Holistic Game Development with Unity: An All-in-One Guide to Implementing Game Mechanics, Art, Design and Programming / Edition 2 available in Paperback
Master game design and digital art principles simultaneously with this all-in-one guide to creating games in the cutting-edge game engine Unity 5. Bursting with images and tutorials, Penny de Byl’s Holistic Game Development with Unity will help the reader gain the multidisciplinary skills needed to succeed in the independent game industry. Holistic Game Development includes new coverage on Augmented Reality, Networking and Virtual Reality such as the Oculus Rift. Supplementary material, including instructional videos, discussion forms and art assets are provided in the companion website located at www.holistic3d.com. Learn to combine the beauty of art and the functionality of programming in de Byl’s second edition for Unity game development.
|Publisher:||Taylor & Francis|
|Product dimensions:||7.50(w) x 9.75(h) x (d)|
About the Author
Penny de Byl is a professor of games and multimedia at Bond University in Australia. An award-winning teacher, Penny has taught computer science, computer graphics and game development at top-ranked universities for nearly 20 years. She is the author of three books on designing and developing artificial intelligence and games including the acclaimed Holistic Game Development with Unity and winner of the 2011 Unity Technologies’ Unity Mobile Generation Great Education Giveaway.
Read an Excerpt
Holistic Game Development with UnityAn All-in-One Guide to Implementing Game Mechanics, Art, Design, and Programming
By Penny de Byl
Focal PressCopyright © 2012 Elsevier, Inc.
All right reserved.
Chapter OneThe Art of Programming Mechanics
Everyone can be taught to sculpt: Michelangelo would have had to be taught how not to. So it is with the great programmers.
In 1979, art teacher Betty Edwards published the acclaimed Drawing on the Right Side of the Brain. The essence of the text taught readers to draw what they saw rather than what they thought they saw. The human brain is so adept at tasks such as pattern recognition that we internally symbolize practically everything we see and regurgitate these patterns when asked to draw them on paper. Children do this very well. The simplicity in children's drawing stems from their internal representation for an object. Ask them to draw a house and a dog and you'll get something you and they can recognize as a house and dog or, more accurately, the icon for a house and dog, but something far from what an actual house and dog look like. This is evident in the child's drawing in Figure 1.1. The title of the book, Drawing on the Right Side of the Brain, also suggests that the ability to draw should be summoned from the side of the brain traditionally associated with creativity and that most bad drawings could be blamed on the left.
Different intellectual capability is commonly attributed to either the left or the right hemispheres. The left side being responsible for the processing of language, mathematics, numbers, logic, and other such computational activities, whereas the right deals with shapes, patterns, spatial acuity, images, dreaming, and creative pursuits. From these beliefs, those who are adept at computer programming are classified as left-brained and artists as right-brained. The segregation of these abilities to either side of the brain is called lateralization. While lateralization has been generally accepted and even used to classify and separate students into learning style groups, it is a common misconception that intellectual functioning can be separated so clearly.
In fact, the clearly defined left and right brain functions are a neuromyth stemming from the overgeneralization and literal isolation of the brain hemispheres. While some functions tend to reside more in one side of the brain than the other, many tasks, to some degree, require both sides. For example, many numerical computation and language activities require both hemispheres. Furthermore, the side of the brain being utilized for specific tasks can vary among people. Studies have revealed that 97% of right-handed people use their left hemisphere for language and speech processing and 70% of left-handed people use their right hemisphere.
In short, simply classifying programmers as left brainers and artists as right brainers is a misnomer. This also leads to the disturbing misconception that programmers are poor at art skills and that artists would have difficulty understanding programming. Programming is so often generalized as a logical process and art as a creative process that some find it inconceivable that programmers could be effective as artists and vice versa.
When Betty Edwards suggests that people should use their right brain for drawing it is in concept, not physiology. The location of the neurons the reader is being asked to use to find their creative self is not relevant. What is important is that Dr. Edwards is asking us to see drawing in a different light—in a way we may not have considered before. Instead of drawing our internalized symbol of an object that has been stored away in the brain, she asks us to draw what we see. To forget what we think it looks like. In the end this symbolizes a switch in thinking away from logic and patterns to images and visual processing.
There is no doubt that some people are naturally better at programming and others at art. However, by taking Edwards' anyone can draw attitude, we can also say anyone can program. It just requires a little practice and a change of attitude.
1.2 Programming on the Right Side of the Brain
While it is true that pure logic is at the very heart of all computer programs, it still requires an enormous amount of creativity to order the logic into a program. The process is improved greatly when programmers can visualize the results of their code before it even runs. You may liken this to a scene from The Matrix where the characters look at screens of vertically flowing green numbers and text but can visualize the structure and goings on in a photorealistic, three-dimensional virtual reality. To become a good computer programmer you need to know the language of the code and be able to visualize how it is affecting the computer's memory and the results of running the program.
Umberto Eco, the creator of Opera Aperta, described the concept of art as mechanical relationships between features that can be reorganized to make a series of distinct works. This too is true of programming. The same lines of programming code can be reorganized to create many different programs. Nowhere is this shared art/programming characteristic more obvious than in fractals.
Fractals are shapes made up of smaller self-similar copies of themselves. The famous Mandelbrot set or Snowman is shown in Figure 1.2. The whole shape is made up of smaller versions of itself. As you look closer you will be able to spot tens or even hundreds of smaller snowman shapes within the larger image.
A fractal is constructed from a mathematical algorithm repeated over and over where the output is interpreted as a point and color on the computer screen. The Mandelbrot set comes from complex equations, but not all fractal algorithms require high-level mathematical knowledge to understand.
The Barnsley fern leaf is the epitome of both the creative side of programming and algorithmic nature of art. Put simply, the algorithm takes a shape, any shape, and transforms it four times, as shown in Figure 1.3. It then takes the resulting shape and puts it through the same set of transformations. This can be repeated infinitum; however, around 10 iterations of this process give a good impression of the resulting image (see Figure 1.4).
Creating images with these types of algorithmic approaches is called procedural or dynamic generation. It is a common method for creating assets such as terrain, trees, and special effects in games. Although procedural generation can create game landscapes and other assets before a player starts playing, procedural generation comes into its own while the game is being played.
Programming code can access the assets in a game during run time. It can manipulate an asset based on player input. For example, placing a large hole in a wall after the player has blown it up is achieved with programming code. This can only be calculated at the time the player interacts with the game, as beforehand a programmer would have no idea where the player would be standing or in what direction he would shoot. The game Fracture by Day 1 Studios features dynamic ground terrains that lift up beneath objects when shot with a special weapon.
1.3 Creating Art from the Left Side of the Brain
Most people know what they like and don't like when they see art. However, if you ask them why they like it they may not be able to put their thoughts into words. No doubt there are some people who are naturally gifted with the ability to draw and sculpt and some who are not. For the artistically challenged, however, hope is not lost. This is certainly Betty Edwards' stance.
A logical approach to the elements and principles of design reveals rules one can apply to create more appealing artwork. They are the mechanical relationships, alluded to by Umberto Eco, that can be used as building blocks to create works of art. These fundamentals are common threads found to run through all good artwork. They will not assist you in being creative and coming up with original art, but they will help in presentation and visual attractiveness.
The elements of design are the primary items that make up drawings, models, paintings, and design. They are point, line, shape, direction, size, texture, color, and hue. All visual artworks include one or more of these elements.
In the graphics of computer games, each of these elements is as important to the visual aspect of game assets as they are in drawings, painting, and sculptures. However, as each is being stored in computer memory and processed by mathematical algorithms, their treatment by the game artist differs.
All visual elements begin with a point. In drawing, it is the first mark put on paper. Because of the physical makeup of computer screens, it is also the fundamental building block of all digital images. Each point on an electronic screen is called a pixel. The number of pixels visible on a display is referred to as the resolution. For example, a resolution of 1024 × 768 is 1024 pixels wide and 768 pixels high.
Each pixel is referenced by its x and y Cartesian coordinates. Because pixels are discrete locations on a screen, these coordinates are always in whole numbers. The default coordinate system for a screen has the (0,0) pixel in the upper left-hand corner. A screen with 1024 × 768 resolution would have the (1023,767) pixel in the bottom right-hand corner. The highest value pixel has x and y values that are one minus the width and height, respectively, because the smallest pixel location is referenced as (0,0). It is also possible to change the default layout depending on the application being used such that the y values of the pixels are flipped with (0,0) being in the lower left-hand corner or even moved into the center of the screen.
On paper, a line is created by the stroke of a pen or brush. It can also define the boundary where two shapes meet. A line on a digital display is created by coloring pixels on the screen between two pixel coordinates. Given the points at the ends of a line, an algorithm calculates the pixel values that must be colored in to create a straight line. This isn't as straightforward as it sounds because the pixels can only have whole number coordinate values. The Bresenham line algorithm was developed by Jack E. Bresenham in 1962 to effectively calculate the best pixels to color in to give the appearance of a line. Therefore, the line that appears on a digital display can only ever be an approximation to the real line as shown in Figure 1.7.
A shape refers not only to primitive geometrics such as circles, squares, and triangles, but also to freeform and nonstandard formations. In computer graphics, polygons are treated as they are in geometry; a series of points called vertices connected by straight edges. By storing the coordinates of the vertices the edges can be reconstructed using straight line algorithms. A circle is often represented by as a regular polygon with many edges. As the number of edges increases, a regular polygon approaches the shape of a circle.
Freeform objects involve the use of curves. To be stored and manipulated by the computer efficiently, these need to be stored in a mathematical format. Two common types of curves used include Bezier and nonuniform rationalbasis spline (NURBS).
A Bezier curve is constructed from a number of control points. The first and last points specify the start and end of the curve and the other points act as attractors, drawing the line toward them and forming a curve, as shown in Figure 1.8. A NURBS curve is similar to a Bezier curve in that it has a number of control points; however, the control points can be weighted such that some may attract more than others.
In computer graphics, a polygon is the basic building block for objects, whether in 2D or 3D. A single polygon defines a flat surface onto which texture can be applied. The most efficient way to define a flat surface is through the use of three points; therefore, triangles are the polygon of choice for constructing models, although sometimes you will find square polygons used in some software packages. Fortunately for the artist, modeling software such as Autodesk's 3DS Studio Max and Blender do not require models to be handcrafted from triangles; instead they automatically construct any objects using triangles as a base as shown in Figure 1.9.
Excerpted from Holistic Game Development with Unity by Penny de Byl Copyright © 2012 by Elsevier, Inc.. Excerpted by permission of Focal Press. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Table of Contents
Chapter 1: The Art of Programming Mechanics
Chapter 2: Real-World Mechanics
Chapter 3: Animation Mechanics
Chapter 4: Game Rules and Mechanics
Chapter 5: Character Mechanics
Chapter 6: Player Mechanics
Chapter 7: Environmental Mechanics
Chapter 8: Mechanics for External Forces