Tech demos made using two 256×512 textures is better than anything we’ve seen this gen. 3D artist, Tor Frick wants to prove a point, and he has done that in style. He has created beautiful tech demos which utilizes only two 256*512 textures, and the graphical fidelity on showcase here is simply incredible. “The entire scene (Lab) uses 2 256*512 textures, one for diffuse and masks, and one for normalmap,” he wrote. We have a bunch of screenshots and the two lovely tech demos for you, which you can check out below.
The Datacore demo was made using just 69,000 triangles and for the Lab demo he relied heavily on masking and using UVs in different ways to get the most out of the scene. I think he pretty much succeeded in doing what he had planned, as the end result is simply great. Lab demo: (Click to view images in full size) Datacore demo: (Click to view images in full size) Leave us your feedback in the comments section below. Thanks, Tor Frick!
Comment créer un jeu vidéo ? About | Higher-Order Fun. About me My name is Rodrigo Monteiro, and I’m a game designer and programmer from southern Brazil (currently living in London, United Kingdom). I have been making games since 1997 (I was eleven at the time) in a tool called “Klik & Play”. A few years later, I have started messing with the C programming language, then with C++, PHP, Lua, Java… and more recently with Haskell. Through those years, I have released several freeware games: Vessel Attack Online (2000, Click and Create), Hexagem (2001, Click and Create), Lord of the Stars (2005, C++), Bunkermaster (2005, C++), Fury of the Sky God (2007, C++), All Yar Base Arr Belong To Us (2008, C++), Xtreme Programming (2009, C++), Planetary Plan C (2011, C++11), Down Goes the Phoenix (2011, C++11), Trapped!
In the Chambers of Eternal Darkness (2012, C++11), Stoneheart: The Beauty in the Beast (2013, C++11). In 2005, I started the development of the “Aegisub” subtitling software together with Niels Martin Hansen. Contact. PEGI : une signalétique pour vous aider à choisir des jeux vidéo adaptés à votre enfant. Peut-être avez-vous déjà remarqué sur les boîtes de jeu vidéo les pictogrammes du PEGI (Pan European Game Information) ? Ils indiquent un âge minimum conseillé et la présence de contenus choquants ou inadaptés pour les enfants. Comment sont-ils attribués à un jeu ? Et que signifient-ils ? Quel est le rôle de la signalétique PEGI ? Mise en place par la Fédération européenne de logiciels de loisirs (ISFE - Interactive Software Federation of Europe), la signalétique PEGI, présente sur de nombreux jeux vidéo, est un bon élément d'information pour guider les parents. Première indication importante en façade des boîtes, un pictogramme indique l'âge minimum conseillé pour jouer (3, 7, 12, 16, 18).
Attention, une indication “3” sur un jeu ne signifie pas pour autant que votre petit dernier réussira à y jouer. Comment la classification PEGI est-elle établie ? En premier lieu, une grille de questions est soumise à l'éditeur de jeux vidéo. Que faire pour contester un classement PEGI ? Level 16: Game Balance « Game Design Concepts. When veteran gamers or game designers are playing a game, if they are doing too well or too poorly, they will often comment on the game’s balance.
This word is important, but I fear it is often overused. Like the word “fun,” there are different kinds of balance, and understanding what game balance is and why it’s important is what we cover today. Why are we only covering this now and not earlier (like, say, at the start of the Design Project)? As mentioned earlier, balancing the game is something that is best left until after you have a good set of core mechanics.
Balancing a game that is simply not meeting its design goals is a waste of time, and when you change the core mechanics you’ll just have to balance the game again. So here we are, with a work-in-progress that has survived multiple rounds of playtesting, and it is time to take it to the next level. About the Pace of this Course At this point, I realize from the comments and some forum posts that many of you are falling behind. Récupéré: Comment créer un jeu vidéo ? Attention, Not Immersion: Making Your Games Better with Psychology and Playtesting, the Uncharted Way. We use the words "immersive" and "engaging" all the time when we're discussing the things that are most important about great videogame experiences and yet, how well do we really understand the concepts that these words point to?
Richard Lemarchand, lead game designer at Naughty Dog, will use this session to try and dispel some of the confusion about how videogames keep us fascinated, by introducing the psychological concept of attention to our ongoing conversation about play and games. Attention! The process of selectively concentrating on one perception or thought, while ignoring other things has been one of the most widely discussed concepts in the one hundred and fifty year history of modern psychology, but it is rarely, if ever, mentioned on stage at GDC. What is attention? How does it work? What is its relationship with the overlapping phenomena of entrancement, compulsion and depth in games, and how can we use our awareness of our players' attention to make our games better? Home. Tout sur la création d'un jeu 3D ! Bonjour à tous ! Depuis maintenant quelques années que je fréquente ce forum, j'ai croisé très régulièrement de nombreuses idées reçues sur les moteurs de jeu, ces environnements facilitant la création d'un jeu vidéo.
On peut citer parmi eux : Unreal Engine (UDK), un des plus anciens et connus, toujours le leader ; Source Engine, le moteur des jeux Valve, enseigné depuis longtemps sur le SdZ ; Unity 3D, un moteur générique plus récent ; CryEngine, le moteur de Crytek ; Et bien d'autres encore. J'ai décidé de me lancer dans cette sorte de grande FAQ car ces technologies sont finalement assez méconnues, et souvent délaissées par les amateurs au motif qu'ils seraient "trop simples". Ce sujet cherche à tordre le coup à quelques idées reçues et à donner quelques conseils sur la création de jeu vidéo en général.
Je prendrais régulièrement l'exemple d'UDK car c'est le moteur que je connais le mieux : ne prenez pas ça comme de la publicité. Idée reçue N°1 : les jeux vidéo, c'est impossible. Game Design Patterns.