This update will be short as I don’t have many screenshots or prototype videos to share today. However, we did prepare a 30-minute playthrough video for you all! Since the last progress update, we’ve been working hard on polishing our current features and systems. We’ve made incredible progress this month but we still have a long way to go. Have a great weekend and 4th of July!
Hello everyone! The name is Duane and I am the Animation Director here at Nerd Kingdom.
During my lengthy career in game development, I have certainly been here before. Well, not really here, as here is a bit different. However, in some aspects, it is almost entirely the same. The outstanding difference is the Eternus Game Engine currently under development at Nerd Kingdom. Built from the ground up, Eternus holds the promise of a groundbreaking game development engine and tools upon which its flagship product will be developed. So, it’s deja vu all over again…or is it?
The first time I heard the term “virtual reality” was when I began my career in 1994 as a Lead Animator at Virtual World Entertainment (VWE). The Chicago game studio made two products, a first-person shooter (FPS) “walking tank” game called Battletech and a “hovercraft racing” title called Red Planet.
Each product was built from the ground up on a proprietary game engine, completely unique to the requirements of gameplay for a multiplayer FPS and space-based racing title respectively. Each engine included its own set of development tools and export processes, designed and built with essential integration toward the support of an efficient iterative creative process. Nothing was borrowed or modded, and middleware was non-existent. All of it was brand new, completely from scratch. (Ok, truth be told, some code between Battletech and Red Planet was recycled. But, I’m trying to make a point here.)
Fresh out of college, I was the studio’s first and only Lead Animator and it fell to me to collaborate with a newly hired Junior Programmer to design, test, and implement an integrated LOD Texturing tool. The sky was the limit and… “What the hell is an LOD anyway?”
So, there I was, tasked with one of the most important art tools for Battletech’s and Red Planet’s CG art development. Not because I was particularly suited for the role, but because I was “the new guy” and no one else wanted the job.
If you’ve ever wanted to make games for a living and knew nothing about the process, I knew exactly what you did when I began my career. Lucky for me, this first challenge was a remarkable Art Tools design experience and quite an education.
Trial by fire, I learned how to make LODs by hand expeditiously, a method of reducing an object or character’s total number of polygons while maintaining its shape and silhouette. I made four Levels of Detail (LOD) for each of the 20+ Mechs (aka “walking tanks”) and 12+ VTOL (“vertical take-off and landing”) racing craft. That’s 128 LODs plus the original 32+ models.
Then, I learned about creating UV Maps followed by applying textures via Planar Projection mapping for the many texture groups within a single model. At the time, Planar Projection mapping was all that this tool would provide.
The number of texture groups per model was exponential. I had to rotate and place each Planar Projection, an intermediate object represented by a 3D Plane, over every single polygon group or group of facets (aka “face group”). It was meticulous work. But then, that’s why we were developing the LOD Texturing tool in the first place, to expedite this laborious process. Ultimately, our efforts allowed Artists to texture any 3D model and all of its LODs based solely on the original models UV textures. It was a profound success and increased my passion for making games and inventing game development technologies, in general.
By the way, is it really work if you love what you do for a living? For me personally, animating for games is truly a dream come true. I remember when a Tippett Studios’ VP at Siggraph once said, “These guys will work for nothing and do it all night long. They love it! They’re gamers and artist.” I thought, “Holy sh*t, she knows our secret!” But, it’s true. Game developers will work long after their salaries have exhausted a full day’s work. We are habitual over-achievers with a relentless work ethic. Like some kind of digital junkie, looking forward to that next first moment of realized innovation in VR immersion. It’s addictive! That’s why most of look the way we do…trying to score that next (top-selling) digital hit. Thank God mobile game development offers the same euphoric affects at smaller doses. And, with the recent debates over VR/AR/MR, virtual reality, augmented reality, and mixed reality respectively, the digital chug-wagon continues.
I remember when I was in college, learning Alias|Wavefront software on a Thompson Digital Image machine back in the early 90’s. No one knew what they were doing. The teachers that were teaching the 3D Art and Animation curriculum at Columbia College Chicago had no clue what 3D was or even how to teach it. Every student dove into the manuals and surpassed their instructors before the end of the second week, too impatient to watch some “old dude” struggle to understand the poorly written tutorials.
Anyway, I digress, back to the topic at hand.
Other things that haven’t changed in game development for decades? How ’bout the division of labor across three main groups – Programmers, Designers, and Artists. At VWE, I learned about five disparate teams the studio employed in their game development process – Owner/Managers, Programmers, Designers, Artists/Animators, and Testers. And that right there was the pecking order by status and salary. How little has changed in the industry as a whole.
Each of these teams worked in silos as focused but independent specialists prior to pre-production and were brought together as one homogenized unit as the pre-production “vertical slice” neared completion. No, “vertical slice” has nothing to do with bread or ninja skills – Google it.
Over the years, the terminology for “development meetings with prioritized schedules or milestones” mutated into words like Sprint, Scrum, Agile, and Agile/Scrum. Call it what you like, it has been the same process since the dawn of game development. In its most basic form, it goes something like this – create a series of meetings based on a prioritized schedule of milestones around the topics of concepts/game ideas, dev, design, art, scope, and schedules. Then, build and test the plethora of advancing software. This is usually followed by cycles of wash/rinse/repeat. Critical to the successful development of this cycle is smart, honest decisions by talented and experienced key team members…and yadda, yadda, yadda – it’s boring stuff, but absolutely necessary.
Another enduring oddity in game development is something called “studio culture”. Here’s a checklist of things that, in my experience, have existed in every studio I’ve ever worked for:
⦁ Very smart, technical/analytical problem-solving academics who love games and are “kids at heart”
⦁ A fascination with technology trends, games, movies & music, art & animation, and science fiction/fantasy.
⦁ Communal eating spaces/kitchens with free drinks – a game developer’s divine right.
⦁ Tattoos, piercings, long hair. Occasional bad hygene? Perhaps.
⦁ Action figures
⦁ Nerf guns
⦁ Darkened work space that are quiet, but at times rowdy on a good day (aka productive day).
⦁ Flexible 8 hour work schedules
⦁ Casual clothes – bare feet (aka sandle or flip-flops), bare legs (aka shorts), baseball caps, and enigmatic t-shirts.
⦁ The mention of manga/anime, Weird Al (Yankovic) for some reason, and anything sci-fi…most likely a Star Wars reference.
And then, there’s the “proximity task”. Happens all the time in game development. It can usually fall to the person who is simply absent at the wrong time during a formal team meeting. But when it’s an informal discussion, simply sitting at your desk near one can get you saddled with a task that no one wants. Like today, for example, when I was asked to write this blog. Happy reading!
By the way, if you’ve made it this far into the article, then bless you for your unwarranted attention. You are a saint! Take heed, I’m almost done.
One last thing that is ever present in this industry are the abundant proprietary processes developed and never shared by the multitude of game developers the world over. With most new games and especially with innovative immersive AR/VR experiences on new hardware, a new engine, SDK, and game product are under simultaneous development. In my experience, the lineage of this simultaneous development started on PC, followed by the original Xbox console, then Xbox 360, Kinect, HoloLens, and Magic Leap.
And now, finally, “Back to Eternus”. Sounds like a great sci-fi epic, doesn’t it?
Here at Nerd Kingdom, I ran into an old friend of mine not mentioned above, good ol’ Mister Frame Rate. “How have you been, Old Chum? It’s been awhile. Wife and kids? Goooood.” Ever the divisive arbiter of quality graphics versus render speed, Frame Rate could often be an allusive collaborator. But last week, he sauntered up to me with a drink, “Here, knock this back. Oh, I forgot. You don’t drink. (Chug! Slurp.) Let’s talk, shall we?”
So, after closing time, there we were, old Frame Rate and I, talkin’ ’bout the Good Ol’ Days and the mischief he put me through as a Director of Animation under fire for the largest memory footprint that character animation had ever occupied in VWE’s history. Now, I can’t say that I remember those days with as rosy a resplendent recall, but I do remember the relief I felt when we were able to solve the issue with a technical art solution, an animation export tool, that we could all agree upon.
Allow me to blather on in detail about this very familiar topic. In the early days of game development, when you would export a character animation for a game, whether authored in Maya, 3D Studio Max, or some other CG software of choice, the animation asset was exported as a linear keyframe for every frame of motion exhibited by each joint or node in a character’s skeletal hierarchy, regardless if its value changed or not, for the duration of the motion.
Well, as we research a popular export format, it is creating a similar result – a keyframe on every frame. And so, it’s not surprising that discussions about frame rates and reducing file sizes have stirred this air of frame rate nostalgia. Suffice it to say, there is a lot of keyframe data that can be filtered and omitted from animation assets that will reduce the size of every animation file, thereby reducing its memory footprint, load times, and in turn increase frame rate.
The last time I helped solve this puzzle, we decided upon a proprietary export tool that would allow the Technical Animator or Animator to provide an overall attribute value, as well as an attribute value per joint (per axis) to influence the total number of keyframes that would be generated along a curve. These attribute values would then generate a range of results, interpreting the motion (based on angle deviation) as “a keyframe every frame” to “a reduced or filtered key set based on the degree of change (by angle deviation) along a curve” to “omitting keyframes completely”.
Said differently, the algorithm inspected the curve and re-created it as a slimmer version of itself (in bits). Where there were more changes in value, more keyframes were exported or maintained along that portion of the curve. Where there were fewer changes in value, the placement of keyframes was farther apart. Whatever solution is devised for Eternus, we are certain to surpass the current state of our technology as of this writing. And, I can’t wait to revisit that feeling of overwhelming accomplishment when the motion in-game is identical at less than half its original file size.
Oh, the nostalgia for innovative thinking. All of it, in pursuit of making great gaming experiences with Eternus that will entertain and occupy the masses. I guess you can go home again.
All that’s old is new again – for the first time. May you enjoy playing our product in its many pre-launch versions. And may the God of Shipped Titles smile upon us as we run head-long into the many game development cycles of deja vu and repeated timelines. Wash. Rinse. Repeat. Game.
Have a wonderful weekend!
Hello everyone and happy Friday!
Today we’re excited to share the progress we have made in the past few weeks. Development of Eternus 2 is making great strides as we are now starting to streamline how integration works for Art and Gameplay teams. For example, we can now directly bind to an Art authored UI layout instead of Programmer placeholders. Our radial menu is now implemented in is going through more polishing as we continue to test it. You can check out the building prototype and new radial menu in the video below.
Importantly, it’s been almost 1 year since Eternus 2 development started! We have learned a lot as a team and will continue to grow as we keep moving forward.
Have a great weekend!
Jake (theFlying3.14) here, Lead of Tool Development here at Nerd Kingdom. Several powerful systems have begun to come online in the Eternus engine recently. To support these systems we’ve designed several tool prototypes to aid designers in creating content. Today I’d like to share one of the more important systems that are being reused in multiple instances to provide a comprehensive functional experience going forward: the Visual Node Programing platform, or VNP.
VNP is a node programming platform that allows users to script functionality across different aspects of the game. The system is already being used in a few early tool prototypes: the biome tool, the animation web, and an AI behavior scripter. Future tools such as the material editor, shader creator, and quest editor are planned for VNP implementations.
Developed from the MIT licensed ThreeNodes.js – a WebGL shader tool – we heavily reworked the basic data structures and assumptions built into the library. Although there is still a lot we would like to do with it, what we’ve ended up with gives us great scalability.
The Visual Node Programming platform exists as an abstract application that we employ within each tool implementation, customizing it to fit the context. This means when you open biome tool, you will be greeted with a similar experience as the animation web. However, in reality, each tool might need to operate slightly differently. For example, the biome system reads the node graph from right to left, whereas the animation system reads “state strings” from left to right. To accommodate this each implementation of VNP has its own override of several fundamental objects: nodes, connections, workspaces. This allows great flexibility when developing and updating tools developed with VNP.
“So great another node programming tool….”
Over the past several months we have gotten to experiment with a few different approaches to VNP integration. The first approach we took was to build the node graph, save the data models needed specifically for the node graph (like node.x and node.y, etc), and then grab just the data we needed for the engine resource, and send it in one big packet. Of course, this worked until we started building big graphs. Once the save packet got too big to pass between the frontend to the backend we smartened up.
The animweb tool took a different approach: each time a node is connected to the graph, the system evaluates where it is and dynamically adds it to the resource. This resulted in live coding. Being able to edit a resource’s node graph and see it change immediately. It also resulted in a lot of edge cases that are still giving me nightmares. For example, deleting nodes or removing one connection from a node that’s still connected to another field become really tedious.
Our overall goal for user-facing tools is to create simple interfaces that developers at any skill level will be able to leverage. VNP provides a familiar interface for designers as similar platforms are used in engines like Unreal and Unity. While programming with nodes can easier than scripting, this is not our final destination. We decided to tackle VNP first to provide us with a clear functional foundation of what designers need. Since nodal programming lends itself to so many situations, we can provide a consistent feeling experience across the game development workflow. Then later we can develop more specialized tools to streamline certain common practices and make it easier for less experienced devs.
I hope you enjoyed this look at our Visual Node Programming platform, and I’m excited to get our tool suite ready for feedback from our awesome community.
Happy Friday everyone!
I apologize for the delayed update as I was out with the flu last week. It is good to feel alive again! Getting back on topic, our engine team is cranking away on the Eternus engine and tools. Our gameplay team is improving our building methods, islands and more. Art team has been hard at work creating new assets for TUG. You can some images and video examples below.
Meanwhile, @x_nekochu_x is hiding away in the sound booth working on sound production stuff. I have been nagging him a lot to let me help out with sound effects. There’s just something extremely fun about making sound effects. For example, breaking things… many things.
We also updated our website and relocated our blog to the main site. You may find a few older posts with broken links and images but there is not much we can do to fix them.
The community questions have been finalized and we hope to have more details in the future. If you missed out, don’t worry! We can do another in the near future. We apologize for some of the TBD answers as those are still in discussion.
Hey all! This is Northman from Nerd Kingdom here to share some AI bytes with you. Specifically I’d like to talk about Pathfinding and how it relates to TUG and our characters.
Pathfinding is the act of finding the best path between two points in the world. The key word there is “best”. The definition of best depends on the type of game you are making and the type of character you are trying to find a path for. I think a small thought experiment helps to clarify the set of problems pathfinding tries to solve:
Imagine a mountain goat and a human facing a mountain that extends as far to their left and right as their eyes can see. Directly in front of them is a door. On the door is a sign that reads: “Tunnel to the Other Side”. The human does not have any climbing gear and the mountain is far too steep to for the human to scale it without proper equipment. If both the human and the goat want to get to the other side of the mountain what do they do? The goat does not have hands to open doors nor the ability to read. However, the goat is a sure-footed climber and does not have any problem scaling the mountain so it goes on its goaty way over the top of the mountain. Conversely, the human does have hands and can read so they take the tunnel. The path the goat and the human found are both the best path they can muster by their definition of best even if they are both very different.
By Darklich14 (Own work) [CC BY 3.0 (http://creativecommons.org/licenses/by/3.0)], via Wikimedia Commons
*Insert funny remark about goats here.*
“Ropes? We don’t need no stinkin’ ropes!”
So now that we have defined Pathfinding and talked about what “best” means we can look at what tools we have for finding paths. Most pathfinding techniques break up the world into spatial subsections (nodes) and store information about how those nodes are connected (edges). In Computer Science we call a set of nodes and edges a “graph”. Graphs are cool because they have been studied by mathematicians since the 18th century (check out the Seven Bridges of Königsberg). What this means to us is there are well known techniques, also known as algorithms, for dealing with graphs and finding best paths on them (see Pathfinding on Wikipedia). One of the most common algorithms used in games for pathfinding is A*. I won’t get into the details of A* in this post because it gets technical very quickly but the image below provides a good visual representation of a typical A* search.
By Subh83 (Own work) [CC BY 3.0 (http://creativecommons.org/licenses/by/3.0)], via Wikimedia Commons
An illustration of an A* search. The initial red node indicates the starting position and the green node indicates the goal position. The gray polygon represents an obstacle. The goal is to find the shortest distance path from the starting node to the goal node while avoiding the obstacle.The path found is highlighted in green at the end of the animation.
We are currently exploring algorithms and graph representations for our world in TUG but so far we have implemented a navigational grid. In graph terms the grid is made up of nodes that all represent the same amount of space (one square meter) and each node has edges to its immediate neighboring nodes (grid cells): top left, top, top right, right, bottom right, bottom, bottom left, and left. These cells can be blocked by obstacles (shown in the image below in red) or open (shown in the image below in blue). This allows us to run A* searches to find best paths for our characters that avoid obstacles.
Blue Cells: Areas a character can navigate in.
Red Cells: Areas blocked by an object.
I hope you have enjoyed this introduction to pathfinding. Pathfinding is a large topic with many different techniques available depending on the pathfinding problem at hand. If you have any questions please feel free to email me at “northman at nerdkingdom dot com”. We are working hard to refine our pathfinding approaches for our characters and look forward to sharing more with you soon!
Have a great weekend!
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