Euphoria Euphoria represents a step change towards creating truly believable characters, worlds and games. Instead of playing back canned animation, Euphoria uses the CPU to generate motion on the fly by simulating a character’s motor nervous system, body and muscles. With Euphoria, games are truly live. Anything can happen.
Bink Video! Bink 2.4 Video is now shipping! Bink 2.4 now ships with optional GPU decoding! Using compute shaders on Windows, Linux, Sony PS4 and Xbox One, you can offload much of the video decoding. This is two to four times faster than CPU-only decode (and even more for 4K video). Decode 4K video frames in 2.3ms on PS4/Xbox One, and 1.4 ms on a PC! Bink 2 is massively better than Bink 1.
Rayman Origins designer Chris McEntee's rational approach to game design In Gamasutra's latest feature, Rayman Origins designer Chris McEntee explains Ubisoft's "rational design" approach, and why he believes it's a key to success in the game design field. Conceived by several Ubisoft veterans, the rational game design method was implemented in the publisher's sidescrolling game Rayman Origins, which was praised by critics and gamers alike as one of last year's best platformers. McEntee explains, "Rational design is all about eliminating unnecessary information, making things inherently readable, understandable and apparent, introducing mechanics in an orderly and easily digestible fashion, and preserving the learning and difficulty curves of a game, known as macro flow. "In principle, it is best to provide a player with significantly interesting and deep mechanics that are well explored and exploited through clever rationalized level design, rather than injecting the game full of one-shot gameplay mechanics to feign depth."
Game development software. The tools used by the best game developers The Bug Tracker for Game Developers Game development with Atlassian Whether you are focused on releasing the next big blockbuster or obsessed with constantly improving the gaming experience, bugs are simply not acceptable. Boston Dynamics: Dedicated to the Science and Art of How Things Move. ** Click on our logo to visit the DI-Guy Website ** DI-Guy is software and content for adding lifelike human characters to real-time visual simulations. DI-Guy characters look realistic, respond to simple high-level commands, and travel about the environment as directed. DI-Guy characters make seamless transitions from one activity to the next, moving naturally like real people. DI-Guy is available as an integrated suite of COTS software products:
Scaleform Video Gameware Product Manager, Ankur Mohan, talks about the latest Gameware releases at GDC 2014. Click here to watch the video. Click here to learn how one of the largest mobile game developers leveraged the power of the Scaleform SDK to create Tiny Thief. Zelda: Wind waker Tech and Texture Analysis *picture heavy* So After this little thread: i felt like the opinion was more yay than nay. it seamed people are (just like me) highly interested in "how" wind waker was made. so here are my findings: there are 4420 unique textures that i encountered in my (what i believe to be a) 100% play-through: i could not bring myself to upload the textures to my webspace and take that level of responsibility but saw "someone" has them available right here: other stuff i found noteworthy:
Products The Avatar Platform Platform Overview The Big Stage Avatar Platform transforms photos of regular people into a wide range of avatar styles, fully animated and ready to enter any digital environment. Developing Meaningful Player Character Arcs in Branching Narrative A little background: During my years at BioWare, I found that despite the enormous amount of talent housed in the writing department, there were certain subjects for which we lacked a common language of craft -- a clear and broadly applicable way to discuss what worked, what didn't, and why. This article is an effort to remedy that problem for one particular subject. Due credit goes to my former BioWare colleagues Cameron Harris (now of ArenaNet), who provided feedback on my notes for a previous iteration of this article; and Daniel Erickson (now of Bluepoint Games), who reviewed a near-final version and suggested I take it to Gamasutra. Thanks to Greg Rucka as well, whose blog posts on character arcs in Mass Effect helped inspire elements of this discussion. Let's start with the basics. Stories -- traditional stories, archetypal stories -- are about protagonists who go through difficult circumstances and who change or resist change because of those circumstances.
OC3 Entertainment FaceFX is OC3 Entertainment’s cutting edge solution for creating realistic facial animation from audio files. FaceFX is the culmination of years of experience working with lip-synchronization, 3D graphics, and facial animation. The product makes it easy to batch process thousands of audio files for your game, add expressions to a single animation without ruining the lip-synchronization, tweak an animation to perfection, or integrate the entire solution into your art pipeline.
Building a better role-playing game story This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. Getting story right in role-playing games is crucial. Even if narrative is not your primary motivator, it's a key element to the RPG genre. But not all role-playing games have discovered the right formula. Cat Mask Synchronized With Facial Muscle Movements Via Non-contact Interface A non-contact interface that can measure facial muscle movement has been developed by a research group at Toyko University. To demonstrate this technology they developed a prototype cat mask and synchronized the eye and mouth movements with that of the wearer. "We think that facial input, using the face as a controller, and outputting instructions to a character's face are all unique features." "Current animal costumes aren't interactive at all.
Joost Rietveld's Blog - Partnering vs. self-publishing: how independent should you really be? Partnering vs. self-publishing: how independent should you really be? The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. “We do not write a marketing plan, marketing doesn’t work.” – Indie developer in recent email conversation Independent game studios have the tendency to revert from publishing partners when it comes to commercializing their games on digital distribution channels. The Independent Games Festival is Fine - You are the Problem Yesterday, the Rotting Cartridge ran a piece explaining why they believe the judging process for the Independent Games Festival is broken, based on their experiences with a game they submitted to the festival, Kale in Dinoland. During the course of that article, they reprinted a piece of private correspondence from the IGF’s organizers and saw the lack of attention their magnum opus (a monochromatic Game Boy-style platformer) received as evidence that the festival is a corrupt and contemptible institution. Jenn Frank was not amused. My friend was right when he warned me not to get so agitated. “It’s scene drama,” he told me.