Guia De Desenvolvimento De Jogos Para Programadores Independentes
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Evolution of Programmable Models for Graphics Engines (High
Hello and welcome! Today I want to talk about the evolution of programmable models for graphics engine programming for algorithm developing My name is Natalya Tatarchuk (some folks know me as Natasha) and I am director of global graphics at Unity I recently joined Unity… 4 …right after having helped ship the original Destiny @ Bungie where I was the graphics lead and engineering architect … 5 and lead the graphics team for Destiny 2, shipping this year. Before that, I led the graphics research and demo team @ AMD, helping drive and define graphics API such as DirectX 11 and define GPU hardware features together with the architecture team. Oh, and I developed a bunch of graphics algorithms and demos when I was there too. At Unity, I am helping to define a vision for the future of Graphics and help drive the graphics technology forward. I am lucky because I get to do it with an amazing team of really talented folks working on graphics at Unity! In today’s talk I want to touch on the programming models we use for real-time graphics, and how we could possibly improve things. As all in the room will easily agree, what we currently have as programming models for graphics engineering are rather complex beasts. We have numerous dimensions in that domain: Model graphics programming lives on top of a very fragmented and complex platform and API ecosystem For example, this is snapshot of all the more than 25 platforms that Unity supports today, including PC, consoles, VR, mobile platforms – all with varied hardware, divergent graphics API and feature sets. -
Cloud-Based Visual Discovery in Astronomy: Big Data Exploration Using Game Engines and VR on EOSC
Novel EOSC services for Emerging Atmosphere, Underwater and Space Challenges 2020 October Cloud-Based Visual Discovery in Astronomy: Big Data Exploration using Game Engines and VR on EOSC Game engines are continuously evolving toolkits that assist in communicating with underlying frameworks and APIs for rendering, audio and interfacing. A game engine core functionality is its collection of libraries and user interface used to assist a developer in creating an artifact that can render and play sounds seamlessly, while handling collisions, updating physics, and processing AI and player inputs in a live and continuous looping mechanism. Game engines support scripting functionality through, e.g. C# in Unity [1] and Blueprints in Unreal, making them accessible to wide audiences of non-specialists. Some game companies modify engines for a game until they become bespoke, e.g. the creation of star citizen [3] which was being created using Amazon’s Lumebryard [4] until the game engine was modified enough for them to claim it as the bespoke “Star Engine”. On the opposite side of the spectrum, a game engine such as Frostbite [5] which specialised in dynamic destruction, bipedal first person animation and online multiplayer, was refactored into a versatile engine used for many different types of games [6]. Currently, there are over 100 game engines (see examples in Figure 1a). Game engines can be classified in a variety of ways, e.g. [7] outlines criteria based on requirements for knowledge of programming, reliance on popular web technologies, accessibility in terms of open source software and user customisation and deployment in professional settings. -
Moving from Unity to Godot an In-Depth Handbook to Godot for Unity Users
Moving from Unity to Godot An In-Depth Handbook to Godot for Unity Users Alan Thorn Moving from Unity to Godot: An In-Depth Handbook to Godot for Unity Users Alan Thorn High Wycombe, UK ISBN-13 (pbk): 978-1-4842-5907-8 ISBN-13 (electronic): 978-1-4842-5908-5 https://doi.org/10.1007/978-1-4842-5908-5 Copyright © 2020 by Alan Thorn This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Trademarked names, logos, and images may appear in this book. Rather than use a trademark symbol with every occurrence of a trademarked name, logo, or image we use the names, logos, and images only in an editorial fashion and to the benefit of the trademark owner, with no intention of infringement of the trademark. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. While the advice and information in this book are believed to be true and accurate at the date of publication, neither the authors nor the editors nor the publisher can accept any legal responsibility for any errors or omissions that may be made. -
Game Engine Review
Game Engine Review Mr. Stuart Armstrong 12565 Research Parkway, Suite 350 Orlando FL, 32826 USA [email protected] ABSTRACT There has been a significant amount of interest around the use of Commercial Off The Shelf products to support military training and education. This paper compares a number of current game engines available on the market and assesses them against potential military simulation criteria. 1.0 GAMES IN DEFENSE “A game is a system in which players engage in an artificial conflict, defined by rules, which result in a quantifiable outcome.” The use of games for defence simulation can be broadly split into two categories – the use of game technologies to provide an immersive and flexible military training system and a “serious game” that uses game design principles (such as narrative and scoring) to deliver education and training content in a novel way. This talk and subsequent education notes focus on the use of game technologies, in particular game engines to support military training. 2.0 INTRODUCTION TO GAMES ENGINES “A games engine is a software suite designed to facilitate the production of computer games.” Developers use games engines to create games for games consoles, personal computers and growingly mobile devices. Games engines provide a flexible and reusable development toolkit with all the core functionality required to produce a game quickly and efficiently. Multiple games can be produced from the same games engine, for example Counter Strike Source, Half Life 2 and Left 4 Dead 2 are all created using the Source engine. Equally once created, the game source code can with little, if any modification be abstracted for different gaming platforms such as a Playstation, Personal Computer or Wii. -
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. -
Volumetric Real-Time Smoke and Fog Effects in the Unity Game Engine
Volumetric Real-Time Smoke and Fog Effects in the Unity Game Engine A Technical Report presented to the faculty of the School of Engineering and Applied Science University of Virginia by Jeffrey Wang May 6, 2021 On my honor as a University student, I have neither given nor received unauthorized aid on this assignment as defined by the Honor Guidelines for Thesis-Related Assignments. Jeffrey Wang Technical advisor: Luther Tychonievich, Department of Computer Science Volumetric Real-Time Smoke and Fog Effects in the Unity Game Engine Abstract Real-time smoke and fog volumetric effects were created in the Unity game engine by combining volumetric lighting systems and GPU particle systems. A variety of visual effects were created to demonstrate the features of these effects, which include light scattering, absorption, high particle count, and performant collision detection. The project was implemented by modifying the High Definition Render Pipeline and Visual Effect Graph packages for Unity. 1. Introduction Digital media is constantly becoming more immersive, and our simulated depictions of reality are constantly becoming more realistic. This is thanks, in large part, due to advances in computer graphics. Artists are constantly searching for ways to improve the complexity of their effects, depict more realistic phenomena, and impress their audiences, and they do so by improving the quality and speed of rendering – the algorithms that computers use to transform data into images (Jensen et al. 2010). There are two breeds of rendering: real-time and offline. Offline renders are used for movies and other video media. The rendering is done in advance by the computer, saved as images, and replayed later as a video to the audience. -
Webgl: the Standard, the Practice and the Opportunity Web3d Conference August 2012
WebGL: The Standard, the Practice and the Opportunity Web3D Conference August 2012 © Copyright Khronos Group 2012 | Page 1 Agenda and Speakers • 3D on the Web and the Khronos Ecosystem - Neil Trevett, NVIDIA and Khronos Group President • Hands On With WebGL - Ken Russell, Google and WebGL Working Group Chair © Copyright Khronos Group 2012 | Page 2 Khronos Connects Software to Silicon • Khronos APIs define processor acceleration capabilities - Graphics, video, audio, compute, vision and sensor processing APIs developed today define the functionality of platforms and devices tomorrow © Copyright Khronos Group 2012 | Page 3 APIs BY the Industry FOR the Industry • Khronos standards have strong industry momentum - 100s of man years invested by industry leading experts - Shipping on billions of devices and multiple operating systems • Khronos is OPEN for any company to join and participate - Standards are truly open – one company, one vote - Solid legal and Intellectual Property framework for industry cooperation - Khronos membership fees to cover expenses • Khronos APIs define core device acceleration functionality - Low-level “Foundation” functionality needed on every platform - Rigorous conformance tests for cross-vendor consistency • They are FREE - Members agree to not request royalties Silicon Software © Copyright Khronos Group 2012 | Page 4 Apple Over 100 members – any company worldwide is welcome to join Board of Promoters © Copyright Khronos Group 2012 | Page 5 API Standards Evolution WEB INTEROP, VISION MOBILE AND SENSORS DESKTOP OpenVL New API technology first evolves on high- Mobile is the new platform for Apps embrace mobility’s end platforms apps innovation. Mobile unique strengths and need Diverse platforms – mobile, TV, APIs unlock hardware and complex, interoperating APIs embedded – mean HTML5 will conserve battery life with rich sensory inputs become increasingly important e.g. -
Found in Translation
Monaco: What’s Yours is Mine Interpreting Feedback and Maintaining Your Vision “Design is a plan for arranging elements in such a way as best to accomplish a particular purpose” - Charles Eames Monaco: What’s Yours is Mine • Released: – April 24th, 2013 • Platforms – Windows – Mac – Linux – Xbox 360 Best Idea Ever!!! + Feedback “That’s the worst idea I’ve ever heard.” – Andy Schatz “You’re going to injure yourself.” – Andy Schatz “You’re the most retarded person I’ve ever met.” – Andy Schatz Part 1 INTERPRETING FEEDBACK Beta Questionnaire 1. What did you like? 2. What didn’t you like? 3. What confused you? 3 MOST COMMON FEEDBACK 1. Did not like LOS • Wanted to plan more • Traditional Stealth “Observe your enemies from afar, manipulate them with your tools, and execute your plan with precision” – Mark of the Ninja 2. Did not like Random AI • Wanted AI patterns • “Solve” the game 3. Did not like lack of failure • Wanted strict punishment • Mandatory stealth • Rewards “ghosting” Monaco’s Design Goals • Unpredictability • Improvisation • Emotional Range What did Pocketwatch do? 1. Kept the LOS 2. Kept Guard AI 3. Cannot Ghost Change the Narrative 3 INDUSTRY EXAMPLES 1. Journey • Journey friend invites – “I want to talk with my friend” What did thatgamecompany do? • “We want friend chat” • Removed friend invites 2. Borderlands • Feedback on Skag Gully – “This isn’t fun” – “Too many enemies” What did Gearbox do? • “Too many enemies” • 3x number of enemies • Became a “Combat Zone” 3. World of Warcraft • Fatigue XP • Player’s HATED it • Punished -
Game Developer Magazine
>> INSIDE: 2007 AUSTIN GDC SHOW PROGRAM SEPTEMBER 2007 THE LEADING GAME INDUSTRY MAGAZINE >>SAVE EARLY, SAVE OFTEN >>THE WILL TO FIGHT >>EXCLUSIVE INTERVIEW MAKING SAVE SYSTEMS FOR CHANGING GAME STATES HARVEY SMITH ON PLAYERS, NOT DESIGNERS IN PANDEMIC’S SABOTEUR POLITICS IN GAMES POSTMORTEM: PUZZLEINFINITE INTERACTIVE’S QUEST DISPLAY UNTIL OCTOBER 11, 2007 Using Autodeskodesk® HumanIK® middle-middle- Autodesk® ware, Ubisoftoft MotionBuilder™ grounded ththee software enabled assassin inn his In Assassin’s Creed, th the assassin to 12 centuryy boots Ubisoft used and his run-time-time ® ® fl uidly jump Autodesk 3ds Max environment.nt. software to create from rooftops to a hero character so cobblestone real you can almost streets with ease. feel the coarseness of his tunic. HOW UBISOFT GAVE AN ASSASSIN HIS SOUL. autodesk.com/Games IImmagge cocouru tteesyy of Ubiisofft Autodesk, MotionBuilder, HumanIK and 3ds Max are registered trademarks of Autodesk, Inc., in the USA and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. © 2007 Autodesk, Inc. All rights reserved. []CONTENTS SEPTEMBER 2007 VOLUME 14, NUMBER 8 FEATURES 7 SAVING THE DAY: SAVE SYSTEMS IN GAMES Games are designed by designers, naturally, but they’re not designed for designers. Save systems that intentionally limit the pick up and drop enjoyment of a game unnecessarily mar the player’s experience. This case study of save systems sheds some light on what could be done better. By David Sirlin 13 SABOTEUR: THE WILL TO FIGHT 7 Pandemic’s upcoming title SABOTEUR uses dynamic color changes—from vibrant and full, to black and white film noir—to indicate the state of allied resistance in-game. -
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165 Lecture Notes 1 - Game Engines Csc 165 Computer Game Architecture Basic Game Structure
CSc 165 Lecture Notes 1 - Game Engines CSc 165 Computer Game Architecture Basic Game Structure Start while (!gameOver) Initialize system Player Input Initialize 1 - Game Engines game One iteration Game Main Logic Update Loop = 1 Frame Shutdown Render Exit “Tightly-coupled” game loop 2 CSc 165 Lecture Notes CSc 165 Lecture Notes 1 - Game Engines 1 - Game Engines Game ENGINE Typical Game Engine Functions A reusable collection of modules . Independent of any particular Game Logic • Simulation of elapsed time • View (camera) control . Encapsulates platform dependencies • Scene Management • Input handling o Objects, geometry details . Possible because all games have things in common • Sound generation • Rendering • Network communication • Collision Detection/Handling Game Application Logic o Physics simulation • Special effects • Lights, Shadows, Textures o Explosions, fire, … Game Engine Player 3 4 CSc 165 Lecture Notes CSc 165 Lecture Notes 1 - Game Engines 1 - Game Engines Game Engine Design Some Game Engines Game Application Logic o Unity o jMonkey o Unreal o OGRE o Hero Engine o Quake <<interface>> <<interface>> <<interface>> <<interface>> … other RenderSystem Input Audio Networking o CryEngine o Lumberyard o Blender (Amazon) o Game Engine o Panda 3D Torque 3D Network o LeadWerks o SAGE For an expanded list see: http://en.wikipedia.org/wiki/List_of_game_engines 5 6 CSc 165 Lecture Notes CSc 165 Lecture Notes 1 - Game Engines 1 - Game Engines RAGE : “Raymond’s Awesome Game Engine” Abstracting Game Structure A collection of Java packages -
14 CFR Part 25
Pt. 25 14 CFR Ch. I (1–1–13 Edition) TABLE I.—HIRF ENVIRONMENT I (5) From 400 MHz to 8 gigahertz (GHz), use radiated susceptibility tests at a minimum Field strength of 150 V/m peak with pulse modulation of 4 Frequency (volts/meter) percent duty cycle with a 1 kHz pulse repeti- Peak Average tion frequency. This signal must be switched on and off at a rate of 1 Hz with a duty cycle 10 kHz–2 MHz ................................... 50 50 of 50 percent. 2 MHz–30 MHz ................................. 100 100 (d) Equipment HIRF Test Level 2. Equipment 30 MHz–100 MHz ............................. 50 50 HIRF test level 2 is HIRF environment II in 100 MHz–400 MHz ........................... 100 100 table II of this appendix reduced by accept- 400 MHz–700 MHz ........................... 700 50 able aircraft transfer function and attenu- 700 MHz–1 GHz ................................ 700 100 ation curves. Testing must cover the fre- GHz–2 GHz ....................................... 2,000 200 2 GHz–6 GHz .................................... 3,000 200 quency band of 10 kHz to 8 GHz. 6 GHz–8 GHz .................................... 1,000 200 (e) Equipment HIRF Test Level 3. (1) From 10 8 GHz–12 GHz .................................. 3,000 300 kHz to 400 MHz, use conducted susceptibility 12 GHz–18 GHz ................................ 2,000 200 tests, starting at a minimum of 0.15 mA at 10 18 GHz–40 GHz ................................ 600 200 kHz, increasing 20 dB per frequency decade In this table, the higher field strength applies at the fre- to a minimum of 7.5 mA at 500 kHz. quency band edges. (2) From 500 kHz to 40 MHz, use conducted susceptibility tests at a minimum of 7.5 mA.