Course Handbook 2020-21
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Achieve Your Vision
ACHIEVE YOUR VISION NE XT GEN ready CryENGINE® 3 The Maximum Game Development Solution CryENGINE® 3 is the first Xbox 360™, PlayStation® 3, MMO, DX9 and DX10 all-in-one game development solution that is next-gen ready – with scalable computation and graphics technologies. With CryENGINE® 3 you can start the development of your next generation games today. CryENGINE® 3 is the only solution that provides multi-award winning graphics, physics and AI out of the box. The complete game engine suite includes the famous CryENGINE® 3 Sandbox™ editor, a production-proven, 3rd generation tool suite designed and built by AAA developers. CryENGINE® 3 delivers everything you need to create your AAA games. NEXT GEN ready INTEGRATED CryENGINE® 3 SANDBOX™ EDITOR CryENGINE® 3 Sandbox™ Simultaneous WYSIWYP on all Platforms CryENGINE® 3 SandboxTM now enables real-time editing of multi-platform game environments; simul- The Ultimate Game Creation Toolset taneously making changes across platforms from CryENGINE® 3 SandboxTM running on PC, without loading or baking delays. The ability to edit anything within the integrated CryENGINE® 3 SandboxTM CryENGINE® 3 Sandbox™ gives developers full control over their multi-platform and simultaneously play on multiple platforms vastly reduces the time to build compelling content creations in real-time. It features many improved efficiency tools to enable the for cross-platform products. fastest development of game environments and game-play available on PC, ® ® PlayStation 3 and Xbox 360™. All features of CryENGINE 3 games (without CryENGINE® 3 Sandbox™ exception) can be produced and played immediately with Crytek’s “What You See Is What You Play” (WYSIWYP) system! CryENGINE® 3 Sandbox™ was introduced in 2001 as the world’s first editor featuring WYSIWYP technology. -
Game Engines in Game Education
Game Engines in Game Education: Thinking Inside the Tool Box? sebastian deterding, university of york casey o’donnell, michigan state university [1] rise of the machines why care about game engines? unity at gdc 2009 unity at gdc 2015 what engines do your students use? Unity 3D 100% Unreal 73% GameMaker 38% Construct2 19% HaxeFlixel 15% Undergraduate Programs with Students Using a Particular Engine (n=30) what engines do programs provide instruction for? Unity 3D 92% Unreal 54% GameMaker 15% Construct2 19% HaxeFlixel, CryEngine 8% undergraduate Programs with Explicit Instruction for an Engine (n=30) make our stats better! http://bit.ly/ hevga_engine_survey [02] machines of loving grace just what is it that makes today’s game engines so different, so appealing? how sought-after is experience with game engines by game companies hiring your graduates? Always 33% Frequently 33% Regularly 26.67% Rarely 6.67% Not at all 0% universities offering an Undergraduate Program (n=30) how will industry demand evolve in the next 5 years? increase strongly 33% increase somewhat 43% stay as it is 20% decrease somewhat 3% decrease strongly 0% universities offering an Undergraduate Program (n=30) advantages of game engines • “Employability!” They fit industry needs, especially for indies • They free up time spent on low-level programming for learning and doing game and level design, polish • Students build a portfolio of more and more polished games • They let everyone prototype quickly • They allow buildup and transfer of a defined skill, learning how disciplines work together along pipelines • One tool for all classes is easier to teach, run, and service “Our Unification of Thoughts is more powerful a weapon than any fleet or army on earth.” [03] the machine stops issues – and solutions 1. -
Amazon Lumberyard Guide De Bienvenue Version 1.24 Amazon Lumberyard Guide De Bienvenue
Amazon Lumberyard Guide de bienvenue Version 1.24 Amazon Lumberyard Guide de bienvenue Amazon Lumberyard: Guide de bienvenue Copyright © Amazon Web Services, Inc. and/or its affiliates. All rights reserved. Amazon's trademarks and trade dress may not be used in connection with any product or service that is not Amazon's, in any manner that is likely to cause confusion among customers, or in any manner that disparages or discredits Amazon. All other trademarks not owned by Amazon are the property of their respective owners, who may or may not be affiliated with, connected to, or sponsored by Amazon. Amazon Lumberyard Guide de bienvenue Table of Contents Bienvenue dans Amazon Lumberyard .................................................................................................... 1 Fonctionnalités créatives de Amazon Lumberyard, sans compromis .................................................... 1 Contenu du Guide de bienvenue .................................................................................................. 2 Fonctions de Lumberyard .................................................................................................................... 3 Voici quelques-unes des fonctions d'Lumberyard : ........................................................................... 3 Plateformes prises en charge ....................................................................................................... 4 Fonctionnement d'Amazon Lumberyard ................................................................................................. -
Game Engine Architecture
Game Engine Architecture Chapter 1 Introduction prepared by Roger Mailler, Ph.D., Associate Professor of Computer Science, University of Tulsa 1 Structure of a game team • Lots of members, many jobs o Engineers o Artists o Game Designers o Producers o Publisher o Other Staff prepared by Roger Mailler, Ph.D., Associate Professor of Computer Science, University of Tulsa 2 Engineers • Build software that makes the game and tools works • Lead by a senior engineer • Runtime programmers • Tools programmers prepared by Roger Mailler, Ph.D., Associate Professor of Computer Science, University of Tulsa 3 Artists • Content is king • Lead by the art director • Come in many Flavors o Concept Artists o 3D modelers o Texture artists o Lighting artists o Animators o Motion Capture o Sound Design o Voice Actors prepared by Roger Mailler, Ph.D., Associate Professor of Computer Science, University of Tulsa 4 Game designers • Responsible for game play o Story line o Puzzles o Levels o Weapons • Employ writers and sometimes ex-engineers prepared by Roger Mailler, Ph.D., Associate Professor of Computer Science, University of Tulsa 5 Producers • Manage the schedule • Sometimes act as the senior game designer • Do HR related tasks prepared by Roger Mailler, Ph.D., Associate Professor of Computer Science, University of Tulsa 6 Publisher • Often not part of the same company • Handles manufacturing, distribution and marketing • You could be the publisher in an Indie company prepared by Roger Mailler, Ph.D., Associate Professor of Computer Science, University of -
KALEB NEKUMANESH Redmond WA, 98052
7435 159th Pl NE, Apt C319 KALEB NEKUMANESH Redmond WA, 98052 LEVEL ARTIST / GAME DESIGNER (425) 761-9421 kalebnek.artstation.com linkedin.com/in/kalebnek [email protected] EXPERIENCE SKILLS 343 Industries (Microsoft), Campaign Level / Game Designer Level Art JUN 2019 - PRESENT Level Design - Designed spaces intended to feature gameplay, narrative moments, and Gameplay Design exploration for the campaign of Halo Infinite Organic World Building - Design and sculpt terrain and gameplay assets to fit the gameplay, story, and artistic needs of the space Video Editing - Worked on various levels from concept to polish Graphic Design - Wrote design documentation for the purpose of pitching to leads and Quality Assurance directors Leadership - Worked with art, narrative, and design leads to ensure the levels are hitting the goals of all the teams involved Public Speaking - Playtested and iterated on levels and combat encounters Customer Service - Built combat encounters around several POIs in the Halo Infinite Technical Writing Campaign Project Management Independent Game Development, L evel Art / Game Design AUG 2017 - PRESENT SOFTWARE EXPERIENCE - Directed a team of up to 15 people at a time to develop a vision for an independent game developed in Unreal Unreal Engine - Designed and scripted gameplay systems in Unreal Blueprints CryEngine - Performed level design using BSP brush methods and iterated based on Unity playtest data Houdini - Sculpted and designed terrain to support gameplay and environments SpeedTree - Led a testing team to test -
5 Game Development Slides
: requirements elicitation Video Game Development by ian kabeary, franky cheung, stephen dixon, jamie bertram, marco farrier 1 2 the process of requirements elicitation for game development is unlike that of any other type of software. topics (some) requirements developers have to deal with how they deal with them must be fun have surround how requirements have changed over the years sound can’t be boring have good graphics be fun 4 years from now have plot twists add character development have long, detailed levels http://www.wallpaperspictures.net/image/lost-in-a-dense-fog-wallpaper-for-1920x1440-545-4.jpg 3 4 must be fun have surroun d soun d these are vague, yet very important to the end users of can’t be the system, and cannot be discarded by developers. [1] boring have good so what can be done? graphics be fun 4 years from now have plot twists add character development developers can attempt to create new gameplay experiences http://cdn.digitaltrends.com/wp-content/uploads/2010/12/portal_mirror-2.jpg http://4.bp.blogspot.com/-SzkHfVP1Lig/TyMgyWmbBHI/AAAAAAAAD3M/ItQVnEJjw_E/s1600/PokemonRed_Nintendo_GameBoy_005a.jpg 5 have long, detailed levels 6 some statistics • Pokémon Red, Blue, Green sold 20.08 million, worldwide • Pokémon FireRed, LeafGreen sold 11.18 million, worldwide • Other derivatives, (like Gold, Silver, Ruby, Sapphire, Crystal, Emerald, Diamond, Pearl) sold a total of approximately 48.6 million, worldwide. or, refine existing (successful) concepts into a new game. http://cdn3.digitaltrends.com/wp-content/uploads/2011/04/portal-2-review.jpg http://vgsales.wikia.com/wiki/Pokemon http://www.easybizchina.com/picture/product/200911/04-54a30540-67b0-49f3-8af3-38f0f95b2e78.jpg http://4.bp.blogspot.com/-VrKGuN_pMOY/TjPql78UI9I/AAAAAAAAATg/rcI3edZvYr8/s1600/iStock_money+tree.jpg 7 8 over the years, consumer expectations have what made mario popular? changed. -
Xinglong Liu
Xinglong Liu Beihang University Computer Science – Virtual Reality Ph.D. Phone: 13299403493 Email: [email protected] homepage: liu3xing3long.github.io Education Research Scholar, 2015.10 – 2016.10 Advisor: Prof. Hong Qin Stony Brook University Ph.D. Candidate, 2010.09 – 2015.09 Advisor: Prof. Qinping Zhao, Beihang University Prof. Aimin Hao Bachelor, Yantai University 2006.09 – 2010.06 N\A Experience Research Scholar, Stony Brook University 2015.10 – 2016.10 Work on a computer diagnosis system on detecting lung nodules from thoracic CTs Research Assistant, Beihang University 2010.09 – 2015.09 Work on a reconstruction system for vascular arteries from multi-view X-Ray images Work on a 4D motion and shape reconstruction system for vascular arteries from sequential X-Ray series Work with other co-workers for building virtual reality applications (listed in Participated Projects) Team Leader, Yantai University 2007.06 – 2007.09 Work as a leader of 4-student team on a virtual tour application based on DirectX and earn 2nd place in Qilu Software Competition, organized by China Computer Federation, Jinan Participated Projects 1. Project:A simulation system for tactic training 2011.06 Responsibilities:Coding server,client and UI logics for computer generated force (CGF) – subsystem; Communicate and cooperate with other subsystems; This CGF supports complex 2013.02 simulation over 100 entities. Coding lines: over 20,000 (C++). Applied Techs.:CryEngine 3, United Command System, BH_Graph, BigWorld 2 2. Project:A distributed simulation system for tactic training 2010.09 Responsibilities:Coding logics for some kind of troops on both server side and client side. – Applied Techs.:United Command System, BH_Graph 2011.05 3. -
January 2010
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. -
Localization Tools in General Purpose Game Engines: a Systematic Mapping Study
Hindawi International Journal of Computer Games Technology Volume 2021, Article ID 9979657, 15 pages https://doi.org/10.1155/2021/9979657 Review Article Localization Tools in General Purpose Game Engines: A Systematic Mapping Study Marcus Toftedahl Division of Game Development, University of Skövde, Skövde, Sweden Correspondence should be addressed to Marcus Toftedahl; [email protected] Received 31 March 2021; Accepted 5 July 2021; Published 23 July 2021 Academic Editor: Cristian A. Rusu Copyright © 2021 Marcus Toftedahl. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. This paper addresses localization from a game development perspective by studying the state of tool support for a localization work in general purpose game engines. Using a systematic mapping study, the most commonly used game engines and their official tool libraries are studied. The results indicate that even though localization tools exists for the game engines included in the study, the visibility, availability, and functionality differ. Localization tools that are user facing, i.e., used to create localization, are scarce while many are tool facing, i.e., used to import localization kits made outside the production pipeline. 1. Introduction tions or specific corporate entities handling functions such as marketing or distribution. This is not always the case with “The world is full of different markets and cultures and, to indie game development, where Pereira and Bernardes [7] maximize profits™[sic], nowadays games are released in sev- note that the structure of indie development is more flexible, eral languages. -
Developing a GIS-Based Visual-Acoustic 3D Simulation for Wind Farm Assessment
ISPRS Int. J. Geo-Inf. 2014, 3, 29-48; doi:10.3390/ijgi3010029 OPEN ACCESS ISPRS International Journal of Geo-Information ISSN 2220-9964 www.mdpi.com/journal/ijgi/ Article Developing a GIS-Based Visual-Acoustic 3D Simulation for Wind Farm Assessment Madeleine Manyoky 1,*, Ulrike Wissen Hayek 1, Kurt Heutschi 2, Reto Pieren 2 and Adrienne Grêt-Regamey 1 1 Planning of Landscape and Urban Systems, Swiss Federal Institute of Technology Zurich, Zurich CH-8093, Switzerland; E-Mails: [email protected] (U.W.H.); [email protected] (A.G.-R.) 2 Empa, Swiss Federal Laboratories for Materials Science and Technology, Duebendorf CH-8600, Switzerland; E-Mails: [email protected] (K.H.); [email protected] (R.P.) * Author to whom correspondence should be addressed; E-Mail: [email protected]; Tel.: +41-44-633-6246; Fax: +41-44-633-1084. Received: 24 November 2013; in revised form: 20 December 2013 / Accepted: 7 January 2014 / Published: 17 January 2014 Abstract: Public landscape impact assessment of renewable energy installations is crucial for their acceptance. Thus, a sound assessment basis is crucial in the implementation process. For valuing landscape perception, the visual sense is the dominant human sensory component. However, the visual sense provides only partial information about our environment. Especially when it comes to wind farm assessments, noise produced by the rotating turbine blades is another major impact factor. Therefore, an integrated visual and acoustic assessment of wind farm projects is needed to allow lay people to perceive their impact adequately. This paper presents an approach of linking spatially referenced auralizations to a GIS-based virtual 3D landscape model. -
The Video Game Asset Pipeline a Pattern Approach to Visualization
The Video Game Asset Pipeline A Pattern Approach to Visualization James Lear Student ID: 91002002 [email protected] The University of the West of England Faculty of Environment and Technology This thesis is submitted for the degree of Doctor of Philosophy March 2021 Director of Studies Supervisor Professor Richard McClatchey Dr Simon Scarle [email protected] [email protected] a Abstract Video games consist of virtual worlds modelled as an approximation of either a real or imaginary environment. The amount of content required to populate the environments for Triple-A (AAA) video games doubles every few years to satisfy the expectations of the end-users. For this reason, the art and design discipline now constitute the maJority of those employed in a video game studio. The artists use Digital Content Creation (DCC) tools to design and create their content; tools not originally designed for video game asset creation. Ultimately the artists require to preview their content in the form of source assets in the runtime environment, the game engine, to ensure they provide an accurate rendering of their original vision. However, there exists a barrier to achieve this workflow; the original source assets are persisted in a proprietary format, information rich to handle future edits, and the final runtime environment requires the assets to be lightweight ready for fast and efficient loading into the game engine. The video game industry has solved this problem by introducing a fast and efficient workflow known as the asset pipeline. The asset pipeline is recognized within video games technology as a general reusable solution to the common problem of converting source assets into their final runtime form as expected by the runtime game engine. -
Light Propagation Volumes in Cryengine 3 Anton Kaplanyan1
Light Propagation Volumes in CryEngine 3 Anton Kaplanyan1 1 [email protected] 1 | P a g e Figure 1. Examples of current technique in CryEngine® 3. Top: Cornell box-like environment, middle left: indoor environment without global illumination, middle right indoor environment with global illumination, bottom: outdoor environment with foliage. Note the indirect lighting in shadow areas. 2 | P a g e 1 Abstract This chapter introduces a new technique for approximating the first bounce of diffuse global illumination in real-time. As diffuse global illumination is very computationally intensive, it is usually implemented only as static precomputed solutions thus negatively affecting game production time. In this chapter we present a completely dynamic solution using spherical harmonics (SH) radiance volumes for light field finite-element approximation, point-based injective volumetric rendering and a new iterative radiance propagation approach. Our implementation proves that it is possible to use this solution efficiently even with current generation of console hardware (Microsoft Xbox® 360, Sony PlayStation® 3). Because this technique does not require any preprocessing stages and fully supports dynamic lighting, objects, materials and view points, it is possible to harmoniously integrate it into an engine as complex as the cross-platform engine CryEngine® 3 with a large set of graphics technologies without requiring additional production time. Additional applications and combinations with existing techniques are dicussed in details in this chapter. 2 Introduction Some details on rendering pipeline of CryEngine 2 and CryEngine 3 G-Buffer 4 could be found in [MITTRING07], [MITTRING09]. However this paper is dedicated to diffuse global illumination solution in the engine.