLYING SPEED scene, it would have required a high percentage of new or young controlled monster opponents) Make a truly global MMO— lot of explaining). developers on the team, who that provide PvE challenges something that crosses all 50 meters Once recorded in the male had less experience dealing with throughout the zone and bring oceans and delivers a satisfying FATAL FALL HEIGHT voice we changed it to female these sorts of design issues. the Abyss back to equilibrium if experience no matter what your sound range (about one octave In the end, we made a one faction dominates. “gamer heritage” is. 228,336 difference), then added addi- conscious effort to stay away One of the biggest chal- Just getting the game out NUMBER OF LEGIONS (AION'S GUILDS) CREATED tional plug ins and programs from the large-scale endgame lenges for us was the reduction the door is victory enough. But SINCE THE OBT to control the timbre, tone and raiding that’s traditional in of the computer requirement. with an MMO, you don’t have a speed of the monologue. MMOs, opting instead for It proved to be extremely dif- release so much as you have a 10:1 After the demonstration, faction-based warfare in the ficult and we weren’t even sure launch. We’ve got big plans for RATIO OF AION'S LAND people started asking the team PvPvE structure of a single we could accomplish the task. what’s next for AION, but we’re MASS TO SEOUL'S leader if this was actually his mega-zone called the Abyss to One of the characteristics of an also learning a lot from our voice. Moreover, some gamers keep the hardcore happy and MMORPG is that you have mas- players about what they want 2 real-world hours after the CBT left very negative the casual players engaged. sive amounts of people con- AION’s future to be. LENGTH OF ONE FULL replies regarding the dubbing Zone-based combat allowed centrated in random parts of 24 HOUR CYCLE IN AION'S of voices. What they don't us to concentrate some of the maps. These situations take NCSOFT DEVELOPMENT WORLD know is that even now, one these experiences in certain up extreme resources and also TEAM Seoul, South Korea.

24 GAME DEVELOPER | JANUARY 2010

1001gd_pm_aion_vIbs.indd 24 12/17/09 9:22:06 PM

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A COMMON COMPLAINT FROM CON- I was hired by Kung Fu Factory sumers regarding computer anima- to look over the animation team to tion (especially in the video game help them improve the quality of industry) is the “puppet-like” move- the company’s character animation. ments characters often seem to Over the years I’ve come to realize perform. When two character models that animating characters in come into contact with each other in 3D space is similar to coaching a fighting game, or when they must gymnastics, and my analysis of climb structures in an acrobatic movement was quite relevant to manner, the difficulties become the creation of quality animation. more pronounced. In this article, I’d If you can analyze a move and like to talk about some techniques understand the kinetics behind it, for analyzing human movement that you can create better, more natural can be applied to make your hand- animation—and faster, too. keyed character animations look more natural. THE WHAT AND WHY OF CENTER OF MOVEMENT TAKES ONE TO KNOW ONE » Some skilled animators have » Before joining the 3D computer the ability to picture and recreate software industry I was a human movement easily. But competitive gymnast, and also most of us can’t. At our studio we worked as a gymnastics coach. often encourage animators to use When I was a gymnast, I would reference videos showing a person practice a move over and over to performing the action they’re achieve the right timing, speed, meant to animate. This helps them balance, and angle. I repeated and understand the movement better, adjusted my technique until I could but video can only go so far. execute the move perfectly every One critical, and often under- time. I developed my skill to perform, valued element of movement is an analyze, and teach gymnastic moves understanding of the character’s through those experiences. center of gravity, or center of mass. I While I was coaching, I also will refer to both as the “COM.” studied physiology and kinesiology for The center of gravity is the point sports science in university, focusing at which the entire weight of a body on the mechanism of the human body may be considered as concentrated, in movement. I learned how to analyze so that if supported at this point the physics of human motion using the body will remain balanced in mathematical calculations, which lead any position. Your balance and to an understanding of how muscle movements are always affected by generates the force to perform a move. gravity. As a gymnast I learned how

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1001gd_animation_vIjf.indd 27 12/18/09 9:30:10 AM need to simulate gravitational acceleration. The easiest example is a free fall. When an object is falling with no acceleration other than what’s provided by gravity, the falling distance (y) could be calculated with this formula:

g = gravitational acceleration (= 9.8) t = time (sec) y = distance (m)

Figure 1 shows this formula in a line chart. Calculating this curve will give animators a good base for creating a realistic fall animation. Take the same acceleration and apply it to the vertical translation channel in the 3D software (which is Z, but sometimes it can be Y depending on the product). As you see in the formula, this is movement with constant acceleration (g = 9.8). You can see the distance (y) within each time increment is growing little by little. This formula is common FIGURE 1 Examining free fall. knowledge but it’s not always utilized for the creation of game animation. If the acceleration is not constant, the fall will look jerky. to control and adjust my body’s COM to perform to show the physics simulation and how the The most accurate way to animate proper various actions. Tumbling, balancing, and so movement is affected by gravity. acceleration is to animate an object frame forth, all require an adjustment of the COM. Some In the following section I will show you my by frame. If you want to use fewer keys, try animators I know who are martial artists also process of physics simulation using Excel. I will adjusting the tangents. understand this concept, so they can see how also show a tool that displays the COM trajectory, the COM flows and adjust the character’s body used to examine if the COM is moving naturally. TOPPLE: INVERTED PENDULUM appropriately. Adjustment of the COM is something » If character A knocks out character B with we all do naturally in real life when performing PHYSICS SIMULATION USING EXCEL a strike, character B’s body falls to the ground, actions like dancing, running, and so forth—but it’s » When you animate in 3D, you will manipulate and gravitational acceleration is applied. If the not easy to create this in a fictional character. three transform controllers (translation, animation doesn’t accelerate when the body is Figuring out the position of the COM is not rotation, and scale). Each of these controllers falling, the animation will look "floaty" and will hard when a human is standing up straight. can be broken down into x, y, and z components. give the impression that the object has no weight. Usually the COM of a human body sits around Understanding the relationship between these Calculating the acceleration in this case the lower stomach, which is a little above half components is very important. is not as easy as calculating the gravitational his height. On a moving character it becomes In games, these movements may need to be acceleration, because the foot is pinned to the more difficult, because the location of the COM exaggerated—but understanding physics gives ground. This foot becomes a pivot point and the will constantly shift. For example, as you bend you the foundation to create a realistic base. COM will rotate around the pivot. This results in forward from a standing position, your COM From this base, you can develop or adjust to your the COM trajectory being shaped like an arc. This will start to adjust and move forward as well. animation to meet your expectations for the mechanism is complicated, so let’s break it down Eventually your COM will be so far forward that movement performed. into a diagram. See Figure 2. you’ll fall over if you don’t do something to regain The advantage of using Excel is that once the This movement could be described as an your balance. This shifting of the COM position formula is set up properly, the calculation result is inverted pendulum with a static pivot. In this during the move represents the main flow of updated immediately when variables are updated. case, the distance between the pivot (foot the movement you’re performing (in this case Excel can also export a visual representation of position) and the COM will be defined as the bending over). We call it the COM trajectory. how the COM should move in the form of a graph. pendulum length (l). For the calculations I’ll need If you can properly animate your characters By doing this, COM translation and rotation is the following components. with the appropriate COM trajectory, they will broken down into x, y, and z components, which move much more realistically. can be used as a visual aid for reference. 1) ð (angular position calculated by accelera- To do this, you have to know the physics The components will be described on the x, y tion) behind the movement being performed, and plane (we’ll ignore depth) as x = horizontal and y 2) X component (Horizontal translation of the how physics relates to the center of mass. An = vertical. COM) obvious example is gravity. Every object on Earth 3) Y component (Vertical translation of the COM) is affected by gravity. To understand how gravity FREE FALL: GRAVITY AND ACCELERATION affects the COM, physics calculations can be very » Characters in 3D software don’t have weight. First I will calculate ð. This is the differential useful. When I work with animators, I use Excel To make something look like it has weight, you’ll equation that determines acceleration.

28 GAME DEVELOPER | JANUARY 2010

1001gd_animation_vIjf.indd 28 12/18/09 9:30:24 AM FIGURE 2 Physics when a body falls.

y coordinates are shown in column G (red border) EXAMINING COM TRAJECTORY USING THE and H (blue border). COM TRAJECTORY TOOL The graph on the top right in Figure 3 shows » The result of the simulation in Excel tells you the x, y coordinates. This could be used as a how the COM moves, and you can animate your ---- acceleration reference to determine the COM trajectory in 3D character’s COM to match the result. When you space. The bottom one shows ð. This could be the do this, you should use the root bone to move g = 9.8 (gravitational acceleration) rotation curve for the root bone. the character, not the COM itself because the COM l = the length of the pendulum Note that I used a simple rectangle rule is not an object that you should manipulate, but ð = angle [radian] numerical integration in excel to calculate the rather an animation guide. ð. When you calculate a numerical integration Some animators that I’ve worked with were The first integral of motion found by in this way, the calculation is most accurate confused because they believed that "root equals integrating the formula above is: when the time interval is small. See Figure 4 for COM." But that’s not quite right, because the COM the comparison between the results with two is the center of gravity, and it moves around interval steps. depending on posture. The difference between In Figure 4, the left side of the table shows COM trajectory and root trajectory is obvious when the interval step is 0.01—the right side when the body is rotating. See Figure 6. ----- velocity shows the interval at 0.0333. When you compare In this figure, a boy is doing a back flip. As the time it takes to reach 90 degrees (falling flat you can see, the trajectory of the root bone is ð0= Initial angle to start to the ground), the time(t) using the interval of completely different from the COM trajectory. 0.01 is 1.320 sec, which is about 0.08 sec faster Without knowing this fact, if you animate the root Integrating velocity will return the angle (ð). than the time(t) using the interval of 0.0333. to match up with the COM, your movement would The result of the simulation is shown in Figure 3. Thus, if you do the simulation with smaller steps, be incorrect. Once I get the angle ð, the x and y you can get a more accurate result. To help with this, I created a COM trajectory components can be calculated from trigonometric If you perform the same calculation in a tool to calculate the coordinates of the COM of functions, as below. This is also calculated for 3D package, when it’s 30fps you would get the animated characters, which shows the difference each time unit in Figure 3 as well. same result as the right table, which is not as between the trajectories. You can also use this accurate as the one on the left. If you need to tool to evaluate whether the COM trajectory of the obtain more accurate values, it’s ideal to set up character animation is moving naturally. “sub-steps” between each frame to calculate a more precise integration. COM TRAJECTORY TOOL SPEC The same simulation can be done using max » When a character is animated, the posture When length = 0.6, if the fall starts from an script (see Figure 5). The comparison between changes from frame to frame which also causes initial angle of 5 degrees, the angle changes three different pendulum lengths shows that the the COM to move constantly. To calculate the over time as seen in column C of Figure 3 (green falling speed (velocity) is inversely proportional COM trajectory, we calculate the mass of the border). The value is in radian not degrees. The x, to the length(l). character's mesh frame by frame. CONTINUED ON PAGE 30

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1001gd_animation_vIjf.indd 29 12/18/09 9:30:28 AM CONTINUED FROM PAGE 29 In reality, the human body is structured with a lot of different components like fat, bones, and muscles, and each component has different density (fat is lower, bone is higher). Also, the composition of bodies will vary between individuals. For our math, we are assuming that the typical human body is roughly the same average density as water (1g/cm3). In this way we can consider an object’s weight (mass) to be equal to its volume. After calculating that the object’s volume ( = mass), the COM of the object can be calculated with several formulas. I will explain the concept using a simpler shape; an octahedron. See Figure 7. To calculate the octahedron’s mass, I am going to divide it into eight tetrahedrons for easy calculation. To do that, I placed an arbitrary point (P) inside the octahedron so that it will form eight tetrahedrons between each face and the arbitrary point. The sum of mass of the tetrahedrons will indicate the mass of the octahedron. The mass of each tetrahedron (Mn) can be calculated using the coordinates of three vertices and an arbitrary point. Note that in order to get the vertex coordinates that shape the triangle, the order of the vertex has to match with its vertex index so that it can calculate the volume properly. After the vertices’ coordinates are determined, the tetrahedron volume can be FIGURE 3 Numerical integration of the inverted pendulum. calculated with the following formula:

The volume of the octahedron (M) is the sum of the tetrahedrons’ volumes. Next, the center of mass (Cn) of each tetrahedron can be calculated with the following formula:

After Cn is calculated, multiply Cn with Mn for each tetrahedron. Add those values together, then divide it by the weight of the octahedron (M). This will return the COM of the octahedron (as in the formula below). This can be extrapolated for more complex objects, like character models.

To get the COM trajectory, this process should be repeated through the length of the animation. For our company, we have a tool that FIGURE 4 Comparison of the integral using different intervals. draws a spline to form the COM trajectory. We use this tool to evaluate whether the flow of the The hip toss is a move that’s difficult to like one object, so they form a compound object COM is translating properly. animate, because two bodies are falling together. (attacker + defender). The COM of the compound This script could be used to examine paired The red line is the COM trajectory of the attacker, object can also be calculated by using the last animations as well. See Figure 8, which depicts a and the blue line represents the trajectory of the formula above. The green line you see in the hip toss. defender. The two bodies are moving together figure is the compound COM trajectory.

30 GAME DEVELOPER | JANUARY 2010

1001gd_animation_vIjf.indd 30 12/18/09 9:30:36 AM In the evaluation process, this tool can be used to create a tangible reference so that animators can adjust their animations. FIGURE 5 Comparison between three different lengths of pendulum falls. COM TRAJECTORY TOOL USE » To give an example of how you might apply this tool—one of our animators had created an animation where the character was performing somersaults as he was falling, almost like an Olympic competitive diver. The animation looked off but the animator didn’t understand why. The problem was that he had animated the root as if it were the center of rotation. But the COM position when the human body is in this pose would be closer to the front of abdomen outside of the body. In this case the body should be rotating around the COM, not the root bone, which would cause movement to look wobbly and unrealistic. Figure 9 shows this scenario. Here, the red lines represent the character’s root bone trajectory, and the blue lines represent COM trajectory. By using the tool, you can see the COM moving from side to side in the right picture, which is physically unrealistic. The image on the left shows how gravity pulls the COM straight down while the root is rotating around it. In a wire action movie, a wire is connected to the stunt person's hip to help him or her perform movements in the air. Because of that, the center of rotation is fixed to the hip position. In that case, the motion would look like the picture on the right in Figure 9, so the rotation “wobbles,” and does not smoothly translate. This can happen if you try to simulate

FIGURE 6 Comparison between COM trajectory and root bone.

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1001gd_animation_vIjf.indd 31 12/18/09 9:30:42 AM FIGURE 9 Comparison animations with different centers of rotation.

certain actions using motion capture with a wire as well. When you animate a character, always remember the COM is not equal to the root bone.

MASS APPEAL » The COM in 3D is not something you can manipulate, so it’s important to understand how the COM flow determines character movements. Keep in mind that the human body is not a simple solid object, and is a compound structure with many joints and muscles. Because of this, human FIGURE 7 Calculating the mass of an octahedron. movement is complex and may not be something you can simulate precisely. But if you use a simplified physics model (like the inverted pendulum) it will give you a good base to start with. Animators can use this base and modify it accordingly. I hope the info I provided can give some of you a new perspective on how to create and analyze character animations.

The images in this article are also available online at www.kungfufactory.com/com

EIKO OBA has been the animation supervisor at Kung Fu Factory for the past seven years. Her most recent credits include UFC UNDISPUTED 2009. Email her at [email protected].

FIGURE 8 The COM trajectory for paired animation.

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JANUARY 2010 | GAME DEVELOPER 33 TOOLBOX

UNITY TECHNOLOGIES' UNITY 2.6 REVIEW BY CHRIS DELEON

THERE ARE CRITICAL ELEMENTS OF nearly every 3D game engine that most programmers would rather not have to reinvent for each new title: the level editor, scripting language, asset importation, rendering pipeline, and physics are all high on this list. Although engines exist to solve these problems, the free options are either incomplete, unstable, or a hassle to use, while the commercial options come with hefty price tags and strict limits on terms of distribution. Unity offers a cure to the mad- ness. After the important changes made in the past couple of releas- es—among them full support for PC development and several perfor- mance-boosting features—the few concerns that used to scare away some developers who were new to Unity have thankfully been resolved.

EASIER BETTER FASTER Even more impressive than instantly within the editor, at any download or CD distribution, ready to » I first heard about Unity when I what Unity makes possible, is the time. Designers can even tweak run full screen on Mac or PC. At this tried to install the indie game RAPTOR developer tool set that makes it variables within the editor while point there are even license options SAFARI by Flashbang Studios. The possible. Unity is a full-featured the game is running. The ability to and development support for both web site asked whether I wanted development environment, created instantly test gameplay streamlines iPhone and Wii development. the Unity plug-in, and a moment to improve the efficiency of every programmer iterations by trivially later, I was shocked to see a game member on a team. It seamlessly verifying any feature in any scenario LEARNING CURVE taking place in sprawling 3D, ties together asset integration, level between changes. Artists can » Learning Unity turned out to using intensive physics, in my design, and gameplay programming. import native formats directly into be much easier and faster than I web browser. This wasn’t the web Those on the business end will be Unity—from Photoshop, Maya, Max, expected. There are a ton of well- game experience that I had come pleased to know that the standard and Blender—which automatically written and fully illustrated tutorials for Unity, and sites like the unofficial learnmesilly.com proved quite helpful. Even though Unity’s scripting engine is extremely powerful, As with any high-powered any game engine that utilizes scripting for core game play software tool, even though there risks additional overhead that can impair performance if are hundreds of menu options and keyboard shortcuts, at the core developers are careless with the algorithms used. there are a handful of actions that happen dozens of times a minute, to expect from my years of Flash edition of Unity is available for free, update when edited. Even the player making up a majority of the input. development. This was the sort while the Unity Pro version with gets a good deal, since in addition For basic navigation and object of project that I used to consider, additional rendering features is very to exporting a format for hassle-free placement, the mouse works in with suitable caution regarding reasonably priced. web play using the free Unity plug-in, tandem with Q (pan view), W (move complexity, while I still worked At the heart of Unity’s design the development environment can selection), E (rotate selection), primarily on downloadable games. process is the ability to play export a standalone executable for and R (scale selection). Alt+Mouse

34 GAME DEVELOPER | JANUARY 2010

1001gd_toolbox_unity_vIbs.indd 34 12/17/09 9:23:06 PM rotates the camera. Command+P Different levels within the by mouse in the display views, only toggles between in-editor play and same Unity project are created Unity Technologies in the hierarchy, and while selected, editing. Command+Del deletes the as different scenes. This includes UNITY 2.6 no other objects can be selected by current selection, to avoid the chance menus, which are simply different a mouse click in the display views. ¤ STATS of accidental deletion. The F key scenes composed mostly of GUI 795 Folsom St. Suite 1059 Once you get the hang of it be sure instantly focuses all views on the components. San Francisco, CA 94107 to check out the free collection of currently selected object. Naming GameObjects in the http://unity3d.com terrain assets that are available for My favorite command though is hierarchy is critical to staying download from the Unity web site. Command+Shift, which makes any organized. Objects can be grouped ¤ PRICE shortcut less than two keystrokes by making multiple GameObjects Unity: FREE NEW TO 2.6 Unity Pro: $1499 away. When I was starting out I liked the children of a common empty » Even though Unity’s scripting this method because I didn’t yet know GameObject parent. Objects are made ¤ SYSTEM REQUIREMENTS engine is extremely powerful, any where to find certain things in the children of one another by dragging Windows XP SP2 or later; Mac OS X game engine that utilizes scripting menus, and as I’ve gained practice the name of the child-to-be onto the “Tiger” 10.4 or later, Graphics card for core gameplay risks additional I’ve found that it’s often faster than parent-to-be in the Hierarchy display. with 64 MB of RAM and 4 texture overhead that can impair perfor- navigating menus by mouse. Unity centralizes design units. mance if developers are careless For programmers, the best decisions—maximizing reusability with the algorithms used. One of the ¤ PROS news is that Unity scripting is and ease of maintenance—through 1 The indie version of Unity is latest features, new to version 2.6, done in either C# or JavaScript, prefabs. There is an important available for free—you can start addresses this worry with a real- two very common object-oriented distinction between objects that are using it today! time performance profiler, enabling programming languages. The editor instances of Prefabs (archetypes, 2 Editing while the game runs inside developers to diagnose which inherently favors the component classes, shared properties) and the editor offers an unprecedented scripted processes are the most level of control over tweaking and approach to programming which instances that are broken from experimentation. important to target for optimization. maximizes reusability. Every prefabs. Proper use of this feature 3 Unity’s natural integration with There’s a new animation editor public variable declared in script can save a great deal of time and outside tools—from native that enables any property to be is exposed via the inspector for work by eliminating the need to support for many audio/image tweaked over time. This makes new designers to tweak, tune, or hook up copy and paste, or to manually formats to the newly improved kinds of lighting tricks, obstacles, as they see fit. The documentation propagate changes to multiple tie-in to nearly any version control and effects possible without need- system—means that you can for the API is also extremely instances of the same object. focus on learning Unity, instead ing to leave the editor environment. thorough. Did I mention that there’s Drag and drop is widely of relearning aspects of game The improved animation system also no need to rewrite 3D rendering, supported in the interface, to a creation that you already know. makes it possible to initiate scripts physics, file format importation, much greater extent than I’m used from particular frames of animation. a level editor, or your own script to, and this took some practice to ¤ CONS That feature makes it possible, for parsing for the thousandth time? become acquainted with. If there’s 1 Requires web plug-in for online example, to guarantee that the dam- audience. This enables every programmer to a GameObject variable exposed for 2 As with any packaged engine age or particle effect for an attack be a gameplay programmer—which a script, the name of a GameObject and tool set, the ease of use and begins during precisely the frame if you ask me, is the fun part. can be dragged directly onto that power inevitably comes at some of animation intended, rather than slot from the other menus. Applying compromise to the possibility when the animation starts or after a HIGHLIGHTS a Skybox from the provided assets for highest performance or separately tracked timer. There are a number of key customization with ambitious Unity’s terrain engine for 2.6 » was as easy as dragging the name projects. concepts central to using Unity. of that material onto the spot for 3 Unity is not the sort of environment now supports streaming. This Understanding these concepts is Skybox Material under Edit Render that can be easily learned through enables a larger area to be created essential to getting the most out of Settings. Assigning a GUIText object experimentation alone. Because and populated without the burden the tool, so I’ll offer a few points here to a script to display ammo count Unity’s interfaces are designed to such an area places on download to hopefully spare you the time that is as simple as dragging the GUIText optimize development efficiency time, memory, and processing time. for experienced users, first time I invested into wrapping my head object’s name from the hierarchy users will need to watch tutorial Although there have been a number around them. onto the slot exposed in the videos and read through forums to of performance enhancements Everything in a Unity scene is inspector for that script. take full advantage of its power. made to the latest version of Unity, a GameObject with components Variables changed during test the gains from this change are likely attached. Lights, cameras, players, play will reset to their original the most dramatic. planes, and models are all the values once testing stops. There’s The terrain editor in Unity, while Version control integration same sort of neutral object (a an option in Unity’s settings to useful, creates new terrain that has also been improved for Unity “GameObject”), with the only tint the entire interface while is enormous beyond practicality. 2.6. Unity now plays nicely with difference being that they have temporary changes are being made. Immediately after importing it, Subversion, Perforce, Bazaar, and different components added I recommend changing the default I’d suggest scaling it to a small other version control solutions. for light, camera, input, or other gray to a tint of blue, green, or fraction of its default size. Terrain Whether you’re integrating behaviors. Creating any of those red—this will look a bit unsightly, also has a strange relationship to assets from others on the team objects is the same as creating an but can save time by preventing the mouse selection which is helpful or working alone while keeping empty GameObject and then adding loss of edits made while the game is in practice, though confusing while careful backups, Unity is now better the related component. running quietly in the background. learning: Terrain cannot be selected prepared than ever to work with

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you and your team to protect and manage your assets during development. product news Although 2.6 represents an incremental move forward, further polishing Unity’s interface and features, WWISE 2009.3 RELEASED middleware in commercial proj- prototyping, Unreal Matinee for the previous jump to Unity 2.5 was a major shift on AUDIOKINETIC ects, with the debut of the Intel- building in-game cinematics, and many important fronts. Naturally all improvements from www.audiokinetic.com owned company’s Independent Unreal Cascade, a particle physics the previous version are at the heart of 2.6—if the last Developer Program, an annual and environmental effects editor build you used predated 2.5, some of the key features Audiokinetic released the lat- licensing arrangement. that aids the creation of fire, fog, you’ll appreciate include the PC/Windows editor, est version of Wwise, its audio Rather than licensing each explosions, and other visuals. improved object manipulation, and 3ds Max file support. pipeline solution. Wwise 2009.3 middleware component on a The UDK also includes a introduces new features and per-case basis, the Independent NVIDIA PhysX-powered physics PLUG-IN WOES enhancements, including access Developer Program is an annual system, Unreal Lightmass, a » There is one downside to Unity. While the company to McDSP plug-ins. Audiokinetic licensing arrangement that global illumination system, as well claims an install base of 16.5 million, players may not also unveiled a new pricing confers access to all of Havok’s as AnimSet Viewer and AnimTree always have the web player plug-in installed. From structure that will allow custom- middleware products including Editor, which give animators a combination of security fears, discomfort with the ers to save up to 20 percent on Havok Animation, Havok AI, Havok control over muscle and bone unknown, and laziness, people can be reluctant to purchases with the company’s Behavior, Havok Cloth, Havok movement. Unreal Engine 3 also install plug-ins that didn’t come with their computer. product families. Destruction, and Havok Physics. features technology integrations Fortunately, exporting a downloadable standalone player Wwise 2009.3 has a number The suite supports multiplatform with middleware tools including for PC or Mac removes the plug-in problem in exchange of new features and enhance- development. SpeedTree, Bink Video, and FaceFX. for the traditional distribution methods of download or ments including support for McDSP Since last year, indie PC devel- Support for UDK includes CD. Although I’d prefer if we all went a bit out of our way effects ML1 and FutzBox, peak opers have been able to freely over 200 pages of newly to educate consumers about the benefits, safety, and meters on limiter effects, major download the Havok Physics and unlocked documentation at the simplicity of installing the Unity plug-in. memory optimizations for Vorbis, Animation from Intel’s web site. Unreal Developer Network (http:// a new and improved file packager, That offer remains intact. udn.epicgames.com), dedicated A SMART INVESTMENT and profiler data statistics. forums (www.udk.com/forums), » Although learning Unity isn’t instantaneous, and the UNREAL DEVELOPMENT KIT as well as other resources avail- environment isn’t entirely self-explanatory, it is possible FREE EDUCATIONAL NOW AVAILABLE FOR FREE able through the UDK web site. to become proficient with the engine in a relatively short LICENSE FOR CRYENGINE 3 EPIC GAMES 3D Buzz also hosts hundreds period of time. Compared to the amount of time required CRYTEK www.udk.com of free video tutorials for using to get momentum versus what you can become capable www.mycryengine.com Unreal Engine 3 technology at of when using it, the payoff is remarkable. Epic Games announced the launch www.3dbuzz.com. I recently attended TIGJam 2009 in Arizona. Perhaps Crytek announced that of the Unreal Development Kit half of the indie developers present—many of whom CryENGINE 3 is now available (UDK), a free edition of Unreal SHIVA EDITOR 1.8 weren’t programmers by trade—were using Unity to pull to educational institutions free Engine 3 that provides community STONETRIP together innovative 3D game demos over the weekend. of charge. For courses and access to the 3D game engine www.stonetrip.com In many cases I saw artists and designers working on research projects in game devel- technology. There is no charge for video game projects that even dedicated programmers opment, 3D graphics, simula- noncommercial or educational use Stonetrip, the designer of cross- would find challenging. tion, architecture, animation, of UDK and Epic Games will release platform 3D game development If I’m sounding a bit evangelical, please note that film, and design, CryENGINE 3 ongoing, upgraded builds of UDK tools for Web, PC, Mac and iPhone, I’m just another indie developer. This is my cry for offers a development platform for free. Commercial terms have has announced that version help. I’m eager to see us all start changing the idea with scalable computation, been structured so that indepen- 1.8 of its ShiVa Editor is now that Internet video games are limited to "match- graphics, AI, and physics for dent developers, start-up firms available. ShiVa Editor allows three" clones, Checkers, and low-fi retro/nostalgia Xbox 360, PlayStation 3, and and seasoned professionals can developers to publish games and appeals. Since RAPTOR SAFARI, I’ve seen very few other DX9/DX10. It provides the com- use UDK with minimal financial applications with no limitations groundbreaking projects online utilizing Unity, likely plete game engine to create next barrier from concept to deploy- and no compulsory content due to misconceptions about its platform support (now generation games, and includes ment. Unlike mods, games created (e.g. splash screens). The ShiVa available for both PC and Mac), price (the indie version the redesigned CryENGINE 3 with UDK provide a standalone editor comes with a free engine is free), or time required to learn (easy for programmers Sandbox level editor, a “What experience, with no additional SDK for Windows, Mac, Linux and that already know either C# or JavaScript, and easy for you see is what you play” software requirements. iPhone plus an integrated server designers and artists that have used other level editing (WYSIWYP) tool designed by and The UDK offers immediate included within the player to cre- environments). I hope that I’ve succeeded in clearing up for professional developers. access to Unreal Engine 3 along ate multiplayer games without these impressions, and provided the clarity needed to with a suite of Unreal Editor tools. the need for an external server. encourage you to give Unity 2.6 a shot. HAVOK INDEPENDENT These include Unreal Content ShiVa 1.8 features depth DEVELOPER PROGRAM Browser for browsing, searching of field, velocity blur, cascaded CHRIS DELEON is a video game developer working primarily with ANNOUNCED and organizing game assets with shadow maps algorithm, infinite iPhone and online video games. He is the writer and instructor HAVOK a collaborative metadata tagging ocean simulation with advanced behind the free lessons in video game development available at www.havok.com system, the UnrealScript object- shading system, dynamic tex- www.gamedevlessons.com, and his experimental gameplay work is oriented programming language, tures, video streaming, as well available at www.interactionartist.com. His most recent work is ALICE Independent developers now and Unreal Kismet, a visual script- as Voice-Over-IP, DWF import and IN BOMBERLAND, available now for iPhone and iPod Touch. have a new way to use Havok ing system that enables rapid performance improvements.

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1001gd_toolbox_unity_vIbs.indd 36 12/17/09 9:23:10 PM Learn. Network. Inspire.

Game Developers Conference® Canada May 6–7, 2010 Vancouver Convention Centre | Vancouver, BC Visit www.GDC-Canada.com for more information THE INNER PRODUCT // JAKE CANNELL

BRICK BY BRICK VOXEL TRACING METHODS ON CURRENT AND UPCOMING GPUS

An example of voxel raytracing from AMD's 2008 Cinema 2.0 presentation.

VOXEL REPRESENTATIONS ARE UBIQUITOUS IN HIGH to volume), so a near lossless representation will is certainly a viable technique, but it is not very end film rendering and scientific visualization, but require roughly equivalent numbers of polygons or interesting. The key challenge of high quality are traditionally far too demanding in computation voxels. On the extreme end of this continuum we rendering is illumination, and tracing is a simple and storage costs to be used in games. This is set have fully volumetric phenomena such as clouds, yet powerful framework for complex illumination to change. In this article, I will outline the case for smoke, fire, etc., for which voxels are a natural effects. Even if primary ray generation were free, an upcoming transition from polygon rasterization fit. So once voxel methods become performant, secondary rays grossly outnumber primary rays to voxel tracing as the dominant rendering they have the considerable advantage of a single as we move toward high quality illumination. paradigm as we move to complex scenes on future unified representation. We can see an analogy There are numerous spatial acceleration hardware, and some approaches to practical voxel within the history of 2D graphics, where at one structures that ray tracers can use: octrees, axis tracing on current graphics processors with an eye point image-based graphics were too expensive aligned bounding box (AABB) trees, and bounding toward complete voxel engines for upcoming next and vector graphics dominated. Voxel graphics are volume hierarchies (BVH), to name a few. Any generation platforms. the extension of image techniques into full 3D, and tree structure that normally stores triangles in Polygon representations are very efficient for will eventually have all the equivalent advantages. its nodes can just as easily store voxels. For GPU modelling smooth surfaces, but scale poorly with The final consideration is that modern GPUs are implementation simplicity and regularity are very high scene complexity and fractal dimension. no longer advancing in polygon throughput, even desirable, so I have focused on variants of regular Level of Detail techniques are required to scale while their general FLOPs and bandwidth grow trees, or M-trees, which are just trees of uniform to highly complex scenes, and this is equally exponentially. Current high end cards would choke sized nodes with branching dimension M. With true of both polygon and voxel representations. on scenes with hundreds of millions of triangles, M=2, we have our familiar octree. Higher M counts In the limit case, where we desire a near lossless but can easily trace a voxelized version of the provide a memory versus query cost tradeoff, representation of a massive scene, complex same scene in real time today. allowing shallower trees that can be traversed geometry consisting of numerous surfaces must faster, at the expense of less memory efficiency. ultimately be simplified down to a single triangle, VOXEL TRACING APPROACHES Voxels are then stored in each node, which can be which is considerably more complex than a single » Voxels are just a data representation, and like aggregated into regular "bricks" of BxBxB voxels voxel. Vegetation is the typical difficult case, as it triangles are amenable to rasterization or tracing. to further reduce the tree depth. This M-tree of has a high fractal dimension (ratio of surface area Voxel rasterization through splatting or projection B^3 bricks structure is common in research

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1001gd_inner_product_vIbs.indd 38 12/17/09 9:20:10 PM literature—for the most recent treatment see Cyril of instructions, so replacing this with a single native texture fetch is a huge gain. Furthermore, Crassin’s GigaVoxels project (in Resources, pg. 40) which smooth linear filtering naturally permits direct alpha accumulation, allowing the approximate describes a similar architecture in detail. tracing of entire cones instead of rays. Jon Olick has developed another variant within The exact intersection of a cone with a voxel is complex, but a cone can be reasonably the general octree voxel scheme which is described in approximated by a series of spheres, which in turn can be reasonably approximated by a his SIGGRAPH 2008 presentation: "current and next- series of box filters—which themselves are just single 3D linear texture filters. This successive generation parallelism in games." Olick’s system is not approximation is not nearly as bad as it may first sound for two reasons: Firstly the cones are brick-based, which makes some very different tradeoffs typically quite narrow, and secondly, boxish frustums are just about as reasonable a choice as versus the brick- based schemes such as GigaVoxels or cones for modelling the flow of light projecting onto a pixel. my own (which I will describe in the following pages). Tracing cones can be far more efficient than tracing rays. Rays are discrete approximations, and Storing a single voxel per node can actually be more net tracing them requires the accumulation of dozens of rays to converge correctly and reduce aliasing. memory efficient with compression and it permits fast Effects such as soft shadows, anti-aliasing, anisotropic filtering, depth of field, proper blurry specialized traversal techniques, but it has a significant reflections, and even ambient occlusion can be done with just a single cone trace or a small number, disadvantage when filtering is considered, as we will and global illumination effects can be done with dramatically fewer cones than rays. Adaptive discuss. Olick also uses a more complex irregular octree, subdivision in screen or ray space can reduce the required rays for some effects, but the advantage which can be offline optimized to better fit the data, at the is dependent on the scene complexity, and can break down for complex scenes (jungles, grass, and expense of more complex traversal and dynamic updates. so forth). Overall, cones are vastly more efficient, and are not significantly slower to trace for the In my own research, I have independently taken a route octree brick schemes we are discussing—so we essentially get all these otherwise difficult effects more similar to the GigaVoxels approach, influenced by for free. the same preceding research in regular M-tree voxel brick systems. TRAVERSAL STRATEGY » Efficient GPU ray traversal algorithms have been developed for polygon ray tracers, and we can DATA STRUCTURES use any of these as a starting point. The main difference is in the inner leaf node intersection: instead » There are numerous ways to implement a regular of intersecting with a list of triangles, we intersect with a brick of voxels, which just involves stepping M-tree B-brick voxel data structure. I use a structure through the brick and accumulating the voxel samples—simpler and faster than intersecting rays that explicitly distinguishes between inter nodes (which with triangles. Timo Alia et al published an excellent comparison of various traversal methods on have MxMxM child pointers), and leaf nodes (which do modern (nvidia) GPUs: "Understanding the Efficiency of Ray Traversal on GPUs" (see Resources). not)—primarily to save memory. All nodes are associated They compare triangle ray tracers using a Bounding Volume Hierarchy (BVH) representation, but their with a BxBxB brick of voxels to permit mip mapping. I results are still relevant for any ray traversal methods. Ray traversal could be implemented in DirectX mainly take a structure of arrays approach with common Compute Shaders or OpenCL and is generalizable to current AMD GPUs, but my implementation indices. The memory-dominant structure is the array of and all the others discussed here are implemented in Nvidia’s CUDA, and some of the performance voxel bricks, followed by the array of child pointer bricks, considerations may be somewhat platform specific. For brevity’s sake, I am going to assume some but I also use an array of parent pointers and an array of familiarity with the CUDA architecture—the latest documentation can be found on Nvidia’s site. compressed accessory node data (position, depth, score, There are two main performance issues with ray traversal on a GPU: stack structures and and some flags), amounting to some 30 percent excess divergent branching. Straightforward ray traversal requires a stack data structure per ray, over the voxel brick data. In addition, even though M is which is difficult on a GPU due to the very limited (or nonexistent) fast local memory. There usually 4, I always store an extra array of the 2x2x2 direct are a couple of options with Nvidia’s CUDA architecture: shared memory (on-chip), or global child pointers for each node, as this basic octree structure (off-chip) memory (there is also local, but its the same as global for our intents). Alia et al is easier to manipulate during updates. The wider child get surprisingly good performance by storing the stack in global memory, even though this pointer array can easily be generated from the base requires constantly writing and reading to off-chip memory (they are not memory bound). octree. The pointers are all 32-bit indices, but as there are My octree voxel tracing method avoids the need for a stack, as does the GigaVoxels technique, at most a few million nodes some of those bits are used instead using a stackless restart method, as we will see. The other performance pitfall is to store additional flags. Reasonable values of M and B are thread divergence, which is the real killer. Both sides of a divergent branch must be evaluated, 4 and 8, which means a voxel brick stores 512 voxels and which can be quite wasteful due to the SIMD width (effectively 16-wide for GT200 CUDA warps). a pointer brick stores 64 pointers. This scheme allows a There are numerous variations, but the stackless while-while traversal used in GigaVoxels can fast descent through the structure and doesn’t use too be efficient for M-tree brick structures: much extra memory. Specifically, the wasted memory is directly proportional to the B value, as larger bricks while-while restart trace() tend to waste more on padding voxels that map to empty while ray not terminated space or interiors. Crassin et al’s GigaVoxels system takes set current node to root node a different storage approach with nodes storing either an while current node depth is less than target LOD depth indirect pointer to a voxel brick or a constant color value traverse down to the next node for the whole node. Refer to their papers for more details. while ray is within node’s voxel brick sample current voxel within brick and accumulate FILTERING AND CONE TRACING » The most significant advantage of storing a brick of BxBxB voxels per node is that it permits fast high The restart traversal method avoids the need for a stack and any extra logic to walk across quality filtering of voxels using the GPU’s native texture neighbor nodes. It does redundantly traverse from the root down to the relevant leaves over and filtering hardware. Manually performing a 3D linear filter over, which is wasteful, but large bricks and a shallow tree can compensate for this. For example, would require eight memory fetches and many dozens with M=4 and B=16, it will take less than ten steps to jump down to a leaf node, and this time is

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amortized over about a dozen voxel samples. Of course, such large voxel bricks waste memory as fast as rasterizing a typical game’s scene on the same and increase the cost of streaming and dynamic data generation. For small voxel bricks, a neigh- hardware, but we are talking about orders of magnitude bor-hopping traversal strategy may be better: more geometric complexity than typical game scenes, so it's far faster than rasterization in that sense—and could if-while stack trace() be significantly faster with more optimizations. These set current node to root node results are comparable to GigaVoxel's published results while ray not terminated (30–90 fps on a variety of scenes for a 512x512 window), if current node depth is less than target LOD depth and Jon Olick’s 2008 SIGGRAPH demo (30–60 fps at traverse down to the next node 720p for a scene with a single complex model) on similar while ray is within node’s voxel brick hardware. For comparison, these timings represent sample current voxel within brick and accumulate throughput rates ranging from 50–200 million rays/sec. traverse to next neighbor node For comparison, the highly optimized BVH triangle tracer of Alia et al achieves around 70–140 million rays/second on a GTX 285, which is about twice as fast as a 8800 GT, This neighbor hopping traversal requires some extra memory and logic, but reduces the time so voxel cone tracing can be faster than triangle tracing— spent drilling down from the root to the relevant leaf node. However, we should consider the on top of the previously mentioned huge benefits of relevant cost of some of these pseudocode operations. Traversing down a child node is extremely tracing cones over rays. simple in a regular octree, and can be done in just a handful of vector instructions. Stepping and sampling within a brick is likewise very simple and fast. Traversing to a neighbor node is more CONCLUSION complicated, but can be accelerated with a lookup table. » Octree voxel tracing is already possible at reasonably As an alternative to neighbor-hopping, further optimizations to the restart scheme high performance on video cards just one generation are possible by reducing the steps to jump from the root to a leaf, leading to a very simple above the current consoles, so we can expect divergence-free stepping: adequate performance to ray trace at considerably higher resolutions and or to trace significant dynamic secondary rays on the next generation consoles and branchless stackless restart trace() upcoming high end GPUs. Memory cost can be a limiting while ray not terminated factor and compression, active memory management, set current node to root node and streaming are all important for a complete system, warp from root node to target LOD leaf node which are beyond the scope of this article (but are sample current voxel within brick and accumulate tackled in detail in some of the referenced papers). Voxel tracing can be combined with deferred shading strategies, or shading and secondary ray generation can Obviously I’m obfuscating a bunch of details in "warp from root node to target LOD leaf node," even be integrated into uber-kernels, as in Nvidia’s OptiX but this can be done with a small deterministic number of steps in a shallow tree with a known triangle ray tracing architecture. A particular challenge not maximum height. This last scheme can be faster with small bricks and is less sensitive to divergent addressed here is the issue of dynamic updates, which ray issues, at the cost of more stepping logic per voxel sample on average. is a whole area of further research in this exciting realm of graphics. I’ve covered the basics of voxel octree data PERFORMANCE AND TWO LARGE OPTIMIZATIONS structure and traversal strategies, which are the core nuts » A typical shader strategy is to allocate a thread per pixel, and thus a thread per ray. In CUDA, and bolts of a ray (or cone) tracer, but that is just the tip these are then batched up into user-sized blocks, which are dispatched to the GPU’s cores (which of the iceberg. I expect that voxel tracing engines will give Nvidia calls multiprocessors). A straightforward equal allocation of image tiles to blocks works polygon rasterizers a run for their money in the years well for homogeneous tasks, such as shading, but performs poorly for heterogeneous tasks such ahead, and eventually take over for most rendering tasks as ray tracing where thread execution times vary widely. Aila et al propose a simple, effective because of their power, scalability and generality. solution: persistent threads. Instead of allocating enough thread blocks to tile the entire image, allocate about one thread block per multiprocessor, and implement dynamic work stealing using JAKE CANNELL most recently worked as a graphics programmer at atomic operations. This way no multiprocessors get starved. They found this almost doubles Pandemic Studios, and has been creating graphics engines and demos performance on average, and I found this to be just as true for the octree traversal methods. at work and home for about ten years. He maintains a blog to speculate The cone tracing strategy outlined above permits another large performance gain through simple on such matters at www.EnterTheSingularity.com. hierarchical tracing. With hierarchical tracing, the image is created in a pyramidal coarse-to-fine fashion, starting with a low resolution version, say 64x64. The image is traced until rays accumulate an alpha value above some epsilon threshold (i.e., encounter anything), after which they terminate resources early and output depth. When the next level in the pyramid is traced, rays can start at the depth Cyril Crassin’s GigaVoxels: http://artis.imag.fr/ output from the previous level instead of starting at the camera, vastly reducing the distance to trace Publications/2009/CNLSE09/ for the finer levels of the pyramid. This is fairly straightforward to implement in a cone tracing system using linear filtering, and it is possible but considerably more difficult for discrete ray tracers. Jon Olick’s SIGGRAPH presentation on voxel With these optimizations, I found that ray traversal of a 720p test scene with several hundred octrees: http://s08.idav.ucdavis.edu/olick-current- million voxels on an 8800 GT can take anywhere from 5–16ms. This is without any dynamic and-next-generation-parallelism-in-games.pdf shading, just primary ray casting. Somewhat surprisingly, a prime source of variability is the Timo Alia et al: "Understanding the Efficiency of anistropy, because at high glancing angles rays spend far more time skimming leaf nodes and get Ray Traversal on GPUs" www.tml.tkk.fi/~timo/ less benefit from hierarchical tracing. Geometric complexity is not as much of an issue (as there publications/aila2009hpg_paper.pdf are always the same high number of voxels used to represent any scene). This is quite fast—not

40 GAME DEVELOPER | JANUARY 2010

1001gd_inner_product_vIbs.indd 40 12/18/09 9:54:00 AM THE LEADING PROFESSIONAL GAME SOURCE FOR JOB SEEKERS AND EMPLOYERS Access the Web’s Largest Game Industry Resumé Database and Job Board

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TILIN'? STYLIN'! THE LOST ART OF VIDEO GAME MASONRY

IN THE SHORT BUT EVENTFUL are complex models combining 3D history of game art, one of the geometry, textures, and gameplay oldest traditions is the craft of markup. Full 3D tiles are of course the tile. Environments built from much more expensive to create repeatable sets of tiles (or more than simple textures, but the same rarely, hexes and triangles) go basic design rules apply. back to the musty days of the Atari The essence of tiles is that 2600, Colecovision, and the other they can be connected in regular 8 bit dinosaurs. In the last decade, fashion. The usual metaphor with the triumph of 3D graphics, comes from board games like tiles have become less of an issue. Labyrinth or Carcassone, in which Texture artists have never lost you construct the game board by touch with the tradition, but most placing tiles with matching edges. FIGURE 1 Tiles from the Alhambra Palace in Granada, Spain. The Islamic prohibition on working artists today are more It’s important to recall, though, that figures of people and animals led to a flowering of abstract, mathematically grounded tile familiar with the ins and outs of our tiles don’t have to be squares: art in the Moorish kingdoms of Spain. Photo: Roberto Venturini. sculpting than the arcana of the Any collection of shapes that can tile trade. be connected regularly can be Nowadays, tiles are making a used as an environment-building comeback. The rise of handheld toolkit. Oldschool wargamers (and and casual games has made fans of HeroScape) know that tiling (a technique that evolved in hexes make great tiles. Equilateral hungrier days when memory was triangular tiles are also frequently at a steep premium) interesting used, as these shapes can be again. It’s not just DS games that repeated infinitely. There are in need tiles, though—even in the fact lots of shapes that could be AAA world, the popularity of open repeated infinitely as tiles (as world games has a lot of teams thousands of M.C. Escher prints looking for ways to fill big spaces on thousands of dorm room walls efficiently and cheaply without conclusively show). surrendering artistic control. As It’s rarely done in games, but authoring becomes more complex it’s also possible to create tile sets and expensive, anything that from more than one shape. In the wrings more use out of precious art traditional art world, though, it’s time is worth a second look. common to find mixed tilings—you Tile-based authoring combines probably have a mixture of octagon hand-crafted detail with the and diamond tiles in a bathroom. flexibility and efficiency of Games don’t typically need the procedural content. The simplicity intricate symmetries of the and immediacy of tiles also allows Alhambra (See Figure 1) but tile designers and programmers who sets combining different shapes can’t manage hardcore 3d apps can be a very powerful tool for to put together slick, professional controlling visual rhythms. Regular looking environments. So this tile sets are always vulnerable month, we’re going to revisit some to monotony. Mixed sets and of the lost secrets of the tile- unusual shapes like the Penrose makers’ art. tiles (see Figure 2) can be useful because they avoid the mechanical TILE IT UP! regularity of more common grid. Tiles are modular units that If tiles can be almost any shape » FIGURE 2 Penrose tiles consist of two shapes, which create patterns with a 5-fold can be combined to create or combination of shapes, how can symmetry—an interesting, if tricky to manage alternative to squares and hexagons. In environments. Oldschool 2D you hope to plan a decent tile set this case, two rhombus shapes make tiling with a star pattern at the center. The markings bitmaps are one example—but so for practical use? And what kind on the edges indicate matching sides.

42 GAME DEVELOPER | JANUARY 2010

1001gd_pixel_vIbs.indd 42 12/18/09 9:07:50 AM of rules could possibly apply to A useful trick when thinking such a varied problem set? Luckily, about these transition zones is to the basic rules for building an imagine the tiles as if they were environment out of tiles are pretty actually subdivided into triangles simple, and they apply equally to from a central point, as in Figure 3. everything from plain old bitmaps These triangles show the influence to complex 3D models, and from of the different edges. Moving that simple squares to Penrose darts. central shared point off center lets you emphasize the influence LIFE ON THE EDGE of some edges and maximize » The relationship between the influence of others, which is neighboring tiles is much more very helpful for disguising the important than the contents of underlying tile grid. each tile individual tile. When great The physical size of the tiles individual assets are juxtaposed matters too: Larger tiles downplay awkwardly or too predictably, their the transitions, because the individuality is undermined and the percentage of space you need to tiling becomes oppressive. If you devote to edge management goes want your environment to have any down and the amount of unique kind of flow, you need to think hard (and hopefully interesting!) content about how neighboring tiles relate. goes up accordingly. Unfortunately, At least you can take comfort larger tiles are more expensive to in the fact that edge matching create, which means you’ll probably works the same way for any have fewer of them to work with. shape tile. The rules for transitions Designers, in general, are happier between hexes, triangles, or even with a more flexible set of small tiles FIGURE 3 When the transition zone between tiles is very tight, the underlying grid of the mismatched shapes are the same they can play with—artists tend tiles is emphasized (top) Longer transitions disguise the pattern better (bottom). as for boring old squares. to love big, detailed tiles that are Varying the size and placement of the contents avoid stiffness and repetition. The first, and most jarring individual works of art. problem is how tiles match across is purely cosmetic and the entire tile rhythm that undermines the illusion edges. Often, tile design is really CORNER CASES is going to have a single set of game of variety. Strict regularity is deadly more like edge design. Since the » Edges are visually the most properties. Unfortunately, edge if you’re trying to create an organic edges have to match, they’re an important part of tile sets, but they transitions create a strong visual feel—an outdoor landscape, a inescapable visual element that don’t tell the whole story. Diagonal reminder of the underlying grid. wandering cavern, or a medieval has a strong influence on the final relationships are a sticky design If your tiles don’t have to double village. Even in a modern urban environment. They’re also the problem. Square and triangular tiles as spaces on a game board—if they setting it’s going to get pretty dull. key determinant for gameplay, will be next to neighbors across are merely modular building blocks Combating the stiffness of dictating player routes and lines of their corners as well as their edges for a 3D environment construction a tile-based system demands a sight. Edge matching also dictates (Hexes don’t have this problem to kit, for instance, it’s easier to use mixture of tactics. We’ve already whether tiles can be rotated when the same degree, because the other a scheme like that in Figure 5. By pointed out that it’s important not they’re placed. For these reasons, side of a hex transition is always a adding tiles which include both to lock the center of interest in your planning a tile set really starts with pair of edges rather than a new tile). terrain types, you avoid both the tiles rigidly to the physical center planning sets of edges. Corners are a nuisance. corner matching problem and the of the tile. Another key tactic is Since edges are so visually Unlike edges, they don’t dictate rigid alignment to the grid. By to vary the number and scale of intrusive, you need to carefully placement—which means you can’t adding a third tile type, you avoid key features (another trick every balance the relative importance of design the corner of one tile with the corner matching problem and texture artist knows by heart). If the tile’s unique content with the any knowledge of the tile diagonally you’re no longer stuck with those your tiles contain the buildings transition areas along the edges. opposite (see Figure 4). This leads pinched corners. Adding more of a medieval village, don’t make Large transition areas disguise to designs which emphasize the variants to the transition set makes each tile a single house: One might the exact shape of the tiles. artificial tile boundaries at the it much easier to disguise the be cluster of outbuildings, a small Unfortunately, they also tend to be expense of natural flow (as you can underlying structure of the tiles. shed up against the tile edge, a bland. Small transitions, on the other see in Figure 5). cottage with a grove of trees— hand, emphasize the “tile-ness” of the If you compare the tile set from OFF THE GRID anything but one more similarly tiles (see Figure 3). It's important to Figure 5 to that of Figure 4, you » We love tiles because they’re sized house every X feet! As vary the size of that transition zone— can see that tiles which include extremely efficient. Of course, to always, big tiles make this easier to if it’s always the same size, it over- transitions inside, rather than artistic eyes, they often seem stiff pull off visually—if your designers emphasizes the underlying rhythm of limiting them simply to edges, are and constrained. No matter how and programmers don’t mind the the tile set. It’s particularly important much more flexible. Edge-only tiles interesting and different the content loss of layout options. that the center of interest in every tile like those in Figure 4 are common in of the tiles might be, the regular Another antidote is compound is not rigidly aligned to the tile. strategy games where the transition spacing imposes a very obvious tiles, which cover the area of several

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1001gd_pixel_vIbs.indd 43 12/18/09 9:07:54 AM PIXEL PUSHER // STEVE THEODORE

FIGURE 4 Two tile sets based on edge connections. Edge- based tiles are simple to create, but inflexible. They also create ambiguous situations across diagonal corners.

FIGURE 6 Compound tiles are an important way to break up the grid and add variety.

among compound tiles, but its important for degrees, and the regularity of a tile grid will tend visual variety to have a few big blocks that can to heighten the effect. Unless you really want to be repeated as well. Outdoor features can also emphasize a mechanical or urban look you should be compounds—a lake or a hill that would be too go out of your way to avoid the giveaway angles. stiff and geometrical when built of regular pieces can be handled well as a compound. MORE TO COME » A well-designed set of tiles is an extremely ROTATIONS powerful tool, combining the artistic nuance and » If you design your tiles so they can be rotated, craft of hand created content with the flexibility you’ll get a lot more visual variety. Rotations to fill up large game spaces on the cheap. add a lot of flexibility in layout and make good Like any strategy for content re-use, we’re use of your hard work. If you don’t design with constantly struggling to find the right balance rotation in mind, though, rotations can also between visual variety and economy of effort. undermine your illusions. Tiles with a strong The right balance for your project has as much FIGURE 5 A transition tile allows edges with multiple edge internal structure are hard to rotate. If you want to do with external forces—memory budgets, types. The minimum set of tiles is larger, but the layout is rotatable tiles, avoid things like baked-in shadows time, and manpower—as it does with the eternal much more flexible and diagonal connections are now clear. or strongly directional textures. Tile sets are a laws of art. But taking a little time to revisit the great application for technologies like normal maps basics will pay off—and it’ll help give you some tiles at once but don’t have internal boundaries. and screen space ambient occlusion that respond appreciation for those old-school Pixel Pushers Whether you build them as tiles with unique gracefully from any viewing angle. of yore. edge types or big single assets, compound tiles Even if you’re not planning on rotating help shake off the tyranny of the tile grid while tiles, don’t be a slave to the tile grid. In some STEVE THEODORE has been pushing pixels for more than retaining the flexibility of modular construction. environments, like dense cities or modern a dozen years. His credits include MECH COMMANDER, HALF- As you can see in Figure 6 it’s especially helpful interiors, strict alignment is a feature rather LIFE, TEAM FORTRESS, COUNTER-STRIKE, and HALO 3. He's been a if the main features of the mega-tiles aren’t than a drawback; but in fluid or organic settings modeler, animator, and technical artist, as well as a frequent rigidly aligned to the grid. Important landmarks avoiding alignment is important. Our eyes are speaker at industry conferences. He’s currently a consultant and key gameplay locations tend to predominate particularly sensitive to angles in multiples of 15 helping game studios perfect their art tools and pipelines.

44 GAME DEVELOPER | JANUARY 2010

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HTTP://WWW.GDMAG.COM/DIGITAL DESIGN OF THE TIMES // DAMION SCHUBERT

GET REAL FUN VERSUS REALISM

HOW REALISTIC IS TOO REALISTIC? lifelike visuals now, but it’s also walls. True, it’s more realistic, but idea that you can learn how to speak One can ask the makers of The Polar increasingly expensive and time- it’s also more expensive to build and Orcish by killing kobolds until you Express, the animated Christmas consuming to generate that content, test that world. gain a level. A learning-by-doing film released just in time for and the end result is a screenshot And even if it weren’t, sandbox system makes perfect sense to them. Thanksgiving in 2004. Despite huge that looks not all that different from gameplay may fight with other But in practice, learning-by- investments, a big-named director, competitors who are also chasing tenets of the design. For example, doing falls into sort of an uncanny and Tom Hanks providing the voice realism as an end goal. But realism most players get confused and design of game mechanics. Efficient and mocap animation for several isn't just a pitfall for artists—game overwhelmed when told to find their advancement in a use-based system roles, the film struggled at the box designers also flirt with realism as a own fun, and systems need to be often nudges people to perform odd office, getting swamped by another source of inspiration for their game devised to lead them to interesting gameplay that is frequently repetitive animated film, The Incredibles, mechanics, often with staggering activities. Compelling narratives are as well as not particularly fun. Rather released five days prior. Around this implications to their game designs. harder to tell, because designers than feeling natural and elegant, the time, the concept of the Uncanny lose control of the order and flow. game mechanic feels unnatural and Valley entered the public mind. THE REALISM TRAP Sometimes issues are more contrived, and worse, draws attention The Uncanny Valley is a theory » The unwary designer can get insidious: BURNOUT: PARADISE’s open to itself in the process. Learning Orcish that most game artists (especially into trouble by trying to follow world structure made it difficult for by killing kobolds may not be terribly modelers and animators) are well realism too closely. Making a scene players to attempt to do the same realistic, but at least at no point is the aware of now, but it wasn’t always look realistic doesn’t necessarily race or challenge twice in a row, as player being asked to do something he the case. Around the same time make it look more beautiful, many racing game players want. didn’t want to do anyway. The Incredibles was trouncing fantastic, or intriguing. Similarly for Are sandboxes inherently bad? Polar Express in the box office, too designers, a game mechanic that is No—some of the finest games in the REALISM VS. CONSISTENCY many art directors believed real realistic doesn’t necessarily make world are sandboxes. But injecting » There’s a lot to like about Gotham games made for gamers had to the game fun. this level of realism into a game has Central. The DC comic was a police chase photorealism in order to be A common way that this makes very direct repercussions on the procedural set in Gotham city, and successful. WORLD OF WARCRAFT itself evident inside our game cost and design of the game that the tried to describe what it was like to be eschewed all of that for a cartoony designs is the rise of sandbox designers must be mindful of. a detective and have to clean up after appearance, and in doing so blew past games. Once a mechanic largely Batman and Joker slugging it out all the competition and expectations. limited to strict simulations, the WHEN REALISM CREATES amongst the rooftops. The comic ran Three years later, TEAM FORTRESS 2 success of GRAND THEFT AUTO has UNREALISTIC BEHAVIOR for 40 issues, earning meager sales would do the same for a shooter resulted in game designers trying to » In the early days of EVERQUEST, but strong critical praise. Those who it was not uncommon to stumble loved it often cited the series’ gritty upon another player in the wild realism. Which is interesting, given who was throwing himself off a the series still hinges on a man who short cliff over and over again while fights crime dressed as a bat. spewing gibberish indecipherable to A lot of times, people think they passersby. Use-based advancement want realism when what they really was to blame: While most of crave is internal consistency within a EVERQUEST's advancement model given universe. Gotham Central feels was centered around a classic level- a lot like what happens if you merge based advancement system, the the classic Dark Knight with gritty TV non-combat skills like "Language" cop fare like The Shield. The goal is to and "Safe Fall" advanced as the make the rest of Gotham as real as TEAM FORTRESS 2 character performed in-game possible, and the end result is a world actions. Thus, our mysterious cliff where Batman is still amazing and market that had previously obsessed shoehorn sandbox design principles diving tonguespeaker was someone mysterious, without becoming silly over realism to an insane degree. on almost every genre of gaming. whose character was, ostensibly, or ludicrous. He feels possible—even Realism is a choice, both for In sandboxes, players are free to learning new trades. though he’s not. artists and for designers—but it go anywhere and tackle content The ironic thing, of course, is Immersion is the goal. The can also be also a trap, and one in almost any order, rather than be that these use-based systems are player should be drawn into your that is perilously easy to fall into. In drawn along a linear game path with designed to be realistic—practice worlds and experiences. Realism is art, chasing realism is expensive— unreachable areas blocked off by making perfect, and all. Some players good when it supports immersion, technology can provide incredibly unrealistic obstacles or invisible and designers are bothered by the and bad when it gets into the

46 GAME DEVELOPER | JANUARY 2010

1001gd_design_vIbs.indd 46 12/17/09 9:18:45 PM From Software's DEMON'S SOULS features gameplay that is derived from a realistic consideration of physical strength and stamina versus weapon weight and encumberance. way. For example, most single worse, noticeably so. It’s a problem feel less realistic, even though it is trades in poisons feels more real, roomed buildings in games are because it breaks immersion. more so. even if game balance requires that huge, often with 18 foot ceilings. To some degree, the realism we poison be a minor damage over time It’s not realistic, but the player are bound to is determined not by THE PLACE OF REALISM effect instead of being immediately rarely notices. On the other hand, real life, but by our forerunners. Hit » Designers make concessions lethal. Bouts of MADDEN that end with he always notices when, in a small points linger as a concept because to realism all the time, of course. scores like 30–27 feel more real, room, the camera moves in too most games teach us that you In the real world, it only takes one even if it takes five minute quarters close to see or do anything. usually hit what you swing at, but bullet from an assault rifle to kill a to keep the scoring that low. Jumping is an interesting place fights shouldn’t be over instantly. man. Building a breast plate from At the end of the day, players where realism and gaming diverge. When an NPC tells you to “hurry,” raw iron doesn’t happen in less than play games escape the real world, Most games that have jumping he doesn’t mean it unless a timer 10 seconds. If you get brought near so designers shouldn't be such a allow ludicrously high jumps—often appears on your screen. Rocket death by the jet of a flamethrower, slave to it. Players are hoping to a character can leap 6 feet high launchers aren’t just great weapons, you aren’t likely to be hopping back live a fantasy provided by the game from a dead stop, because it feels they’re also solid ways to propel into battle after a couple of first designer. Good games make those right (see Inner Product November yourself up to a hard-to-reach ledge. aid kits. This is before we get to fantasies as immersive as possible, 2009). But recently, some action But it’s not just games—most gun the inherent fantasy of the worlds but they don’t always do that by games—such as GEARS OF WAR—have effects in shooters sound more like we build: worlds full of dragons, making them realistic. Sometimes, been experimenting with not allowing they do in the movies than they gangsters, or battlecruisers. And too much realism gets in the way. jumping, since jumping around like do in real life, because the theatre lest we cut out the mundane—short a jackrabbit in heat isn’t particularly is where most players learn what of THE SIMS, no games require your DAMION SCHUBERT is the lead combat realistic. For the most part, these automatic gunfire sounds like. characters take bathroom breaks. designer of STAR WARS: THE OLD REPUBLIC experiments have been successful— In all these cases, following But realism can enrich a game at BioWare Austin. He has spent nearly a until the player finds an obstacle that unrealistic conventions can make as well. An MMO that has crafting decade working on the design of games, with he can’t jump but could in real life. the games feel better than taking a can have a much more realistic experience on MERIDIAN59 and SHADOWBANE as Even worse, he could clear it by five more realistic approach that breaks economy than one that doesn’t, well as other virtual worlds. Damion also is feet in a game that allows jumping. player expectations. Worse, breaking even if the mechanics of crafting responsible for Zen of Design, a blog devoted The obstacle feels unrealistic, and convention can make the game aren’t realistic. An assassin that to game design issues.

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1001gd_design_vIbs.indd 47 12/17/09 9:18:48 PM AURAL FIXATION // JESSE HARLIN

DETHRONED IS THE AGE OF LOOPS COMING TO AN END?

BEFORE AMBIENT SOUND, oldest answer to music in fashion without loop points sound design work of the systems are still loop-based. before dialogue, there was games—non-looping music or variation. level which includes audio- Most combat music is still music. Since the early days events. Fire up any game of In UNCHARTED 2 Sony’s specific “tells” that help the loop-based. Smaller games of game sound, game music MS. PAC-MAN and you’ll find music team experimented player avoid danger and are still loop-based for all the has been synonymous with three types of music events: with applying a frequently- progress through the level. reasons that loops originally loops. Initially, loops were intro stinger, cutscene used technique for looping Perhaps one of the came into such prominence. the only practical solution to music, and death stinger. music to non-looping music most telling signs of the Additionally, there’s multilevel worlds that would None of these cues loop. with entirely new results. changes occurring in music a cultural mindset that have otherwise been filled More and more these days, One of the most basic implementation comes from needs to change within only with the bleeps of jumps game music implementation interactive music systems the structure found within development teams if we’re and the bloops of hit impacts. is beginning to fall back is one in which gameplay Audiokinetic’s Wwise music to ever move drastically As the years marched on toward that same approach is blanketed with looping engine. In Wwise, music can’t away from massive blankets and carts gave way to discs, as a means of avoiding exploration music. When simply be flagged to loop of in-game looping music. A loops persisted due to disc listener fatigue. combat is encountered, indefinitely. Looping music lack of music in-game often size limitations. MMOs like Blizzard’s the calm exploration loop segments must be defined as gets flagged by QA teams as 25 years on from the WORLD OF WARCRAFT are is replaced with a tense children of a Playlist. Playlists a bug. Sometimes a simple release of SUPER MARIO BROS., simply too gigantic for loops. combat loop. In UNCHARTED 2’s can then be looped, but by looping piece of music is loops persist in the face of Anyone who has played WOW rich surround ambiences, will know that spawning complex interactive dialogue into the game initially will systems, and massive always result in some flavor amounts of disc and hard of intro music cue. This drive space. Perhaps more cue does not loop, and will habitual now than practical, eventually simply give way looping music remains an to the ambient sound of the often immediately assumed world. At certain intervals feature, like pause menus afterward, more music will and option sliders. trigger; but again it is all However, more and more non-looping and always audio teams and music relinquishes the audio focus implementers are beginning over to the ambient sound Naughty Dog's UNCHARTED 2: AMONG to question the assumed effect systems. THIEVES makes use of randomized reign of loops, while looking MMOs aren’t the only musical cues rather loops. for different solutions. games moving away from loops. The front end menus “Locomotion” sequence, the their very nature are much used to cover over what MEET THE NEW BOSS of console games rarely team relied on the ambient more flexible, and present to might otherwise be a boring » As game worlds get larger feature dialogue or ambient sound design of a speeding the music implementation segment of gameplay. And the weaknesses of loops effect systems, and as Nepalese train to fill the role team a means of transitioning sometimes, this is a great become glaringly apparent. such have been longtime of calm exploration. When the from one non-looping cue move. Other times, however, Larger worlds require showcases for looping AI attacks or becomes aware to another with smooth music becomes a fatiguing either longer loops or more main themes. Now, with of the player’s presence, transitions. In short, loops crutch that we don’t need repetitions. As such, listener an increasing frequency, the combat system kicks aren’t merely the assumed any longer as an industry. fatigue is of constant concern front end main themes are in. But unlike traditional default option any longer and Games, technology, and to implementation teams. showing up as longer, non- loop-based systems, the implementer must choose audiences are all ready for Eventually, loops simply looping suites of thematic UNCHARTED 2 pulls combat at the outset to use loops or us to experiment more. The can’t be long enough or material. DRAGON AGE: ORIGINS, cues from a randomized approach the problem from a only limitations are our own varied enough to adequately FRACTURE, and UNCHARTED 2: bank of non-looping stingers different direction. infinitely looping habits. cover a large modern game AMONG THIEVES all begin with per combat encounter. The without diminishing their broad pieces designed to result is tension music that SAME AS THE OLD BOSS JESSE HARLIN has been own impact. set the mood, which build simply comes and goes » Looping music isn’t going composing music for games since The obvious solution to to a climax, and end in a with combat states, creating away any time soon. The vast 1999. He is currently the staff the problem is actually the very traditional linear music a counterpoint to the rich majority of interactive music composer for LucasArts.

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GDMag1001_TSGGNetwork_HouseAd_v1.indd 1 12/10/09 12:17:01 PM HIRING NEWS AND INTERVIEWS GOOD JOB! Hired someone interesting? Let us know at [email protected]!

portal konami sound team exodus designer MICROSOFT’S INTERNAL HALO GAME DEVELOPMENT TEAM 343 INDUSTRIES HAS HIRED SOTARO kim swift Tojima, a longtime Konami employee who most recently served as sound director on Kojima Productions’ METAL GEAR SOLID 4: GUNS OF THE PATRIOTS. joins Tojima will take the similarly-named role of audio director at 343 Industries, according to a airtight short post made to the studio’s official Twitter account. The 343/Kojima link likely comes from Ryan Payton, a well-known associate producer at Kojima games Productions who left that studio after METAL GEAR SOLID 4 shipped to take a creative director KIM SWIFT, A DESIGNER OF VALVE’S ACCLAIMED FIRST- role on an unannounced HALO game, which was person platformer PORTAL, has left the HALF-LIFE being developed by a pre-343 Microsoft Game creator to build up a new team at nearby DARK VOID Studios team. developer Airtight Games. The news was revealed in an This news comes after SILENT HILL composer announcement by Airtight. The company says Swift will Akira Yamaoka left the Konami fold (word is he hold the title of project lead at the studio, and will “build may be starting his own company—that will and lead a team in the development of games aimed at be one to watch for). A scant two months prior, a more diverse audience.” recent CASTLEVANIA series musician Michiru No details about the nature of her first project were Yamane left the company as well. given, but Airtight Games president Jim Deal said her hir- What’s going on at Konami, you may ask? ing “represents a strategic move by Airtight Games into This is more common than it appears, in Japan new and broader gaming markets.” Game Developer spoke at least. Square Enix bled its higher-level com- with Swift to get a little insight into her company move. Akira Yamaoka. posers when FINAL FANTASY songsmith Nobuo Uematsu left to form his own company—but he Why did you choose Airtight? still composes music for the company to this day. Only now, he’s free to compose for others as well. Kim Swift: I love the fact Airtight is a small, independent Expect more of that from Yamaoka and Yamane. developer with some really great people working there. I haven’t been here for very long, but everyone I’ve met has an awesome sense of humor and is super talented. I also had a couple friends who worked at Airtight already and I really valued the opportunity to work with them. who went where? What do you hope to accomplish that’s different there? KS: I’m definitely interested in creating games that are » Nexon America, online was most recently senior » Production software maker more accessible, and Airtight has similar views. I think publishing arm of Nexon Corp. director of online operations Hansoft has hired EA Sports the more video games become a mainstream medium, brings former parent company for North America and Asia and veteran Chris Wynn as senior people are going to want to play games with their CEO Won Il Sue (2004-2005) senior director of technology production expert. He began spouses or children, and I think the marketplace could to the U.S. as Biz Dev VP. Sue for Worldwide Studios at EA. as an artist, but moved into use a few more games with a broader appeal. comes off a stint at rival production roles over his 12 Getting more power seems like a good thing, since company Neowiz. » Outsourcing and years in the industry. you’re leading a team, but won’t a lot of the people be development group Blade older than you? Is that weird at all? Won Il Sue. Games grabs former producer » Playdom, social game KS: I don’t think it’s strange at all, at the end of the day and general manager of EA dev, hires new CFO Christa we’re all trying to put together the best game possible. Pogo Shanghai Justin Weng as Quarles, previously an analyst Everyone has to pitch in and work together as a cohe- head of product development, at investment banking firm sive team and age shouldn’t factor in at all. We’re all and a new senior art director Thomas Weisel Partners. just trying to do our jobs and hopefully have some fun in Tony Zander, most recently at the same time. of Microsoft’s FLIGHT SIMULATOR » Online publisher and Do you feel confident that PORTAL could continue at team. Zander is an 18 year developer Trion has hired two Valve in your absence? art vet, and will lead the veterans in David Reid and KS: Well, that’s definitely up to Valve, but I’m sure cross-continental company’s Scott Hartsman. New senior PORTAL will be just fine. outsourcing and internal vice president of publishing It’s early days at Airtight, but having been essentially art efforts. Reid was NCsoft West’s “trained” at Valve, how do you think it will be moving publishing president, while to another production style? » Berlin-based social games Hartsman, now Trion’s chief KS: I’ve been given the opportunity to run a team of developer Wooga added to its creative officer and Redwood really great developers much in the same way that board of directors one Roberto Shores Studio general teams are run at Valve. Everyone who’s working on the » Publisher/developer True Bonanzinga, a partner manager, previously spent game gets to pitch in on the design decision-making, Games gains former Electronic at the European VC firm seven years at SOE working on which I think not only is great for morale but is more Arts exec Mick Giles as CTO—he Balderton Capital. the EVERQUEST games. efficient as well. Game design is essentially problem solving, and getting different disciplines to look at the same problem together will help ensure that the best solution is found. 50 GAME DEVELOPER | JANUARY 2010

1001gd_career_vIbs.indd 50 12/17/09 9:17:50 PM IF YOU’RE LOOKING TO WORK ON THE NEXT BIG THING

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© 2009 id Software LLC, a ZeniMax Media company. DOOM, id, ZeniMax and related logos are registered trademarks or trademarks owned by ZeniMax Media Inc. in the U.S. and/or other countries. All Rights Reserved. EDUCATION NEWS AND STUDENT PROFILES EDUCATED PLAY! student game profi le: AZ66 EXPLORING NEW IDEAS IN GAME CONTROL

AZ66 is an intriguing UNREAL divided according to each mod created by students at member’s specialty. During France’s ENJMIN (National the first school year, we School of Video Game and had to make several video Interactive Media) that games as a team. combines real-time data generated by the player’s JF: How did the team heart rate with a devious get together and divide “capability test” that has responsibilities? no win condition. Set in SM: Before starting the a dystopian world where project, some members citizens are given logic and of the AZ66 team had reflex tests to determine already worked together. their usefulness to society, So, when we came up with AZ66 evokes a sinister the idea of doing a video mood and an elevated game using heart sensors, sense of panic as the part of the team reformed player’s heart rate has an and some new members increasingly disruptive joined, in order to have a The AZ66 team. effect on their perception full development team of of the game. We talked with six students from each be defused, never-ending player and how did you game, so he could hear his AZ66's designer Stéphanie specialty area. targets that pop up, and connect it to gameplay? loss of control. In response Mader to find out how the a labyrinth with no exit. SM: We were lucky, because to his heart acceleration, game (literally) gets under JF: How much time did it Dark and dirty visual art, we had strong support from we applied graphics filters the player's skin. take to complete AZ66? disturbing sounds, and Jérôme Dupire who works like motion blur to the SM: For this project we had the constant presence of at CEDRIC, the CNAM French screen. To complete our Jeffrey Fleming: Can you three months, but we had voices all work to distract state institute in computer deception, we added some tell us a bit about the classes and exams too. On the player. research and development. contextual feedback. For history of the project? top of that, each member Jérôme’s team created example, in the first room, Stéphanie Mader: We was working on other JF: On the technology a new version of their the graphic and sound of are students at ENJMIN, projects at the same time. side, what was the most PLUG Project with heart the bomb timer becomes the only public institute Planning the teamwork was challenging ? sensors, skin response, strange. In the same way, in Europe to deliver a true puzzle. SM: We had to learn to and temperature, a total of the speed of the cube that a Master’s degree in work with Unreal Engine, five sensors connectable follows behind the player games and interactive JF: How did you approach its architecture, its tools, to the player. In fact, we in the labyrinth is directly digital media. As our AZ66's game design? its pipeline, and its script only used data coming from connected to his heartbeat. school is focused on the SM: Due to the heart language. As a result, the heart sensors, due to specialties of game design, sensors, the game had programming and asset time constraints. We used AZ66 TEAM graphic design, sound some concept challenges. integration took most of our the player’s variations Project Manager: design, programming, It was all about bluffing time. At the same time, our in heart rhythm to give Stéphan Froment project managing, and the player and getting him programmer had to deal real-time feedback on his Game and Level Designer: ergonomics, a big part nervous. To accentuate with getting the sensor data emotional state. Stéphanie Mader of the program is to our game design intention into the game, while our But remember, it is Programmer: teach us teamwork, to its maximum, AZ66 usability expert worked on all about bluffing! So the Antoine Sarafian with responsibilities includes a bomb that can’t the player’s comfort when heart rate data didn’t Environment Artist: wearing the sensors. But really affect gameplay Delphine Soriano Unreal Engine was also what directly, instead it affected Sound Designer: AZ66 links made our project achievable! the player’s perception Aymeric Schwartz of the game. We wanted Ergonomics: AZ66 http://az66.interaction-project.net JF: I’m curious about the the player to think that Mélanie Ginibre ENJMIN www.enjmin.com biofeedback element in his heart response was Voices: PLUG Project http://interaction3d.fr AZ66. How did you measure important by making it Laure Nowak and Aymeric heart response in the audible during the whole Schwartz

52 GAME DEVELOPER | JANUARY 2010

1001gd_education_vIbs.indd 52 12/17/09 9:19:35 PM Bachelor of Science > Game Programming Bachelor of Arts > Game Art and Animation, Game Design, Serious Game and Simulation learn: Master of Science > Game Production and Management

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DEAR MR. WASTELAND WELCOME TO OUR "Q&A" DEPARTMENT

IPHONE RICHES are pretty much all you need to middleware still so frustrating Q. A guy I know quit his job after get started on the road to indie so often? Stuff like out-of- an iPhone game he made in about stardom, after all. You don’t even date documentation and flaky ninety seconds sold like crazy for have to drink any Mountain Dew technical support makes me want some reason. Last I heard, he’s to win the “Best Indie Game Fueled to kill something! been tooling around in a brand new by Mountain Dew” category at the —A Furious Dude in Chicago exotic sports car and has hired a Spike Video Game Awards—talk full-time entourage. How can I get about easy! A. Thank you for contacting us in on that action? about your problems with game —Avaricious in Austin TALKING TO THE FAMILY middleware. First, I’d like to direct be substituted if there are no Q. Visiting with my relatives over you to our forums, where many crackers). Warm with the heat from A. The secret to a successful iPhone the holidays, I was reminded how users are often able to answer an early-model PS3 development game is to remember that the App embarrassed I am to be a video each other’s basic questions. If kit, and serve with surplus ketchup Store is more of a spiritual system game designer. My uncle is a you believe you have found a bug, or soy sauce packets to taste. than a platform. With your game medical doctor who developed a please search our bug database ready to go, consult new non-invasive surgical to make sure it does not already OUTSOURCED? your astrologer technique and my cousin exist, then enter it along with Q. Recently, my bosses have been for auspicious just came back from a stint precise steps to reproduce as well talking about making art bibles release windows, in the Peace Corps where he as your company’s proprietary code and putting our visual direction then sacrifice an helped build a clean water supply surrounding its implementation. into easily digestible documents animal in the usual manner. Be for poor villages. Compared to Finally, if you are requesting new that can be sent to potential on guard for malign forces who stuff like that, COMBAT ZOMBIE features, please check our road “partners.” As an artist, I think I will attempt to harm your game EXPLODER’s triumphant 91 map to see if the feature is already know what that means: I’m about with their cruel magicks. Whatever Metacritic score just doesn’t seem mentioned. If it is, please remember to be outsourced. Help! you do, stay the path: Apple’s as awesome as it used to be ... that a road map is not really a plan —I’m So Fired in Kirkland munificence is only rewarded to how can I measure up? as such, but more of a catalogue of its most faithful and devout. Go —Self-Conscious in Boston various possibilities. Thank A. You’re in a tough situation there now, seeker, and may your App be you, and have a nice day. for sure. How can one person Featured! A. Games are never going to get stand up against the tidal wave out of the cultural ghetto if you COOKING AT WORK of global economics? I think CREATIVE CRISIS keep having that attitude. Next Q. It’s way past midnight your best strategy to defend Q. I’m really depressed lately. Why time you’re at dinner with your and I’m incredibly against this is to quickly does our industry keep making sanctimonious relatives, go on the hungry, but I don’t become a surly, wearied the same thing over and over? I attack, and remember the invincible want to go out to veteran who criticizes am getting so frustrated with this trump card that we use in all get food and all the everything around you. business and am considering situations to remind people that we producers who know That’s right—just keep going into something a little more matter: the game industry makes a how to order pizza have talking about how old you creative, like accounting. lot of money. For example, point left already. Isn’t there are and how long you’ve Is there anything that out that the Peace Corps’ anything I could eat so been in the industry. The might revive the spark of entire 2010 budget request that I don’t die? insecure managers in charge inspiration inside me? of $373 million was totally —Famished in Foster City of the outsourcing effort will —Sad in Santa Monica dwarfed by MODERN WARFARE be frightened by you and will 2’s first five day sales of A. Many people don’t ironically decide to keep you A. Well, Sad, let me ask you $550 million. That should shut know that you can make on for your “experience” while this: if you have ideas of up the do-gooders for a bit. a delicious meal out of letting go of the talented junior your own that you ingredients commonly found artists who were doing most of the want to do, why MIDDLEWARE WOES around the typical video game work for less pay. Good luck! not leave? A Q. Look, I know it’s studio. Start with a bagel left MacBook, a fixie the Front Line over from Bagel Friday. Spread MATTHEW WASTELAND writes and a favorite Awards issue some peanut butter on top and about games and game development non-Starbucks and all, but crumble Goldfish or Cheese Nips at his blog, Magical Wasteland (www. coffee shop why is game over the whole thing (Doritos can magicalwasteland.com).

56 GAME DEVELOPER | JANUARY 2010

1001gd_arrested_dev_vIbs.indd 56 12/17/09 9:16:42 PM Advertisement Autodesk Games Insight The latest scoop from Autodesk Media & Entertainment

Autodesk® Kynapse® With the demands of more realism in games, how can artificial intelligence help add to the sense of immersion for players? We find out how Autodesk Kynapse middleware can be used in a common scenario to provide realistic AI for games.

Autodesk Kynapse in action: In this scenario, three bodyguards automatically provide cover for a user-controlled player. Heightening Realism with In-Game windows, street corners and access ways. elegant and highly optimized solution for Artificial Intelligence These key zones can be automatically helping characters find their way across With the technological power of generated through the Kynapse toolset, larger worlds. today’s consoles and PC’s, gamers are or manually tagged by level designers. demanding more realism than ever. In What is interesting about this scenario Finally, the “bodyguards” scenario uses the challenge to create truly immersive is the realism of the solution – when team coordination to ensure that each gameplay, artificial intelligence is the player is positioned against a wall, character doesn’t go to the same spot. paramount to giving users an immersive none of the bodyguards will face the wall Through the use of the Kynapse libraries, experience. In this article, we look at a because no threat can come from the each character can share information, common, but challenging game scenario wall. just like a real team would. The result is and how the Autodesk® Kynapse® that each character intelligently moves artificial intelligence middleware can help To move the characters into their into a position that could protect the solve this challenge through 3D spatial appropriate positions, we use the player in the most sensible way, which awareness, 3D path-finding and team Kynapse 3D path-finding library. This heightens reality and gives players an coordination. enables each character to find their way immersive experience of being protected to their target positions in the level, by comrades on the battle-field. In a combat game scenario, we have a while dynamically avoiding objects player controlled character, and three and other characters. In this scenario, This is just one scenario that shows how computer-controlled bodyguards characters only have to move a short Kynapse can be used to solve a complex that follow the player and protect it. distance, but the Kynapse library can also AI challenge in games. In such a case, Wherever the player goes in the level, cater for very large maps such as those developing your own AI solution might the bodyguards will automatically used in role-playing games. In such cases, be prohibitively expensive due to the identify key areas where an enemy could Kynapse can utilize hierarchical path- cost of research, development, testing shoot at the player. The bodyguards finding technology, which provides an and implementation. With Kynapse, the will use this information and move into solution is “off-the-shelf” and ready to the appropriate position to protect the integrate into your game. player. This scenario would be used in games where a player character has To see Kynapse in action (including the computer-controlled team members that above scenario and others), we invite you need to move through a level with the to watch the Introduction to Kynapse www.autodesk.com/kynapse player and assist. video at .

The AI that drives this kind of behavior For more information about Kynapse and is achieved through the use of Kynapse. Autodesk Middleware, please contact us [email protected] Spatial awareness libraries help each at . entity identify in real-time the key Kynapse spatial awareness in action: the body- topological zones where an enemy guards do not face the wall as no threat can could hide and shoot from. This includes come from it.

Autodesk and Kynapse are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other coun- tries. All other brand names, product names, or trademarks belong to their respective holders. Autodesk reserves the right to alter product offerings and specifications at any time without notice, and is not responsible for typographical or graphical errors that may appear in this document. ©2009 Autodesk, Inc. All rights reserved.