Math for Game Developers Video Series I've launched a new Youtube series, Math for Game Developers. Each week I'll be showing how to solve a new problem in game development using math, and I'll be building up a math toolkit that you can use to solve any game dev problem. 1. Moving a character with vectors: 2. 3. 4. 5. This is very basic stuff, just showing the basics of vector maths, buteventually I'll be progressing to explaining the math behind moreadvanced things. I hope to help out people who are just starting their game dev career soplease let me know if I can improve the videos (other than the lowquality audio, a problem I'm working on) or if you didn't understandsomething
Metaprogramming custom control structures in C - UX by Simon Tatham This article describes a technique for using the C preprocessor to implement a form of metaprogramming in C, allowing a programmer to define custom looping and control constructions which behave syntactically like C's own for, while and if but manage control flow in a user-defined way. The technique is almost all portable C89, except that some constructions need the feature (available in both C99 and C++) of defining a variable in the initialiser of a for statement. Sample code is provided. 1. The existing control constructions in C need no introduction. As one example, if you're iterating over a circularly linked list without a distinguished head element, you might find it inconvenient that for does its test at the head of the loop, because the apparently obvious way to iterate over such a list (comparing your current-element pointer to the list head in the test clause) will execute zero times. for_after (elephant *e = head; e ! for_general (elephant *e = head; e ! 2. 3.
Game UI By Example: A Crash Course in the Good and the Bad How easy is it for your player to put their intention into action, or to understand what's going on in your game? In this tutorial, you'll learn how to build a better game UI by examining both good and bad examples from existing games, and end up with a checklist of questions to guide you through designing them. As gamers and game developers we know that immersion is everything. When you're immersed you lose track of time and become involved in what the game is presenting. A composited screenshot from Honey Bee Match 3. In this article I won't be teaching you how to put a UI together. The terms UI and UX are sometimes (incorrectly) used interchangeably, but they have specific meanings. UI, or User Interface, refers to the methods (keyboard control, mouse control) and interfaces (inventory screen, map screen) through which a user interacts with your game. A good UI tells you what you need to know, and then gets out of the way. Does this interface tell me what I need to know right now?
PragPub 2012-03 | The NOR Machine - UX Build an assembler and an emulator for a single-instruction CPU and implement a non-trivial algorithm on it, using Ruby as a macro DSL to compile it all. Have you ever developed in an assembly language? Have you developed an assembly language? Ever developed a CPU running your own assembly language? There may be some who said “yes” to all three questions. But even for those readers, this article may have something new to offer. Develop a CPU that performs only one primitive instruction. At the end we will have an assembler and an emulator of that single instruction CPU, along with an implementation of a non-trivial algorithm on it, and some Ruby code that looks like no Ruby code you’ve ever seen. Why would we want to do this? I picked up an idea years ago in a FIDO discussion group, RU.HACKER. The idea is to use just one function to compute everything. There are sixteen boolean functions of two arguments. Not surprisingly, NOR can be expressed via other functions: or as a macro: Wow!
The Smartest Ways to Network at a Party Some people enter a room of strangers and glide along from one lively conversation to another, uncovering golden new business contacts. How do they do it? These people know how to read a room—a capacity that can be partly inborn, but also learned. From the barrage of sights, sounds and behavioral details, they extract clues about which people have the most to offer and which to avoid. That energetic guy with the 1,000-watt smile, booming voice, ready handshake and a fistful of other people’s business cards might seem like fun, for example. But he’s moving too fast to connect with people in a meaningful way and is probably just trying to bag clients. “You meet somebody at a business function, and five minutes later they’re slapping you on the back and calling you by a nickname, ‘Yo, Vic!’ The cues to finding allies in a crowded room aren’t obvious. Participants in groups that are welcoming often make eye contact as a newcomer approaches, raise their brows in a welcoming way and smile. Ms.
Christophe Heral and Billy Martin Talk Rayman Legends on Top Score March 6, 2014 Copy and paste the HTML below to embed this audio onto your web page. Audio player code: St. Paul, Minn. — Christophe Héral and Billy Martin collaborated on their second Rayman game: Rayman Legends. It's a winning collaboration, because the music for Rayman Legends is fantastic. Billy lives in LA. Billy sent his scripts overseas for Christophe to supervise the recording of Billy's music. Christophe and Billy each played several instruments as well — Billy recorded all his own guitar, saxophone and flute parts. Christophe plays ukulele, whistles and sings. Christophe references a lot of famous classical melodies throughout the score. If you're in the Boston area, come meet Billy and me at the "Maestros of Video Games" panel at PAX East in the Boston Convention Center on Saturday, April 12th at 12:30 pm ET.
Bartle’s Taxonomy of Player Types (And Why It Doesn’t Apply to Everything) Richard Bartle co-created MUD (Multi-User Dungeon), the text-based precursor to today's MMORPGs, while studying at Essex University. He ended up formulating the theory that all MUD players could be broken down into four main types: killers, achievers, explorers, and socializers. This theory has since been used in all sorts of game design situations where it doesn't apply - let's look at what exactly it does tell us. MUD is a text-based adventure game (no graphics at all, only text) that had the then-unique attribute of being able to be played alongside other human players. It was one of the first online persistent worlds created, and you can still grab a MUD client today, connect to a server and play. It's a simplified version of pen and paper role-playing games in that the player has to imagine the world according to the information the Game Master (the server and the writer of the game, in this case) provides. Summary of Bartle's player types. Bartle calls it a bandwagon.
How to Target the Right Gigs for You - Video Game Music Academy In this post, I’ll discuss how any freelancer can define their ideal client/project – and why it’s important. When you’re trying to establish yourself within an industry, it’s very tempting to take any opportunity that comes your way. Gaining experience can be critical to building out your early portfolio, and the bills don’t pay themselves! Having said all that, it’s important to keep a clear idea of the kinds of projects you’d like to work on and who you’d like to work with. One of the best ways to do that is by developing a customer persona or avatar to help focus your efforts. I’ve heard both terms used, but I prefer persona so we’ll use that one for sake of this post. A customer persona is a fictional description of your ideal client, which contains details about who that person is, what their concerns and needs are, and where they spend their time. Let’s say, for example, that you’re a new composer fresh out of school and you’re trying to land your first game audio job.
Disaster, please! Make Games