Monday, March 7, 2011

GDC: The Future of Graphics and Unreal Engine 3

by Arthur Gies
Epic announced a host of new features in their Unreal Engine 3 development platform today at this year's GDC, the biggest of which is support for DirectX 11 and its assorted tools. The problem is, for most people, these kind of announcements might as well be in Sanskrit -- they're full of tech jargon that goes right by the average gamer.

I've gone through in an attempt to translate what Epic means by Subsurface Scattering and Deferred Rendering. The bolded segments are features of the updated Unreal Engine 3 courtesy of Epic, followed by our explanation of what this means for games. Epic gave us the thumbs up for accuracy. Yay, us.

"Image-based reflections that allow surfaces of any shape to reflect an approximate version of scenes, with varying glossiness across surfaces, anisotropic HDR highlights and anti-aliasing."





Reflections are hard to do in games without wrecking performance. You'll notice that many games you'll play go out of their way to break any mirrored surface so that there's a plausible reason for them to avoid rendering your character's reflection. The solution Epic discusses here sounds like it'll take a simplified version of the scene around a reflected object (like, say, your character in a mirror or a polished metal surface) and apply all the different effects you'd expect on top of them.








"Subsurface scattering (SSS) that simulates the light that scatters inside semi-translucent materials (this makes character skin come alive)."


Materials like skin and other non-shiny surfaces aren't opaque, believe it or not. Your skin is colored the way it is in part because of the color of the blood running through the capillaries in it, and you can see some veins. This also means that when light hits it, it doesn't just bounce off. Some light penetrates it, which then eventually reflects back. Subsurface scattering sort of emulates this effect with light that hits surfaces the developers designate. Think of the difference between a plastic action figure's skin surface and your own. That's what Epic is selling here.


"Anti-aliased masked materials that super sample the edges of masked and alpha-tested materials (this makes hair more look realistic than ever before)."


Aliasing, put simply, is the jagged appearance that plagues edges in game visuals. Have you ever seen, say, a wire running diagonally from the ground to a structure that looked like it was a collection of horizontal lines laddering upward? That's aliasing. Anti-aliasing smooths these edges. There are a variety of means of anti-aliasing, but the most effective methods can be really hard on video cards. Hair is especially effected, because of its overall complexity. Epic is claiming a better implementation for materials like hair in the new version of Unreal Engine 3, as shown below.










If I understand correctly, this will help with things like grass and trees too. When you play games like Bad Company 2 on the consoles, you can see this kind of aliasing (jagged edges) in the bushes and such.

Deferred rendering has been a buzzword in game development circles for the last few years. Most engines use a forward renderer: this means the scene you see is drawn in passes - the environment, the figures, the lighting, other effects, etc (this is a simplified explanation, obviously).

Killzone and Dead Space use deferred rendering. Deferred renderers store all those passes I was talking about without drawing them until the last possible second, which allows developers to push the detail you're seeing and aggressively ramp up the lighting they can use. This kind of renderer has issues though, one of which being a lack of proper anti-aliasing support (which smooths out jagged edges in your games).

The new version of Unreal Engine 3 supports deferred rendering out of the box, and Epic is claiming to have solved the anti-aliasing issue, allowing M-ulti-S-ampling-Anti-Aliasing (the sort of default form of AA) to work with a deferred solution.

"Bokeh depth of field providing close to film-quality DOF, with artist-controllable Bokeh."


Bokeh can mean a couple of different things. At its most basic definition, it's the blur in out-of-focus areas of a photographic image. It also pertains to how "pleasing" that blur is. There are different definitions of what "pleasing" means for depth of field (DOF) blur, but generally it means a clean look that isn't especially distracting. Unreal Engine games have had DOF effects for a while, but they've been pretty hit and miss. This improvement in bokeh in UE3 will mean better, more film-like DOF effects, and also sounds like it'll allow more creative use of DOF, like we see in movies with great cinematography.

"High-quality dynamic shadows from many lights on the environment (shadows for point lights and other light sources)."


A dynamic shadow means a shadow generated, er, dynamically. That means it reacts to light sources "on-the-fly." This one's sort of self-explanatory right? Better shadows? Look at the screenshot. LOOK AT IT.




NOW LOOK AT ANOTHER ONE.




Epic also mentioned several other features, but the most interesting may be tessellation. Tessellation takes less complicated geometry and makes it more complicated.

This can mean a lot of things, but what it means to you is more detailed looking stuff with less system resources to do it. I grabbed some images from video card maker EVGA demonstrating some things that tessellation can do. Pictures say it better sometimes! And I can't think of a good way to explain how tessellation works without discussing geometry, and I can actually hear your head slumping onto your keyboard right now.







Tessellation in particular is a possibly major addition to Unreal Engine 3. The Xbox 360's graphics processor actually supports tessellation, but to my knowledge it's never been used. This alone could lead to some major enhancements to the visuals in 360 games - assuming that the 360 version of the Unreal Engine 3 development kit supports it.

GDC: Darkness II Off to a Great Start

by Daemon Hatfield

Here at the Game Developers Conference I got my first look at The Darkness II, the sequel to the 2007 comic book game. I wasn't sure what to expect because the sequel has been handed to a different developer, but it ended up being one of the most exciting games I saw at GDC this year.

What's the Same?

The Darkness II is still a first-person shooter starring Mafioso Jackie Estacado, current host of a chaotic force known as the Darkness. When Jackie is in the light, he's your regular Wiseguy. But when he steps into shadow the Darkness emerges and you'll see two serpent heads appear onscreen. This is what makes The Darkness' gameplay unique: you can run around dual-wielding guns while using your dark tentacles to mangle and abuse enemies, giving you four weapons at your disposal all at the same time. But you'll often have to think about, avoid, or remove light sources in order to maintain your more powerful form.

Vocal virtuoso Mike Patton, of Faith No More fame, will be returning as the twisted voice of the Darkness.

What's New?

Perhaps most notably, The Darkness II has a new developer. The original was developed by Starbreeze, creator of the Xbox cult favorite The Chronicles of Riddick: Escape from Butcher Bay. This sequel is being handled by Digital Extremes, developer of Dark Sector. Digital Extremes has altered the art style, going for a glossy graphic novel look.

In the first game, Jackie could deliver brutal executions to his enemies such as bashing their heads in with the butt of his gun. Now his Demon Arms can get in on the fun and finish off goons in fun, gory ways. The Anaconda execution is when a tentacle coils itself around an enemy and then bursts through his chest Alien-style. For the Wishbone, each arm grabs a bad guy's leg and then splits him in two from the crotch.


A new Demon Arm execution called The Anaconda.

Story-wise, two years have passed since the events of The Darkness. No longer just a hitman, Jackie is now the head of the Franchetti crime family. When you have power, though, someone is always going to try and take it away from you.

First Impressions?

Very positive. The opening moments of The Darkness II are kind of amazing. Jackie awakens from a blackout to find he is literally being crucified by some jerk that wants the Darkness for himself. As his hands are nailed to the cross you see his power is being drained into some sort of ancient vase -- all from a first-person view. Through several playable flashbacks you come to learn how Jackie ended up in this predicament.

Jackie had arrived at an Italian restaurant earlier that night and received the suitably royal treatment. As he was led through the building I got a good sense of the space of the restaurant, which was busy with all sorts of chatty patrons. When Jackie arrived at his table he was greeted by two lovely ladies that he didn't at first recognize with their clothes on.

I won't spoil exactly what happens next because it's pretty shocking, but needless to say Jackie's nice evening is spoiled by an attempt on his life that leaves his leg crushed and the restaurant in flames. As one of his friends pulls Jackie to safety through the blazing wreck, players will be able to take aim and shoot down the invading mobsters. The flames are too bright for Jackie to change into his dark form, but once they reach a back alley he can transform and have his fun with the goons. It was a thrilling intro to the game and made me want to play.


The Darkness II is currently set for release later this year. Put it on your radar.

Bleszinski: Marry gamers, don't date them (or: design long-term engagement for fans)

In a candid talk during the Game Developers Conference on Thursday, Epic Games design director Cliff Bleszinksi advised attendees to "have an educated gut," and to be cognizant of the value of marketing and long-term relationships with customers. He encapsulated his talk in the "power creative," a project member who is unique, valuable and visibly tied to the game's identity. "This could be anyone," Bleszinski said.

With consumers constantly immersed in an information feed -- via social networking platforms like Twitter and Facebook -- it's important for game designers to be "surgical" and "devious" in creating IPs that thrive in an always-on, heavily branded world. According to Bleszinski, the market only tolerates games that land on the far ends of the spectrum between freemium or "snack" games and big-budget productions like Gears of War. "I believe the middle class game is dead."

The power creative understands how to engage fans over a long period of time -- "make gamers marry your game, not just date it" -- and how to capitalize on viral phenomena, such as Red Dead Redemption's donkey lady video. Bleszinski noted that Gears of War 3 had been crammed with enough easter eggs to remain a talking point among fans and press for weeks. "If they don't find it, we'll leak it," he said.

Bleszinski's talk urged designers and future power creatives to consider all marketable aspects of their properties, even giving thought to in-game quotes people could cite easily, or logos that make for good tattoos (the iconic "crimson omen" from Gears of War, for instance, regularly finds success on skin). And while this process of ensnaring players via the game's fiction and online play may seem manipulative, Bleszinski believes that players are capable of detecting disingenuous and impersonal efforts immediately.

Ideally, he said, an intellectual property should act as a delivery mechanism for a good gameplay idea, that also reinforces the fiction and shows off new technology. In the case of Gears of War 3, the physically warped "lambent" creatures provide an interesting shooting challenge, push the plot forward and demonstrate Epic's latest modeling and animation techniques. This best represents Bleszinki's proposed intersection between design and sales.

Though the power creative should be integral in both the design and promotion of the game, Bleszinski ascribed great value to maintaining ownership of intellectual property -- the loss of an IP in a publisher-driven deal shouldn't be underestimated. Or, to put it more bluntly: "Are you fucking high? That's the most valuable thing imaginable."

Saturday, March 5, 2011

GDC: 72 Percent of Players Finished Heavy Rain

by Kristine Steimer
When you first see a statistic like "72 percent of players who started Heavy Rain finished it", it can be difficult to determine what that means. After all, data needs context. Sure, that number seems high – but in high school that'd be the equivalent of a C, which is average. However, if you compare it to the industry average completion rate, which is 20-25 percent, it's downright astounding.

David Cage, president of Quantic Dream (the company behind the title), revealed this information today at a panel during the Game Developers Conference.

To add in some extra perspective I thought I'd compare Heavy Rain's statistics to another extremely popular title, Mass Effect 2. IGN's overall Game of the Year for 2010, Mass Effect 2 only boasted a 50 percent completion rate despite receiving more critical acclaim. Heavy Rain garnered an 87 average on Metacritic.com, while Mass Effect 2 secured an almost perfect score of 96.

Are you part of the 72 percent that finished the game? If so, sound off in the comments and let us know what you thought.

GDC: Is Dead Island Anything Like Its Debut Trailer?

by Daemon Hatfield


Serious. Somber. Disturbing. These are words I would use to describe Dead Island's amazing debut trailer.

You saw it, right?


Today I got to see about 15 minutes of Dead Island in action. What words would I use to describe the gameplay?

Silly. Wacky. Goofy.

Oh, and fun.

Dead Island is a first-person hack-and-slash game set in the midst of a zombie outbreak in a tropical paradise. It's more Dead Rising than Resident Evil, with a focus on action over suspense. The developers themselves say they're going for "zombie zombie zombie all the time." An abundance of makeshift weapons lying around like paddles, baseball bats, and wrenches – and the fact that these can be combined and upgraded – further reminds me of Dead Rising.

A game trailer that shows no gameplay might be entertaining, but it is useless as a metric for judging a game's quality.
Then there is the four-player cooperative play, also giving Dead Island a little Left 4 Dead flavor. At the beginning of the game you select your character (which represents your class) and are stuck with that choice for the duration of the adventure. Whomever you choose, you are special among the survivors on the island -- you seem to be the only person immune to the zombie disease, and therefore can go toe-to-toe with the undead without fear of being converted.

The game has a very different tone than the somber trailer. It's fast and arcade-like. The plaintive piano and strings of the trailer are replaced with video game heavy metal. You can be clawed, bitten, and mauled by zombies and then be in perfect health a moment later. Tools and equipment can be jammed together to create ridiculous weapons, like an electrified machete. Is an electrified machete cool? Of course it is! But the macabre giggles it coaxed out of me are quite different than the quiet unease I felt while watching the trailer.


Electrified machetes are cool, but do they fit the mood of Dead Island's debut trailer?

When developer Techland played Dead Island for me today, they chose the stereotypical "video game black guy" character. As he ran around slicing up zombies and bashing in their heads, he would exclaim things like, "Daaaaaamn, that bitch was huge!" and "You a dead bitch now!" Imagine hearing that sort of commentary over the trailer that depicted the tragic death of a young girl.

Games are about gameplay, not CGI movies. A game trailer that shows no gameplay might be entertaining, but it is useless as a metric for judging a game's quality. This should be an obvious statement, but think about how many game trailers we see these days that are bereft of gameplay footage. You can create an incredible trailer that draws attention to your game (DC Universe comes to mind), but that trailer could very well end up being more entertaining than the actual game (DC Universe comes to mind).

What if Angry Birds was really an advertisement to promote a remake of Alfred Hitchcock's The Birds? It would still be an amazing game, but it wouldn't have anything to do with that movie. Would that make any sense? It's an extreme example, but a lesser form of that bait-and-switch is happening with Dead Island.

The takeaway: Dead Island looks like good fun, even if the debut trailer was a little disingenuous. Like shooting Nazis or making robots explode, hacking up zombies really never gets old, and Dead Island seems to offer a slightly different perspective on the pastime. The level I saw today was fairly straightforward, consisting of moving from point A to point B to point C while dispatching the zombies that got in our way. But at one point I saw a plane coming in for a landing. That fascinated me: does the outside world not know of the outbreak? Did someone send help? Is a zombie flying the plane?! I look forward to finding out.

The next step is for us to actually play the game for ourselves, which we'll get the chance to do before E3.

Dragon Age 2....Combat CLasses

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