(SCIENCES BUILDING of TUC) USING GAME ENGINE by Stefan P

Total Page:16

File Type:pdf, Size:1020Kb

(SCIENCES BUILDING of TUC) USING GAME ENGINE by Stefan P DEVELOPMENT OF A LARGE SCALE, SMART, MULTI-PURPOSE VIRTUAL ENVIRONMENT (SCIENCES BUILDING OF TUC) USING GAME ENGINE By Stefan Petrovski Submitted to the Department of Electronics and Computer Engineering Technical University of Crete Examining Committee Dr Aikaterini Mania, Advisor Dr Aggelos Bletsas Dr Antonios Deligiannakis 1 Table of Contents 1 Introduction ................................................................................................... 9 1.1 Thesis Outline ....................................................................................................................... 11 2 Technical Background ................................................................................... 13 2.1 Introduction .......................................................................................................................... 13 2.2 3D computer graphics .......................................................................................................... 13 2.2.1 Modeling ........................................................................................................................... 14 2.2.2 Layout and animation ....................................................................................................... 14 2.2.3 Rendering.......................................................................................................................... 14 2.3 3D Models ............................................................................................................................. 14 2.3.1 Modelling Process ............................................................................................................. 15 2.4 Texturing – Importance of texture maps ............................................................................. 16 2.5 Game Engines ....................................................................................................................... 20 2.5.1 Game Engine Components ............................................................................................... 21 2.6 Three Modern Game Engines ............................................................................................... 21 2.6.1 Unity 3D ............................................................................................................................ 22 2.6.2 Torque 3D ......................................................................................................................... 22 2.6.3 Unreal Development Kit (UDK) ......................................................................................... 22 3 Software Architecture and Development Framework .................................... 24 3.1 Unreal Development Kit ....................................................................................................... 24 3.1.1 Rendering Engine .............................................................................................................. 24 3.1.2 Sound Engine .................................................................................................................... 25 3.1.3 Physics Engine ................................................................................................................... 25 3.1.4 Unreal Editor ..................................................................................................................... 25 3.1.5 Unreal Kismet ................................................................................................................... 28 3.1.6 Material Editor .................................................................................................................. 29 3.1.7 Sound Editor ..................................................................................................................... 30 3.1.8 Unreal Matinee ................................................................................................................. 31 3.1.9 Unreal Lightmass .............................................................................................................. 31 3.2 UnrealScript .......................................................................................................................... 32 3.2.1 The Unreal Virtual Machine .............................................................................................. 33 3.2.2 Class Hierarchy.................................................................................................................. 34 3.2.3 Timers ............................................................................................................................... 35 2 3.2.4 States ................................................................................................................................ 36 3.2.5 Interfaces .......................................................................................................................... 36 3.2.6 UnrealScript Compiler....................................................................................................... 37 3.2.7 UnrealScript Programming Strategy ................................................................................. 37 3.2.8 Configuration Files ............................................................................................................ 38 3.2.9 DLL Files ............................................................................................................................ 39 3.2.10 Input Manager .............................................................................................................. 39 3.2.11 Materials in UDK ........................................................................................................... 40 3.3 Scaleform GFx ....................................................................................................................... 41 3.3.1 Flash Applications ............................................................................................................. 43 3.3.2 Authoring Environment for Interactive Content............................................................... 44 3.3.3 ActionScript 3.0................................................................................................................. 45 3.4 Connection of the Graphical User Interfaces (GUIs) with the Application ......................... 47 3.4.1 Connecting using Kismet:.................................................................................................. 48 3.4.2 Connecting using - Unrealscript: ....................................................................................... 48 3.5 Autodesk 3ds Max ................................................................................................................ 49 3.5.1 Predefined primitives ....................................................................................................... 50 3.6 Setting up the Environment ................................................................................................. 51 3.6.1 Setting up Scaleform GFx .................................................................................................. 51 3.6.2 Setting up Microsoft Visual Studio with nFringe .............................................................. 52 4 Virtual Environment Creation ....................................................................... 53 4.1 World Geometry ................................................................................................................... 53 4.1.1 BSP .................................................................................................................................... 57 4.1.2 Static Meshes .................................................................................................................... 58 4.1.3 Importing the Static Meshes ............................................................................................. 62 4.2 Materials ............................................................................................................................... 64 4.2.1 Textures Vs Materials ....................................................................................................... 64 4.2.2 Textures ............................................................................................................................ 64 4.2.3 Material Creation .............................................................................................................. 65 4.3 Doors ..................................................................................................................................... 67 5 Functionality Creation (Scripting) .................................................................. 70 5.1 The Three Fundamental Classes ........................................................................................... 70 5.2 Application Data ................................................................................................................... 74 5.3 Detecting Focused Actors ..................................................................................................... 77 3 5.4 Lifts ........................................................................................................................................ 79 5.5 Menu System ........................................................................................................................ 98 5.6 Heads-Up Display (HUD)....................................................................................................
Recommended publications
  • Die Kulturelle Aneignung Des Spielraums. Vom Virtuosen Spielen
    Alexander Knorr Die kulturelle Aneignung des Spielraums Vom virtuosen Spielen zum Modifizieren und zurück Ausgangspunkt Obgleich der digital divide immer noch verhindert, dass Computerspiele zu ge- nuin globalen Gütern werden, wie es etwa der Verbrennungsmotor, die Ka- laschnikow, Hollywoodikonen, Aspirin und Coca Cola längst sind, sprengt ihre sich nach wie vor beschleunigende Verbreitung deutlich geografische, natio- nale, soziale und kulturelle Schranken. In den durch die Internetinfrastruktur ermöglichten konzeptuellen Kommunikations- und Interaktionsräumen sind Spieler- und Spielkulturen wesentlich verortet, welche weiten Teilen des öf- fentlichen Diskurses fremd und unverständlich erscheinen, insofern sie über- haupt bekannt sind. Durch eine von ethnologischen Methoden und Konzepten getragene, lang andauernde und nachhaltige Annäherung ¯1 an transnational zusammengesetzte Spielergemeinschaften werden die kulturell informierten Handlungen ihrer Mitglieder sichtbar und verstehbar. Es erschließen sich so- ziale Welten geteilter Werte, Normen, Vorstellungen, Ideen, Ästhetiken und Praktiken – Kulturen eben, die wesentlich komplexer, reichhaltiger und viel- schichtiger sind, als der oberflächliche Zaungast es sich vorzustellen vermag. Der vorliegende Artikel konzentriert sich auf ein, im Umfeld prototypischer First-Person-Shooter – genau dem Genre, das im öffentlichen Diskurs beson- ders unter Beschuss steht – entstandenes Phänomen: Die äußerst performativ orientierte Kultur des trickjumping. Nach einer Einführung in das ethnologische
    [Show full text]
  • User Instructions
    HOW TO PLAY WALKTHROUGH REFERENCE & ANALYSIS A EXTRAS USER INSTRUCTIONS MAP: FLORENCE PRESENT 01 SEQUENCE 01 SEQUENCE 02 MAP: TUSCANY SEQUENCE 03 SEQUENCE 04 WALKTHROUGH MAPS: LEGEND SEQUENCE 05 The two main icons used on our maps are the same as those used in the game, ensuring instant MAP: ROMAGNA identification. SEQUENCE 06 ICON REPRESENTS PRESENT 02 Viewpoint USER INSTRUCTIONS MAP: VENICE Codex Pages SEQUENCE 07 Before you go any further, take a few seconds to familiarize yourself with the structure and SEQUENCE 08 systems used in the Walkthrough chapter with this simple illustrated guide. SEQUENCE 09 Overview maps – Whenever you have access to a new region in the game, you will find A a corresponding overview map in the guide. Each of these provides a top-down view of the SEQUENCE 10 entire location, with lines marking the borders of individual districts within larger cities. To avoid potential spoilers, and because practically all collectibles and points of interest already SEQUENCE 11 appear on the in-game maps, our maps are designed purely as an aid to easy navigation, with annotations used only to document notable landmarks, viewpoints and Codex Pages (see SEQUENCE 14 “Walkthrough Maps: Legend” text box) – the latter being a special collectible required to complete the game. We cover other items of note in the Extras chapter. PRESENT 03 Left-hand pages: main walkthrough – The main walkthrough guides you through every B main Memory (for which, read: mission) in the story. It has been written to offer just the right amount of knowledge required to successfully complete all missions, but without giving too much away.
    [Show full text]
  • Game Manual Contents
    GAME MANUAL CONTENTS PREFACE 9 HISTORICAL INTRODUCTION 9 WHAT IS COMMAND? 13 1. INSTALLATION 14 1.1. System Requirements 14 1.2. Support 15 1.3. Notes for Multitaskers and Returning Players 16 2. INTRODUCTION TO COMMAND 16 2.1 Important Terms 19 2.2 Fundamentals 22 2.2.1 Starting COMMAND 22 3. USER INTERFACE 27 3.1. The Globe Display 27 Message Log 32 Time Step Buttons 33 3.2. Mouse Functions 33 3.3 Buttons and Windows 35 3.3.1 Engage Target(s) - Auto 35 3.3.2 Engage Target(s) - Manual 35 3.3.3 Plot Course 38 3.3.4 Throttle and Altitude 38 3.3.5 Formation Editor 40 3.3.6 Magazines 41 3.3.7 Air Operations 42 3.3.8 Boat Operations 45 3.3.9 Mounts and Weapons 47 3.3.10 Sensors 48 3.3.11 Systems and Damage 49 3.3.12 Doctrine 50 3.3.13 General 51 STRATEGIC 51 3.3.14 EMCON Tab 59 3.3.15 WRA Tab 61 3.3.16 Withdraw/Redeploy Tab 64 3.3.17 Mission Editor 65 4. MENUS AND DIALOGS 66 4.1 Right Click on Unit/ Context Dialog 66 4.1.1 Attack Options 66 4.1.2 ASW-specific Actions: 68 4.1.3 Context Menu, Cont. 69 4.1.4 Group Operations: 70 4.1.5 Scenario Editor: 71 4.2 Control Right Click on Map Dialog 72 4.3 Units, Groups and Weapons Symbols 72 4.4 Group Mode and Unit View Mode 74 4.5 Right Side Information Panel 75 4.5.1 Unit Status Dialog 75 4.5.2 Sensors Button 79 4.5.3 Weapon Buttons 80 4.5.4 Unit Fuel 80 4.5.5 Unit Alt/Speed 80 4.5.6 Unit Fuel 80 4.5.7 Unit EMCON 81 4.5.8 Doctrine 81 4.5.9 Doctrines, Postures, Weapons Release Authority, and Rules of Engagement 81 5.
    [Show full text]
  • Air-To-Ground Battle for Italy
    Air-to-Ground Battle for Italy MICHAEL C. MCCARTHY Brigadier General, USAF, Retired Air University Press Maxwell Air Force Base, Alabama August 2004 Air University Library Cataloging Data McCarthy, Michael C. Air-to-ground battle for Italy / Michael C. McCarthy. p. ; cm. Includes bibliographical references and index. ISBN 1-58566-128-7 1. World War, 1939–1945 — Aerial operations, American. 2. World War, 1939– 1945 — Campaigns — Italy. 3. United States — Army Air Forces — Fighter Group, 57th. I. Title. 940.544973—dc22 Disclaimer Opinions, conclusions, and recommendations expressed or implied within are solely those of the author and do not necessarily represent the views of Air University, the United States Air Force, the Department of Defense, or any other US government agency. Cleared for public release: distribution unlimited. Air University Press 131 West Shumacher Avenue Maxwell AFB AL 36112–6615 http://aupress.maxwell.af.mil ii Contents Chapter Page DISCLAIMER . ii FOREWORD . v ABOUT THE AUTHOR . vii PREFACE . ix INTRODUCTION . xi Notes . xiv 1 GREAT ADVENTURE BEGINS . 1 2 THREE MUSKETEERS TIMES TWO . 11 3 AIR-TO-GROUND BATTLE FOR ITALY . 45 4 OPERATION STRANGLE . 65 INDEX . 97 Photographs follow page 28 iii THIS PAGE INTENTIONALLY LEFT BLANK Foreword The events in this story are based on the memory of the author, backed up by official personnel records. All survivors are now well into their eighties. Those involved in reconstructing the period, the emotional rollercoaster that was part of every day and each combat mission, ask for understanding and tolerance for fallible memories. Bruce Abercrombie, our dedicated photo guy, took most of the pictures.
    [Show full text]
  • HELP from ABOVE Air Force Close Air
    HELP FROM ABOVE Air Force Close Air Support of the Army 1946–1973 John Schlight AIR FORCE HISTORY AND MUSEUMS PROGRAM Washington, D. C. 2003 i Library of Congress Cataloging-in-Publication Data Schlight, John. Help from above : Air Force close air support of the Army 1946-1973 / John Schlight. p. cm. Includes bibliographical references and index. 1. Close air support--History--20th century. 2. United States. Air Force--History--20th century. 3. United States. Army--Aviation--History--20th century. I. Title. UG703.S35 2003 358.4'142--dc22 2003020365 ii Foreword The issue of close air support by the United States Air Force in sup- port of, primarily, the United States Army has been fractious for years. Air commanders have clashed continually with ground leaders over the proper use of aircraft in the support of ground operations. This is perhaps not surprising given the very different outlooks of the two services on what constitutes prop- er air support. Often this has turned into a competition between the two serv- ices for resources to execute and control close air support operations. Although such differences extend well back to the initial use of the airplane as a military weapon, in this book the author looks at the period 1946- 1973, a period in which technological advances in the form of jet aircraft, weapons, communications, and other electronic equipment played significant roles. Doctrine, too, evolved and this very important subject is discussed in detail. Close air support remains a critical mission today and the lessons of yesterday should not be ignored. This book makes a notable contribution in seeing that it is not ignored.
    [Show full text]
  • James Overton V Software Systems Engineer, Sensei, Inventrepreneur San Diego, CA | [email protected] | Senseijames.Com | [email protected] | (858) 568-3605
    James Overton V Software Systems Engineer, Sensei, Inventrepreneur San Diego, CA | [email protected] | senseijames.com | [email protected] | (858) 568-3605 Software craftsman; tech guru; interface designer; overachiever; asset in any work environment. I love working with those who share my vision and passion. AT A GLANCE: Software Engineering – Gaming, Application & Web Development: agile methods, Kaizen, and building scalable, robust systems Languages JavaScript / ES10 | TypeScript | HTML5 / CSS3 | ActionScript 3.0 | C / C++ Java | PHP | MXML | XML | UML Runtimes native, browser, Cordova, Flash platform (browser, AIR for desktop & mobile), Scaleform GFx player, JRE, Apache (WAMP/LAMP stacks), Tomcat Tools & Development IntelliJ, Eclipse IDE, Flash Authoring Environment, Flash Environments Builder, FlashDevelop, Sothink (SWF decompiler), Android Studio, DDMS, command line/terminal emulators, GCC, GDB, make, text editors (x/emacs/vi), Charles, version control (git, SVN, CVS, perforce) Frameworks & Angular (10), AngularJS, Ionic, Node.js, Vue, Flex SDK Libraries 4.8, AIR SDK 3.2, Starling, Nape, Android SDK, J2SE/EE, Java Server Pages, STL, Zend Framework, Jasmine Web Design – integrating function with design and appeal with clarity of vision in building interactive, standards compliant, cross-browser compatible web sites Languages HTML | CSS | JavaScript | ActionScript 3.0 | XML | JSON Tools Browser, Flash, DreamWeaver, Photoshop, Fireworks, FileZilla, text editor Sample work americaspharmacy.com | hohm.life/book | babysenses.me |
    [Show full text]
  • Adding Anticipation to a Quakebot
    From: AAAI Technical Report SS-00-02. Compilation copyright © 2000, AAAI (www.aaai.org). All rights reserved. It Knows What You’re Going To Do: Adding Anticipation to a Quakebot John E. Laird University of Michigan 1101 Beal Ave. Ann Arbor, Michigan 48109-2110 [email protected] Abstract hyperblaster first and directly confront the enemy, The complexity of AI characters in computer games is expecting that your better firepower will win the day. continually improving; however they still fall short of Each of these tactics can be added manually for specific human players. In this paper we describe an AI bot for the locations in a specific level of a game. We could add tests game Quake II that tries to incorporate some of those that if the bot is ever in a specific location on a specific missing capabilities. This bot is distinguished by its ability level and hears a specific sound (the sound of the enemy to build its own map as it explores a level, use a wide picking up a weapon), then it should set an ambush by a variety of tactics based on its internal map, and in some specific door. Unfortunately, this approach requires a cases, anticipate its opponent's actions. The bot was developed in the Soar architecture and uses dynamical tremendous effort to create a large number of tactics that hierarchical task decomposition to organize it knowledge work only for the specific level. and actions. It also uses internal prediction based on its own Instead of trying to encode behaviors for each of these tactics to anticipate its opponent's actions.
    [Show full text]
  • Frequently Asked Questions and Errata V1.2 Adeptus Titanicus Rulebook
    FREQUENTLY ASKED QUESTIONS AND ERRATA V1.2 Although we strive to ensure that our rules are perfect, sometimes mistakes do creep in, or the intent of a rule isn’t as clear as it could be. This document collects together amendments to the rules and presents our responses to players’ frequently asked questions. We’ve also taken the opportunity to listen to player feedback and to update several rules accordingly. As they’re updated regularly, each has a version number; when changes are made, the version number will be updated, and any changes from the previous version will be highlighted in magenta. ADEPTUS TITANICUS RULEBOOK – ERRATA Page 46 – Banners in the Movement Phase Add the following paragraph: Page 33 – Combat Sequence Summary box-out Add the following to the end of step 6: “If acting under Charge orders, a Knight Banner works differently than a Titan. While acting under Charge orders, “…you wish to attack with.” models in a Knight Banner are unable to change direction once they start moving and can only move in a straight line. Page 33 – The Combat Sequence. However, once they have finished moving, each Knight that The second paragraph should read: is within range can immediately make either a Smash Attack (see page 36 of the Adeptus Titanicus rulebook) against units “When a unit is activated it may attack with all of its weapons, that are of the same Scale or a smaller Scale than themselves, following these steps:” or an attack with a weapon that has the Melee trait regardless of Scale. For each full 3" that the Banner moved before Page 38 – Blast attacking, one Knight may add 1 to the Dice value of one of its The final sentence of the first paragraph should read: weapons.” “If it is not within range, do not roll To Hit.
    [Show full text]
  • IDN Authoring Tools Resource
    Appendix I: Tools Shortlist Yotam Shibolet, Noam Knoller and Hartmut Koenitz Note: This is a copy of the anonymised document posted 25 July 2018 on interactivenarrativedesign.org/ authoringtools/appendix.pdf. It is kept here as a placeholder since its url has been cited in a conference paper. The difference from the original is limited to the addition of the author names above, and the current note. The current project website is at interactivenarrativedesign.org/authoringtools/ Main overview Real-time-animation\game engines All-purpose game engines 1. Corona GUI 2. Construct2 3. CooperCube5 4. Clickteam Fusion 2.5 5. CryEngine V 6. Amazon Lumberyard (based on CryeEngine) 7. GameMaker Studio 2 8. GODOT Game Engine 9. LOVE 10. Ogre3D Game Engine 11. Panda3D 12. Playcanvvas 13. Unity (Plugins: AdventureCreator, Cradle, Danesh, Fungus, Tidy Text Adventures, Vive VR Tookit, Yarn\Yarn Spinner, PSST – mixed-initiative) 14. Unreal (and Blueprint mode) 15. Source (and GoldSource) 16. Shiva Genre-specific game makers 17. AdventureGameStudios 18. Adventjure (Clojure) 19. Bitsy 20. Bladecoder Adventure Engine 21. CANVAS + SWB (Story World Builder) 22. Chatmapper 23. Ensemble 24. Game Salad 25. ITY Studio 26. One-Roll Engine 27. RPG in a Box 28. RPG Maker MV (and the Degica ‘make’r series) 29. Stencyl 30. TIC 80 31. Tinsel 32. ToonTastic 33. Versu 34. Visionaire 35. Wolf RPG Editor Dead Comme-il-Faut Scribe Interactive Drama Architecture Storybricks Engine Hybrid text + graphic tools Visual novel authoring tools 36. Omega Visual Nover Maker 37. Kirikiri\Kirikir Z 38. NScripter 39. Ren’Py 40. RenJS 41. RLDev 42. Tyranobuilder Dead Novelty Other hybrid tools 43.
    [Show full text]
  • Esports Yearbook 2015/16 Esports Yearbook Editors: Julia Hiltscher and Tobias M
    Julia Hiltscher and Tobias M. Scholz eSports Yearbook 2015/16 ESPORTS YEARBOOK Editors: Julia Hiltscher and Tobias M. Scholz Layout: Tobias M. Scholz Cover: Photo: P.Strack, ESL Copyright © 2017 by eSports Yearbook and the Authors of the Articles or Pictures. ISBN: to be announced Production and Publishing House: Books on Demand GmbH, Norderstedt. Printed in Germany 2017 www.esportsyearbook.com eSports Yearbook 2015/16 Editors: Julia Hiltscher and Tobias M. Scholz Contributors: Viktor Barie, Ho Kai Sze Brenda, Isaque Renovato de Araujo, Fernando Por- fírio Soares de Oliveira, Rolf Drenthe, Filbert Goetomo, Christian Esteban Martín Luján, Marc-Andre Messier, Patrick Strack Content Preface 7 by Julia Hiltscher and Tobias M. Scholz Spectating the Rift: A Study into eSports Spectatorship 9 by Ho Kai Sze Brenda Informal Roles within eSport Teams: A Content Analysis of the Game 36 Counter-Strike: Global Offensive by Rolf Drenthe A Turning Point for FPS Games 49 by Marc-André Messier “Reverse-Gamification” Analysis of the Crowding-Out Effects 52 in eSports by Viktor Barie ONLINPCS: From Olympics to Eletrônics 71 by Isaque Renovato de Araujo, Fernando Porfírio Soares de Oliveira eSports in Korea: A Study on League of Legends Team Performances 79 on the Share Price of Owning Corporations by Filbert Goetomo Ergonomics and Videogames: Habits, Diseases and Health 95 Perception of Gamers by Christian Esteban Martín Luján - 6 - Preface By Julia Hiltscher and Tobias M. Scholz You seem to hear it every year: eSports is growing and can be described as a global phenome- non. We are yet once more stunned by events such as Amazon’s purchase of Twitch for nearly 1 billion dollars.
    [Show full text]
  • Beyond Close Air Support Forging a New Air-Ground Partnership
    CHILD POLICY This PDF document was made available CIVIL JUSTICE from www.rand.org as a public service of EDUCATION the RAND Corporation. ENERGY AND ENVIRONMENT HEALTH AND HEALTH CARE Jump down to document6 INTERNATIONAL AFFAIRS NATIONAL SECURITY The RAND Corporation is a nonprofit POPULATION AND AGING research organization providing PUBLIC SAFETY SCIENCE AND TECHNOLOGY objective analysis and effective SUBSTANCE ABUSE solutions that address the challenges TERRORISM AND facing the public and private sectors HOMELAND SECURITY TRANSPORTATION AND around the world. INFRASTRUCTURE Support RAND Purchase this document Browse Books & Publications Make a charitable contribution For More Information Visit RAND at www.rand.org Explore RAND Project AIR FORCE View document details Limited Electronic Distribution Rights This document and trademark(s) contained herein are protected by law as indicated in a notice appearing later in this work. This electronic representation of RAND intellectual property is provided for non- commercial use only. Permission is required from RAND to reproduce, or reuse in another form, any of our research documents. This product is part of the RAND Corporation monograph series. RAND monographs present major research findings that address the challenges facing the public and private sectors. All RAND mono- graphs undergo rigorous peer review to ensure high standards for research quality and objectivity. Beyond Close Air Support Forging a New Air-Ground Partnership Bruce R. Pirnie, Alan Vick, Adam Grissom, Karl P. Mueller, David T. Orletsky Prepared for the United States Air Force Approved for public release; distribution unlimited The research described in this report was sponsored by the United States Air Force under Contract F49642-01-C-0003.
    [Show full text]
  • F-16C, T/N 88-0496
    UNITED STATES AIR FORCE AIRCRAFT ACCIDENT INVESTIGATION BOARD REPORT F-16C, T/N 88-0496 311th FIGHTER SQUADRON 54th FIGHTER GROUP HOLLOMAN AIR FORCE BASE, NEW MEXICO LOCATION: WHITE SANDS MISSILE RANGE, NEW MEXICO DATE OF ACCIDENT: 31 JANUARY 2017 BOARD PRESIDENT: MAJOR GENERAL PATRICK M. WADE Conducted IAW Air Force Instruction 51-503 EXECUTIVE SUMMARY UNITED STATES AIR FORCE AIRCRAFT ACCIDENT INVESTIGATION F-16C, T/N 88-0496 WHITE SANDS MISSILE RANGE, NEW MEXICO 31 JANUARY 2017 On 31 January 2017, at 19:18:31 hours local (L), an F-16C, Tail Number (T/N) 88-0496, fired 155 20mm training projectile bullets on the supporting Joint Terminal Attack Controllers’ (JTAC) position at the Red Rio bombing range (located on the White Sands Missile Range), injuring one military member and killing a civilian contractor. The mishap pilot (MP) and mishap instructor pilot (MIP) were assigned to the 311th fighter squadron, Holloman Air Force Base, New Mexico (NM). The MP was enrolled in the F-16 Formal Training Unit program, flying a night, close-air support (CAS) training sortie under the MIP’s supervision. After a successful bomb pass and two failed strafing attempts, the MP errantly pointed his aircraft at the observation point and fired his gun. One 20mm TP bullet fragment struck the mishap contractor (MC) in the back of the head. A UH-60 aircrew extracted the MC, provided urgent care, and transported him to Alamogordo, NM. The MC died at the hospital at 21:01 hours L. The MP was a USAF First Lieutenant, with 86 total flying hours, 60.9 in the F-16.
    [Show full text]