Tuesday 8 October 2013

BA7: Final Project 1: Research, development and reflection

World Building

“To see a World in a Grain of Sand 
And a Heaven in a Wild Flower, 
Hold Infinity in the palm of your hand 
And Eternity in an hour.”


― William Blake, Auguries of Innocence

Infinity. That's how Mind works. Created to be Creators.

Looking up at starlit spaces we connect those far off lights into an endless series of pulsing patterns, a tapestry of night. We strain to perceive the weave that holds heaven together.

So, this is how, for me, inspiration works. It begins with a seed of thought, a moment of speculation.
It can begin with a simple walking tune humming in the air. An unusual pebble, a misheard word, a storm cloud howling at the dawn.

Over the Summer I've had, and continue to develop, many ideas.

What if Merlin was reborn today? How would a First Person Healer game play out? What would an Angel Warzone look like from a human perspective? How could music make a forest grow?

These ideas do not usually begin as well phrased intelligible questions. Like a half remembered melody  tickling at your mental piano the Muse invites a response, a counterpoint. No matter whether it's vividly beautiful or dead fish ugly, prosaic or perverse, the world suddenly presents us something startlingly different and we react and respond to this new experience with a mind trained from birth to adapt and survive, playfully improvise and communicate the experience to our fellows.

So the seed grows and sprouts, pushing out tendrils and roots, stretching out branches of enquiry, more questions that find and feed more detailed responses...

What would the world be like in twenty years hence when Merlin grew into a young man? What if Mordred was also reborn and became a fascist dictator, crushing dissent with a future-tech iron fist?

Would a FPH game be as gory and distressing as a real war, would death be final? Would Triage even be enjoyable or 'entertaining' to play? How would a player choose who lives and dies? 

If you sang out of tune would your world make an unhappy tree?


Tuesday 15 January 2013

BA5 Contextual Studies: Platform and Distribution: Oculus Rift

OCULUS RIFT - Virtual Reality Headset

Palmer Luckey is the creator of Oculus Rift, a virtual reality headset for the 21st Century. Funded through Kickstarter and with support from some of the Game Industry heavyweights including Valve, Epic Games and Unity, this new technology will revolutionize the way that consumers play Videogames and give us Game developers another tool to fully immerse our audience in our virtual worlds.
"Virtual Reality is still something that a lot of people are still skeptical about, but Oculus Rift aims to change that with support from the likes of John Carmack and the creator of Minecraft, Notch."






Oculus Rift Developer Kits are available to pre-order for $300 USD, or around £190 GBP, for delivery to the general public and Indie teams in April 2013. This will include the hardware to build a basic working Headset and access to the Rift SDK. Unreal and Unity have already announced support for the Oculus Rift within their Game Engines. The Oculus Rift requires a graphics card such as the Nvidia GTX 680 or a notebook Nvidia GeForce GT 650M. The graphics card must be capable of outputting 60 fps through an HDMI or DVI video-out port.





“[The Rift developer kit] is an experimenter’s kit where you can really be at the forefront something I think will be a very big deal in the coming years here.” - John Carmack, id Software


An Oculus enabled version of Doom RPG by id Software was available with the Kickstarter funded development kits.

Hawken the free-to-play Mech FPS announced support for Oculus Rift and early reviews have been incredibly enthusiastic.








Needless to say I am very tempted to dip my toes into the Rift!

Further sources and reviews:

 


BA5 Contextual Studies: Platform and Distribution: Kickstarter

The last twenty years has seen many developments in the Game Industry...

Here's the first of two advances that have changed the way Games are developed and marketed.

Kickstarter launched in April 2009. In it's own words it is "a funding platform for creative projects". 

Category Successfully Funded Projects Less than
$1,000 Raised
$
1,000 to
$9,999 Raised
$
10,000 to
$19,999 Raised
$
20,000 to
$99,999 Raised
$
100
K
to
$999,999 Raised
$
1
M

Raised
All 35,006 4,094 23,472 4,281 2,745 394 20
Theater 2,507 356 1,913 174 62 2 0
Technology 541 33 217 70 152 65 4
Publishing 2,835 468 1,903 300 155 9 0
Photography 973 150 670 112 41 0 0
Music 10,088 1,058 7,587 1,056 374 12 1
Games 1,284 85 556 243 294 94 12
Food 1,073 57 589 268 153 6 0
Film & Video 8,665 844 5,426 1,341 981 73 0
Fashion 665 79 431 93 54 8 0
Design 1,138 92 428 206 301 109 2
Dance 774 68 660 36 10 0 0
Comics 927 141 586 116 71 12 1
Art 3,536 663 2,506 266 97 4 0
 
Last Updated: Tuesday 4:15am EST January 15 2013

 (source http://www.kickstarter.com/help/stats)


With recent recognition from mainstream and online media, Kickstarter has become an important source of "Crowd Funding" and investment for Game development Projects worldwide. 

Kickstarter enables Stakeholders to become directly involved in fundraising for Projects that might otherwise struggle to find the major investment required to research and develop new technologies and bring them to a commercially viable stage.

It has also become an important tool for Marketing and advertising as well as providing a bridge between consumers and business. Higher stages of Investment will often offer the ability to directly develop and influence aspects of the final commercial product.  

Here are just a few Projects that have been successful at finding direct Investment through Kickstarter. You can find many more at: http://www.kickstarter.com/discover/categories/games/most-funded#p1



 

 









Monday 14 January 2013

BA5 Production: From Jupiter V to Saturn VI

Back for the New Year with an ambitious New Project... building a Game Environment in CryEngine to hone those Level Design and 3D modelling skills to a finer degree.

Here's my Learning Agreement for BA5 Production:




Name: Craig A Rouse



Proposal:  What do you intend to do?

I intend to concept, level design and build a 3D environment, in Maya, that can be exported to CryEngine or UDK and explored with the default First Person character. 

The environment will be a section of the Jupiter moon Almathea with a Survey Vessel from the Callisto Outpost. It will be possible to enter the Vessel and explore the interior. Due to time constraints a limited amount of interactivity will allow doors to open and lights to be switched on and off etc. As detailed below, other gameplay elements will be ‘designed into’ the environment.

I also intend to build an explorable section of the Moon environment using the terrain tools. 
Although concepts will be based upon the ‘real’ moon Almathea I will make the environment more interesting for the player by emphasizing and exaggerating naturally occurring geological phenomena, such as glaciers, in order to inspire a sense of awe by artistically creating a truly extraterrestrial space.

I will also aim to embed certain gameplay ideas into the environmental space. These include:
A static 3D model of a protagonist that occupies a Medical Treatment Centre space, currently in a ‘coma’. The character model will be designed to allow for rigging at a later stage.
The Survey Vessel Interior will be designed with enough space to allow freedom of movement throughout i.e. doors, walkways, corridors and living spaces will be accessible by the First person default character.  
The Vessel Interior will also be designed with other levels of Gameplay embedded into it, such as the ability to move through the space in a ‘Stealth Mode’ i.e. accessing maintenance tunnels and hatches etc.
The Interior will also include various objects that will ‘tell a story’ to the Player, giving clues about the absent crew.
A route to a nearby ‘crash-site’ investigation area will also be built into the terrain. If time permits the ‘crash-site’ will also be built. 


Assessment Work:  

Schedule of Work: (to include the deadline for submission of assessment):
Research, Concepting and Level Design: 10/12/2012 – 07/01/2013
Concept and Level Design Document delivery: 09/01/2013
3D Modelling, Texturing and Exporting to CryEngine/UDK: 09/01/2013 – 05/02/2013
Testing and Refining/ Assessment Documentation Prep: 06/02/2013 – 14/02/2013
Submission Assessment Deadline: 15/02/2013


I wanted an environment that was unusual and unearthly with an awe inspiring view of a huge planet. Jupiter V seemed a good choice (and also sounds quite cool as a Project name!)

Here are a few images of Almathea the fifth moon of Jupiter. Almathea is the name of the goat who suckled Zeus, or Jove when his father Chronos regurgitated him. The name also seemed appropriate given the original idea for this game scenario...(more of that later!)




I spent a few hours sourcing topographic maps of Almathea and also hi-res textures for Jupiter.


I then built a simple scene in Maya and mapped the biggest Jupiter texture I could find to a polygon sphere.




I then used a greyscale image made from the topographic map in Photoshop to create some basic geometry for Almathea.

It was very basic; just an embarrassing blob! There had to be an easier way...

Fortunately the free, open source, space simulation tool Celestia has a vast resource of 3D models. Looking through their archives I managed to find a 3ds model of Amalthea. I converted this 3ds model into an obj, applied a normal map I made from the greyscale and...



Et voila! Almathea!

I scaled Jupiter and Almathea so that they would reflect the actual size and distance from each other, using the the mean orbital distance of Almathea. Therefore, the scene view from the surface of Almathea should correspond to the actual view. I could have done this using Celestia but I had already started this in Maya and it was relatively easy to do.

This Body Size Calculator resource at www.solarvoyager.com was incredibly useful; it works out the dimensions in pixels the astronomical object occupies in the image! Using data from NASA I was able to work out exactly how the magnificent massive gas giant Jupiter looks from the surface of Almathea. 

So, after alot of research, and parsing about, I had my initial 3d concept of the view from the moon of Almathea...



Hmmm...it's a bit dark out here. And, frankly, a bit boring. 

Literally no atmosphere.


I learnt an IMPORTANT LESSON from this exercise!

Even if something is modelled for realism it won't necessarily be exciting and engaging! We are ARTISTS, we embellish, extrapolate, hone, polish and glamourise. We should choose elements of the real and elaborate with our vision and imagination to entertain and bedazzle!

We are the purveyors of the extra-ordinary. We tease forth incredible vistas and spin the stuff of dreams.

This is why we concept and test ideas. I would be working with CryEngine 3, one of the most advanced game engines on the planet, capable of rendering incredible atmospheric effects in real time and I was considering a setting that was deep in space with little to no light and literally no atmosphere for that light to bounce around and excite the visual cortexes of the player. Almathea had the potential to be an excellent game environment. The dark and silence could be incredibly evocative in it's own right but that will take more skill than I currently possess. I was Silent Running before I could Spacewalk...

I needed to find an extraterrestrial body with an atmosphere. There was only one place to go...the only other moon in the solar system with an atmosphere.

Saturn VI.




Notes from 28/12/2012

Been thinking about the moon of Almathea which has a good view of Jupiter but otherwise quite a dull environment i.e. no atmosphere (literally!)

Have decided to place the environment on Titan instead. Has a good view of Saturn with it's beautiful rings and also a rich geologically active topology and exotic, tangerine, methane atmosphere.
It's also a contender for a visit due to it's wealth of hydrocarbon lakes and potential for extraterrestrial biological organisms.
So, will be researching Titan instead. There may even be some 3D information that could be used to construct a RAW or Heightmap!








BA5 Colour and Light in two religious works

I've been studying religious works, especially considering the subject of "Darkness and Light" for the Bishop's Art Exhibition 2013.

Here are two works with the subject of Christ which I'll be comparing in terms of the use of light in the paintings. The first is Christ of Saint John of the Cross (1951) by Salvador Dali. The second painting is The Body of the Dead Christ in the Tomb (1521) by Hans Holbein (the Younger).

It is important to note that these digital copies of the original works do not necessarily reproduce the original colour of the paintings. It is important to also consider that the space, and environmental light within which these paintings are viewed will also affect the colour of the piece.


I had seen prints of Christ of Saint John of the Cross (1951) by Salvador Dali before viewing the painting at Kelvingrove Art Gallery and Museum, Glasgow in the late eighties.

The painting was hung at the end of a gallery under a skylight high above. This allowed the viewer to walk towards the painting and experience the changing perspective as the work is approached.

There seems to be at least two sources of light in the lower half of the painting; the cloud obscured moon which is high in the sky and another source of light, possibly the dawning sun, below the horizon. The still lake reflects the blue of the horizon, with slight hints of reflection in the water of the figure, boat and jetty in the lower right of the picture. The strong light from the right of the image that illuminates the Christ also lights the boat and figures, casting strong shadows with ambient light in the shadows, providing a third source of light.

The subdued tones of the lake and clouds work in contrast with the strong source of light that 'spotlights' the figure of Christ. Ambient light and the muted colour is taken from the storm clouds in the sky of the landscape below.

Christ is illuminated with almost surgical clarity with the focused source of light from the right of the image. The darkness beyond the Cross is absolute which focuses our attention on the Christ. This is a painting technique called chiaroscuro which serves to provide a strong contrast of light and dark and effectively render the body in three dimensions.

The focused light on the Christ has the character of an electric spotlight, possibly the light source used by Dali to illuminate his subject. The shadows cast by Christ's body are dynamically occluded by the subject attesting to it's solidity and presence, with a halo effect around the shadow. A fill light is supplied by bounced light reflected from the cross which Dali has rendered as stone to emphasize it's weight and endurance. This is a cross as statue or monument.

The artist has also added a slight halo effect around the shoulders and feet of the Christ. This lends a feeling that the Christ is detached or floating above the solid stone cross, rising above the solidity and darkness of the world below.

The painting The Body of the Dead Christ in the Tomb (1521) by Hans Holbein (the Younger) predates Dali's work by over four centuries. It's subject, the dead body of Christ in the tomb must have been controversial, almost heretical, in it's time.


Here the body of Christ lies unmoving, entombed and seemingly devoid of life. However, given that the body is enclosed, where is the light coming from?

The head, hand and feet of Christ are grey and in shadow. His hand is seized with rigor mortis, a sure sign that this is a corpse whilst the rest of the figure exhibits ruddy health. The extended finger seems to have moved the cloth beneath it; perhaps the Christ is returning to life?

The main source of light appears to be shining from above the legs of the figure, giving specular highlights along the shin bones and illuminating the shroud draped upon the groin and base of the grave. One can imagine that the lid of the tomb is being pulled aside, revealing the body. Chiaroscuro is used sparingly to give a high contrast between the light from above and the dark of the grave,  lending form to the body.
 
Bounced light reflects back onto the face of the figure lending it the cooler, greyer pallor of the tomb. Dynamic occlusion is rendered by Holbein in the shadows beneath the legs, arms and on the neck of the body.

Although the use of light in Holbein's work is more subtle and less extreme than that of Dali's painting the work still evokes a mood that is unsettling. Both paintings contain sources of light that would not be present in the natural world which lend an otherworldly, supernatural effect to their subject.