Laura Oravakangas Game Environment Creation: Efficient and Optimized Working Methods Bachelor of Business Administration Autumn 2015 TIIVISTELMÄ Tekijä: Laura Oravakangas Työn nimi: Peliympäristön toteuttaminen: Tehokkaat ja optimoidut työskentelymenetelmät Tutkintonimike: Tradenomi (AMK), Luonnontieteiden ala Asiasanat: peli, grafiikka, 3D, ympäristö, 2D, tausta, kenttä, suunnittelu, optimaalisuus Opinnäytetyö käsittelee peliympäristöjen toteutukseen liittyviä työskentelymenetelmiä, miten te- hokkaita ne ovat ja ovatko aikaansaadut tuotokset tarpeeksi optimaalisia pelin, pelialustan ja mui- den huomionarvoisten osien kannalta. Lisäksi työ käsittelee peligrafiikan perusteita ja kenttäsuun- nittelua, syventyen niihin kumpaakin sekä yleisellä että tekniikan tasolla. Pääsääntöisesti kappaleissa olevat esimerkit on havainnollistettu joko Autodesk Maya -mallinnus- ohjelmalla, Photoshopilla tai Unreal Engine 4 -pelimoottorilla. Opinnäytetyö painottuu kuitenkin yleisiin käsitteisiin, joita voidaan tavata eri nimikkeillä useissa samantapaisissa ohjelmistoissa. Peliympäristöjen kehittämisessä, sekä 2D ja 3D grafiikassa, on omat haasteensa. 2D -peliympä- ristöt näyttävät litteiltä ja elottomilta, kun taas 3D peliympäristöt tarvitsevat enemmän optimointia suurien tiedostomäärien lataamisen ja prosessoimisen vuoksi. ABSTRACT Author: Laura Oravakangas Title of the Publication: Game Environment Creation: Efficient and Optimized Working Methods Degree Title: Bachelor of Business Administration (UAS), Business Information Technology Keywords: game, graphics, 3D, environment, 2D, background, level, design, optimal This thesis deals with the working methods related to the creation of the game environments, how effective they are and whether or not the created assets are optimal enough for the game, the gaming platform or other aspects that seek attention. Additionally this work presents the basics of game graphics as well as level design, while focusing on them both at the general and technical level. The examples in the paragraphs are generally presented with either modelling software Autodesk Maya, Photoshop or the game engine Unreal Engine 4. However, this thesis focuses on general concepts and information, which can be found as different terms in similar software. The development of game environments, both in 2D and 3D graphics, has its own challenges. 2D game environments tend to easily look flat and lifeless, while 3D game environments require more optimization because of the downloading and processing of the large amounts of assets. FOREWORD In spring 2015, this thesis started as an exploration on what to do after graduation, even though I already had a clear vision about creating game graphics as a career choice. I wanted to specialize in something and realised that environments, explo- ration and a dash of level design were the things that I craved for. First, I want to give special thanks to my fiancé and Game Producer Ilkka Vallo for being a patient and calming person in times when I had dived too deep into work, but also for energizing and keeping me going when life seemed too dull. I would also like to thank my friend and Taiga Studios Chief Executive Officer Janne Remes for uncovering new ideas and generally creating a more positive atmos- phere every time we met. Additionally, my friends around the globe deserve a praise for their supporting personalities. Last but not least, I would like to express my deepest gratitude to my family. Even though the learning process will never end, they have guided me through this jour- ney of education and survival, but have also given me the freedom to choose my own path. They are the greatest stronghold I can always come back to during my travels. Espoo 27.11.2015 Laura Oravakangas TABLE OF CONTENTS 1 INTRODUCTION ............................................................................................... 1 2 GAME ENVIRONMENTS .................................................................................. 2 2.1 Different environments ......................................................................... 2 2.2 What affects the environments? ........................................................... 4 2.2.1 Desired frame rate .................................................................. 4 2.2.2 Platform ................................................................................... 5 2.2.3 Genre and camera view .......................................................... 6 3 BASICS OF 2D GAME GRAPHICS .................................................................. 8 3.1 2D-graphics .......................................................................................... 9 3.2 Perspective......................................................................................... 11 3.2.1 Linear perspective and single screen games ........................ 11 3.2.2 Axonometric projection .......................................................... 12 3.2.3 Orthographic projection ......................................................... 17 3.2.4 2.5D: The experience of two dimensionality .......................... 18 3.3 Creating the illusion of depth .............................................................. 18 3.3.1 Focus and detail .................................................................... 19 3.3.2 Atmospheric perspective ....................................................... 20 3.3.3 Colour theory and contrast .................................................... 21 4 BASICS OF 3D GAME GRAPHICS ................................................................ 25 4.1 Modelling and sculpting ...................................................................... 25 4.2 Normal direction and smooth shaded foliage ..................................... 31 4.3 UV-mapping ....................................................................................... 34 4.4 Baking ................................................................................................ 36 4.5 Texturing ............................................................................................ 37 4.5.1 Diffuse brightness ................................................................. 42 4.5.2 Gradient mapping .................................................................. 44 4.5.3 Using matte painting with environments ................................ 47 5 ANIMATIONS FOR ENVIRONMENTS ............................................................ 49 6 OPTIMIZATION OF ASSETS: WHEN IS IT NECESSARY? ........................... 51 6.1 Transform-bound objects ................................................................... 51 6.2 Vertex knowledge ............................................................................... 51 6.3 Fill-bound objects ............................................................................... 53 6.4 Techniques to optimizing assets ........................................................ 54 6.4.1 Texture knowledge ................................................................ 55 6.4.2 Cubemaps and selective reflection rendering ....................... 56 7 GAME ENGINES ............................................................................................. 57 7.1 Instancing ........................................................................................... 57 7.2 Level of Detail..................................................................................... 57 7.3 Materials and shaders ........................................................................ 59 7.4 Decals ................................................................................................ 60 7.5 Particles ............................................................................................. 61 7.6 Lighting ............................................................................................... 62 7.7 Post-Processing ................................................................................. 64 8 DESIGN PROCESS ........................................................................................ 65 8.1 Designing single objects and entities ................................................. 65 8.1.1 Brainstorming and high concept ............................................ 65 8.1.2 Research ............................................................................... 66 8.1.3 Developing thumbnails .......................................................... 67 8.1.4 Refining ................................................................................. 69 8.2 Level design ....................................................................................... 70 8.2.1 Mood ..................................................................................... 70 8.2.2 Silhouette .............................................................................. 71 8.2.3 Light ...................................................................................... 73 8.2.4 Colour.................................................................................... 73 8.2.5 Points of interest ................................................................... 74 8.2.6 Verticality versus horizontality ............................................... 74 8.2.7 Composition .......................................................................... 75 8.2.8 In-level storytelling and schema ............................................ 77 8.2.9 Level flow .............................................................................. 78 9 ASSET PRODUCTION