Hello and a good morning to all of you!
Let's start with a motivational speech - Not by me but by Matthew Jeffrey who works in talent acquisition and talent brand. He used to work for famous game publisher EA, but recently went to Autodesk, owner and publisher of many high-quality 3D design and editing tools. Being the professional recruiter that he is, he gives you a see-it-through-and-you-will-definitely-make-it-and-here-is-how-kind-of speech. He raises a lot of valid points and even though it might not convince you to start a career in video games, it certainly gives a good overview of the field.
The fascinating thing about game design is that less and less skill and knowledge are required to create a modern game with more and fancier features than ever before. The reason is that pioneers and researchers in games and graphics lay the groundwork. Most readers probably never even heard of Jerry Tessendorf even though almost every drop of ocean water you see in games and animation films today, is based on his publication "Simulating Ocean Water" from 1999. That kind of freely available research is often picked up by individual game designers and developers, as well as companies and special interest groups and put into games, game engines and frameworks.
Game development tools (or kits), such as Unreal Development Kit, Unity and CryENGINE 3 SDK (video on the left) are a combination of game engine, artist and development tools. They make it easy for artists to produce complex game scenes, and require less and less programming knowledge from developers to describe behavior and constraints of objects and characters, by providing more graphical and intuitive editors.
So how does a realistic looking game or pure simulation work? Short answer: We take a bunch of data, put them into a magic hat, say abracadabra, and we see results that, to some degree, resemble stuff in the real world.
The longer explanation: Artists use tools, such as 3ds Max, Blender or Maya to describe how the world looks like. We call this description a scene. After (and during) editing, the data of the scene is saved in files (similar to a word document). The files are usually not readable by us humans because they contain "raw" bits and bytes, and not just text. Unlike us, a game or simulator engine can read and understand the data from the file.
By itself the scene is static. Nothing will move. We need a program that moves things around - Our magic hat! The magic word to be spoken out loud while casting the spell depends on the method that we want to use to move or morph an object:
- Animation - The way object and characters move is pre-defined by the artist or some algorithm, and never changes. The reason for why animated objects don't look too robot-like, is that they are usually animated by multiple animations at once, using a method called animation blending. Often, the animation changes, depending on the situation. For example there are different animations for walking, sitting down, standing up etc.
- Simulation - We apply the laws of physics to objects and characters of our virtual world. For example, objects and characters fall down (and not up!) due to gravity.
That's it: The engine puts the scene description from the file into our magic hat which is a program that can either animate or simulate or both, to make things move about. Game engines provide many default programs to do this. If a game engine does not offer the kind of program that the game designer wants (for example, animated ocean water or real-time shadows), she can either use a program from someone else to add to the engine, or write it herself. We call a program that can be added into another one, a script, a library or Software Development Kit (SDK) (an SDK is a collection of libraries and possibly some tools). You might have seen or heard of "dll" files on Windows - Those are libraries, and they can be used by other programs to do certain things. That also tells us a little bit about engines: We can say, an engine is a program in that it can tell the computer to "do stuff", but we can also say that it is a collection of many programs which each have their own special purpose. An elementary program that solves only one particular problem, is also called an algorithm. For example, an algorithm is used to simulate the water in the video on the left. If the user has an influence on how things turn out, by for example, pressing a mouse key or raising a hand in front of a Kinect, we say that the program is interactive.
One small note on semantics: The water animation that we see requires more than just one algorithm. The algorithm continuously changes the data that we use to represent the water (the data being a whole bunch of numbers, in this case, stored in a so-called grid in memory). That data is created and modified by the algorithm, but it is then displayed on our screen by a so-called renderer. The renderer uses the position of the water, in combination with some other data, such as colors and lights to display things in a certain way.
And that principle applies to every game or simulator: One part of the engine, which we call the main-loop (consisting of a whole bunch of programs, mostly simulators and animators) just crunches numbers to modify the data. Another part of the engine, the render-loop, or renderer (another bunch of programs), then uses these numbers to display the results on the screen. Because the data changes every frame, the displayed result always looks different, and a sense of motion is created.
And this is the last item on today's agenda: What is a frame? As you probably already know, computers and TVs always only show one picture at a time. That picture is also called a frame. Both, the main-loop and the render-loop, need to compute some stuff before a frame can be displayed - And that takes time. How much time? That depends: The more data we want to display, the longer those computations take. Since the different components of our computer only have limited speed (called the clock rate), we can only process limited data within a given amount of time. Since we usually need to display at least 20 (to 30) frames per second, so that the human eye cannot make out a single picture, we only have at most 1/20th of a second, i.e. 50 milliseconds for all computations. We call this the real-time constraint: If computations take more than 50 milliseconds, the displayed result is generally not considered real-time. Those 50 milliseconds, together with the speed of the computer define how much data we can have in any real-time application, and the amount of data defines how beautiful we can make our game look. That is why game designers and developers always have to weigh beauty against speed to produce the best looking game that runs on all computers that satisfy the least possible minimum requirements. If, for example, you want to produce games for mobile devices or older computers, your game must run at much slower speeds than when targeting a last-generation console or computer, which is why they either cannot look as good, or more complicated tricks and algorithms must be developed to make them look good without requiring a lot of data.
At this point, I'd like to give a quick thanks to Keith Newton and the I-Novae team for offering me an opportunity and providing some really sweet content. He has been working on Unreal Engine 3, and is currently, together with his associates, working on the I-Novae game engine, which is featured in the two videos above.
For further reading, there are good books and articles that explain the architecture and anatomy of a game engine in depth. Here are some good links that explain how to create some very basic games.
