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Why We Love Unity 3D.

unity

I can remember in 1997, programming a game with Macro ASM and Microsoft C++, and thinking to myself, wow that only took me a summer to make the sprite engine. Now it’s time for Collisions.

Then came Direct X, where it only took you a Charles Petzold book for some windows, and a Visual C++ compiler, and away you went, chasing down hundreds of pointers and references and having to think about every hardware piece for compatibility.

Then Flash. Wow I loved how easy flash was to program, and 8bitrocket.com was the coolest site.

Now, the new King.

Unity combines all of the greatness of Flash, Cinema 4d, scripting, components, assets management, and just delivers a powerhouse of a workflow. Not only that it deploys to Xbox, PS3, Android, iOS, PC, Mac, and now Flash (Beta) with ONE code source. Just make sure you HARD TYPE every variable:

public var damageMultiplier : float;

Within two weeks I was creating things that looked and performed as well as things that took me a year to program. I was blown away with how smooth it ran on my Nvidia PhysX system on my Quo Mac/PC Hybrid.

The prefab selection so far is just awesome, and the expandability of some kits such as ‘detonator’ is practically a school in how particle s behave in a real explosion.

The heavier mathematics have been absracted from the math-nervous (such as Matrices and Quaternions) but having the knowledge is definitely still obviously a great asset, as I do enjoy working within my own physics system from time to time. Not because it is more accurate, but because it is more fun, or specialized for what i’m doing. Extra Springiness like Mario is way more fun sometimes than actually falling at a gain of 9.8/m^2/second. Sometimes good ole acceleration*.98 is good enough in the old delta. Especially if you like having your guy change directions when he’s falling…

The interoperability with c4d is great. You just model in c4d, texture in photoshop, and just bake the textures on from your render menu in C4d (release 12), then when you save into your assets folder, Unity auto-detects the changes to your asset and reloads them in its internal library. It then updates each instance of your prefab linked to your updated master instance, and it is something like heaven on how clean it works.

We plan on discussing tips and tricks in this section, such as the top five stumbling blocks of getting to know Unity, so stay tuned!

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We Slip Under the Spell of Storytellers

mach

A lot of the world is still quite a mystery, one that we may be breaching inch by inch, but a mystery nonetheless.

This is our brand new Game Concept Blog. We will be filling this with the ideas that we see missing in the realm of game design. When games are designed by people that care about art, history, philosophy, cinema, storytelling, and character, they just come out better.

Better means – more immersive, more imaginative, more compelling, more epic, more psychological, more rock-and-roll, and more real. The power of myth is not a light weapon, but a soft spot – a back door – back to our primal nature of how we process the world. We slip into the spell of storyellers. And we always have.

There are times when some programming causes us to put our guard down and accept a narrative, or a different state of consciousness. This goes back to even Kabuki, or Greek Theatre, where the audience was transfixed by some sense of re-created reality before them. The plays of Sophocles move people to even this day, as we see them in so many forms, even in Shaksespeare.

Our mission as game designers is to tap into that mystery sense of imagination, where the possible and impossible are free to tangle lawlessly, and collaborating their energies into one. Take our Game, Rawblades: Machina Tactical.

In Rawblades, you have a future popart-thin world totally unlike ours where the super rich control everything, and basically just hire private security for everything. The outrageous Military Industrial Fashion Complex has taken over the rich society which often needs armored protection to travel from swank joint to swank joint through the food riots.

Here we are trying to develop a rich sense of icon art that you may have found in Interplay’s 80′s hit ‘Wasteland’ which later went on to become basis for the Fallout series, now picked up by Bethesda.

I like to bring in the language use of David Lynch, Stanley Kubrik, where the characters exist to portray the sides of an argument. I like things that villify themselves, and don’t have to be dressed up to be made a villain. Or a Hero, or whatever character may attempt to sway us from our normal state of consciousness. We break from the spell when these things lose their footing within the framework they’ve tried to make us believe. Belief is the key study of great, great Game Design. Let’s see some better games out there.

Don’t let the Nothing take down Atrayu. Hipsters, tell the Squares what that means. More Later, Daddios…

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Motion Graphics is not one study…

This is part 1 in my series on the Anatomy of a Complete Motion Graphics piece. In usual blog style, I went to write a quick entry, and realized, this is not a simple subject, but the essence of motion graphics being complicated comes from the fact that it is so many arts in one. I will attempt to break down principle areas of motion graphics that simply are not in any formal study. Believe me, I’ve looked. You can find tutorials, how to start videos, but no one out there shows you how to take assets, music, a storyboard, a transition map, and some concept art and complete it to the end. I will use this series to demonstrate what I consider to be the ‘algebra equation’ of a ‘complete’ motion graphics piece. Part 1 is going up today, and I’ll keep adding to this as I get specific thoughts in each of the schools of thinking within Motion Graphics. Stay tuned…

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National Geographic

National Geographic has been publishing their digital editions with Zinio online newsstand since December 2009. In February of 2010, Hurling Design was contracted by ZCS to take the National Geographic magazine to the next level with video, animations, interactive content, and project management for the online interactive department. Watch our video to see Hurling Design’s contributions in 17 issues of National Geographic – Interactive Edition.

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