Comparison of SAGE, Gamebryo and Unreal Engine 3
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Audio Middleware the Essential Link from Studio to Game Design
AUDIONEXT B Y A LEX A N D E R B R A NDON Audio Middleware The Essential Link From Studio to Game Design hen I first played games such as Pac Man and GameCODA. The same is true of Renderware native audio Asteroids in the early ’80s, I was fascinated. tools. One caveat: Criterion is now owned by Electronic W While others saw a cute, beeping box, I saw Arts. The Renderware site was last updated in 2005, and something to be torn open and explored. How could many developers are scrambling to Unreal 3 due to un- these games create sounds I’d never heard before? Back certainty of Renderware’s future. Pity, it’s a pretty good then, it was transistors, followed by simple, solid-state engine. sound generators programmed with individual memory Streaming is supported, though it is not revealed how registers, machine code and dumb terminals. Now, things it is supported on next-gen consoles. What is nice is you are more complex. We’re no longer at the mercy of 8-bit, can specify whether you want a sound streamed or not or handing a sound to a programmer, and saying, “Put within CAGE Producer. GameCODA also provides the it in.” Today, game audio engineers have just as much ability to create ducking/mixing groups within CAGE. In power to create an exciting soundscape as anyone at code, this can also be taken advantage of using virtual Skywalker Ranch. (Well, okay, maybe not Randy Thom, voice channels. but close, right?) Other than SoundMAX (an older audio engine by But just as a single-channel strip on a Neve or SSL once Analog Devices and Staccato), GameCODA was the first baffled me, sound-bank manipulation can baffle your audio engine I’ve seen that uses matrix technology to average recording engineer. -
T I S ^ E ' Cottons CUSTOMIZED KITCHENS 0^
: : ' I '■ ;:'vV WEDKBBDAY, FEBRUARY 2,.lO li' JL ffba Wahtlkir tfnnrlrrBtpr Eurntog frrtJh Avenga Dnflr KsC Prsss Ron I at P. a WsaBSa rue tha fairth •« ill- •■t. iWk t \ ^ 9 , 6 8 0 lawet by aaow aarty FtMay; e of «ka AniH FYMay, mow amy ebaago «a i lul Town / I V. ManehtSner— A tity of Vittage Charm midbi t I m k Pwxda’t Vuflon nMOtben t» iDMt tUa ave* MANCHESTER, CONN„ THURSDAY, FEBRUARY 3,1949 PRKJE FOUR CENTS StatTjO at the 8^^" VOL. LX \T n„ NO. 105 (TWENTY PAGES) AtMy cltaC^l. where they wli) SMART YOUNO H O ifB M leave for a lobogfan party. 'I ( . ■ ■ The 0* Troop 16, Olrl President Congratulates Retiring Generals floouta, wm ba omitted thto week. ENTIRTAIN IN Sharp Partisan Rows The next meeting held World Gets Notice . Thuraday, Fhbniary 10, under the l c a ! 3 e ^ 0* Mia. Lealle Hoyt and SaT^tawrence MacQUpln, In T IA P A R T Y St. Jamaa’a adUwl hall. RedMove Will Not •In Senate and House An Important btialneae meeting a t the CoamopoHtan Club will b e , held Friday attemoon at two Be Let Hurt Unity o'clock In the Federation room of j center church houae, when the | mambera will vote on the revtaed i On Budget, Housing by-lawa. A talk on the “Ro- Real ^Significance Seen ^nen of Silver” wlU foUow the, Norway’s Own — Imalneaa aenlon, and a large at In Acheson’s Rejec tendance of merabera le hoped for. tion of Stalin’s' Lat Democratic Floor Lead Mra. -
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. -
Evaluating Game Technologies for Training Dan Fu, Randy Jensen Elizabeth Hinkelman Stottler Henke Associates, Inc
Appears in Proceedings of the 2008 IEEE Aerospace Conference, Big Sky, Montana. Evaluating Game Technologies for Training Dan Fu, Randy Jensen Elizabeth Hinkelman Stottler Henke Associates, Inc. Galactic Village Games, Inc. 951 Mariners Island Blvd., Suite 360 119 Drum Hill Rd., Suite 323 San Mateo, CA 94404 Chelmsford, MA 01824 650-931-2700 978-692-4284 {fu,jensen}@stottlerhenke.com [email protected] Abstract —In recent years, videogame technologies have Given that pre-existing software can enable rapid, cost- become more popular for military and government training effective game development with potential reuse of content purposes. There now exists a multitude of technology for training applications, we discuss a first step towards choices for training developers. Unfortunately, there is no structuring the space of technology platforms with respect standard set of criteria by which a given technology can be to training goals. The point of this work isn’t so much to evaluated. In this paper we report on initial steps taken espouse a leading brand as it is to clarify issues when towards the evaluation of technology with respect to considering a given piece of technology. Towards this end, training needs. We describe the training process, we report the results of an investigation into leveraging characterize the space of technology solutions, review a game technologies for training. We describe the training representative sample of platforms, and introduce process, outline ways of creating simulation behavior, evaluation criteria. characterize the space of technology solutions, review a representative sample of platforms, and introduce TABLE OF CONTENTS evaluation criteria. 1. INTRODUCTION ......................................................1 2. -
What Is Game Engine Architecture
What Is Game Engine Architecture What Is Game Engine Architecture 1 / 2 In any case, game engines are the workhorses of modern videogame development As you'd expect, there are plenty of engines out there, from very well-known names like Quake and Unreal, that developers and publishers can license at considerable expense, through to in-house proprietary engines created by studios specifically for their own titles.. Quite a few of the in-house engines have no public personality and thus are not included on this list.. CryENGINEAs Seen In: Far Cry, Crysis, Crysis Warhead, Crysis 2, Aion: Tower of Eternity It didn't take long for the German developer Crytek to make a name for itself.. These are what turn good creative ideas into great gameplay Note: It is important to understand that not all developers are vocal about their game engines and instead play their cards close to their chests. T A L K E R to usher in a new generation of PC gaming, Crytek beat them all to the punch with a stunning, tropical set FPS game powered by its own brilliant CryENGINE.. 14320288/red-dead-redemption/videos/reddead_trl_wildwest_50509 html;jsessionid=1oyv5eo9s1id0' target='_blank'>Click here to see just how stunning Red Dead Redemption looks.. Click here to see the CryENGINE 3 GDC demo According to Crytek, '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.. And it is still so young: accurate physics, ecosystem A I and improved draw distance are just some of the improvements we'll see in RAGE over the coming months. -
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 -
Multicopter Design and Control Practice Experiments
Multicopter Design and Control Practice Experiments RflySim Advanced Courses Lesson 05: UE4 3D Scene Development Dr. Xunhua Dai, Associate Professor, School of Computer Science and Engineering, Central South University, China; Email: [email protected] ; https://faculty.csu.edu.cn/daixunhua Content 1. Setup Instruction Path of source code in this Lesson: 2. UE4 3D scene build “RflySimAPIs\UE4MapSceneAPI” 3. RflySim3D 3D scene import 4. Vehicle 3D model build and import 5. Control demo of objects in scene 6. Summary 2 Note: If you failed to download 1. Setup Instruction the file, you can use the installer “RflySimAPIs\UE4MapSceneAPI\E picInstaller-******.msi” 1.1 Components to be installed • 3Ds Max 2020 (or other versions, please install by yourself) • Visual Studio 2017 (not required to develop UE4 scenes, but required for UE4 C++/plugin programming development) • Unreal Engine 4.22 (UE4.22 this version only) The following describes how to install UE4.22 engine (internet connection required): • Open the official website of the EPIC Unreal Engine: • https: //www.unrealengine.com/en-US/?lang=en-US • Register an EPIC account and log in • Then, click the “DOWNLOAD" button on the upper right 3 1. Setup Instruction 1.2 How to install Epic Games • After clicking the “DOWNLOAD" button, the following selection box will pop up • Select the “Creators License” on the right to download the latest installation package. • Click the installation package to install, you can get "Epic Games Launcher" shortcut • Click this shortcut and log in to your Epic account, you can enter the Epic Games management page 4 1. -
Comparison of Unity and Unreal Engine
Bachelor Project Czech Technical University in Prague Faculty of Electrical Engineering F3 Department of Computer Graphics and Interaction Comparison of Unity and Unreal Engine Antonín Šmíd Supervisor: doc. Ing. Jiří Bittner, Ph.D. Field of study: STM, Web and Multimedia May 2017 ii iv Acknowledgements Declaration I am grateful to Jiri Bittner, associate I hereby declare that I have completed professor, in the Department of Computer this thesis independently and that I have Graphics and Interaction. I am thankful listed all the literature and publications to him for sharing expertise, and sincere used. I have no objection to usage of guidance and encouragement extended to this work in compliance with the act §60 me. Zákon c. 121/2000Sb. (copyright law), and with the rights connected with the Copyright Act including the amendments to the act. In Prague, 25. May 2017 v Abstract Abstrakt Contemporary game engines are invalu- Současné herní engine jsou důležitými ná- able tools for game development. There stroji pro vývoj her. Na trhu je množ- are numerous engines available, each ství enginů a každý z nich vyniká v urči- of which excels in certain features. To tých vlastnostech. Abych srovnal výkon compare them I have developed a simple dvou z nich, vyvinul jsem jednoduchý ben- game engine benchmark using a scalable chmark za použití škálovatelné 3D reim- 3D reimplementation of the classical Pac- plementace klasické hry Pac-Man. Man game. Benchmark je navržený tak, aby The benchmark is designed to em- využil všechny důležité komponenty her- ploy all important game engine compo- ního enginu, jako je hledání cest, fyzika, nents such as path finding, physics, ani- animace, scriptování a různé zobrazovací mation, scripting, and various rendering funkce. -
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. -
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. -
Spitzer SAGE-SMC Infrared Photometry of Massive Stars in the Small Magellanic Cloud Bonanos, A.Z.; Lennon, D.J.; Köhlinger, F.; Loon, J.T
Spitzer SAGE-SMC Infrared Photometry of Massive Stars in the Small Magellanic Cloud Bonanos, A.Z.; Lennon, D.J.; Köhlinger, F.; Loon, J.T. van; Massa, D.L.; Sewilo, M.; ... ; Whitney, B.A. Citation Bonanos, A. Z., Lennon, D. J., Köhlinger, F., Loon, J. T. van, Massa, D. L., Sewilo, M., … Whitney, B. A. (2010). Spitzer SAGE-SMC Infrared Photometry of Massive Stars in the Small Magellanic Cloud. The Astronomical Journal, 140(2), 416-429. doi:10.1088/0004-6256/140/2/416 Version: Not Applicable (or Unknown) License: Leiden University Non-exclusive license Downloaded from: https://hdl.handle.net/1887/61635 Note: To cite this publication please use the final published version (if applicable). The Astronomical Journal, 140:416–429, 2010 August doi:10.1088/0004-6256/140/2/416 C 2010. The American Astronomical Society. All rights reserved. Printed in the U.S.A. SPITZER SAGE-SMC INFRARED PHOTOMETRY OF MASSIVE STARS IN THE SMALL MAGELLANIC CLOUD A. Z. Bonanos1,D.J.Lennon2,3,F.Kohlinger¨ 4, J. Th. van Loon5,D.L.Massa2,M.Sewilo2,C.J.Evans6, N. Panagia2,7,8, B. L. Babler9, M. Block10, S. Bracker9, C. W. Engelbracht9, K. D. Gordon2,J.L.Hora11, R. Indebetouw12, M. R. Meade9, M. Meixner2,K.A.Misselt10, T. P. Robitaille11,B.Shiao2, and B. A. Whitney13 1 Institute of Astronomy & Astrophysics, National Observatory of Athens, I. Metaxa & Vas. Pavlou St., P. Penteli, 15236 Athens, Greece; [email protected] 2 Space Telescope Science Institute, 3700 San Martin Drive, Baltimore, MD 21218, USA; [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected] 3 European Space Agency, Research and Scientific Support Department, Baltimore, MD 21218, USA 4 Department of Physics and Astronomy, Heidelberg University, Albert-Ueberle-Str. -
Participatory Gaming Culture
Master thesis Participatory gaming culture: Indie game design as dialogue between player & creator Martijn van Best student ID: 3175421 [email protected] New Media Studies Faculty of Humanities UTRECHT UNIVERSITY Course code: 200700088 THE-Scriptie / MA NMDC Supervisor: Erna Kotkamp Second reader: René Glas DATE: March 28th, 2011 1 To Mieke 2 Abstract In this thesis I argue that the current dichotomy between indie game design and mainstream design based on commercial appeal versus creative audacity is non-constructive. Instead, I wish to investigate to what extent indie game designers are able to establish a personal dialogue with their audience through their game. I frame independent game design as a participatory culture in which indies alter and modify existing game design conventions through a practice called abusive game design. This is a concept developed by Douglas Wilson and Miguel Sicart. Players who wish to master (partially) abusive games, need to learn about the designer's intentions rather than the game system. I argue that a designer's visibility in this way allows for a dialogue between creator and player. However, in a case study of indie title Super Crate Box (2010), it appears that in order to maintain a sense of fun, certain conventions of mainstream game design need to be adhered to. Indie designers, who often have the most visible and personal relationship with their audience, need to navigate between their wish for a personal connection with players and user friendly, but 'faceless' design. Scaling the tipping point too much to the abusive side instead of the conventional one, may be counter to designers' wishes to create an enjoyable game.