![]() □ “What’s a jam?” and Other Frequently Asked Questions □ Official Blog - Check here for news and updates! □ Fill out the sign-up form sometime before you start! Myfirstgamejam: My First Game Jam Winter 2017 will run from January 7th through January 21st! Marshall Miller’s Dungeon World starters: community, poetic vignettes, and the sea. The bot feels like Earthsea, like The Quiet Year, like one of Though the most important aspect may be the framing: a voyage brings a narrative along with it, and even brief entries can be evocative and in-character. It also uses cycles and events to give a sense of time, as sunset is followed by the stars emerging, or a storm engulfs the ship. I think that one reason why it works is the sheer variety of different things to talk about: each message is unique among its neighbors. Strange sailors, deserted towns, lost islands. Characters emerge as if from a fog and recede again: elders telling stories, children playing pretend. Entries seldom feel robot: the repetition that is there feels like the rhythms of the voyage rather than the tick of the machine. What impresses me the most here is the effectiveness of the storytelling. This is one of my favorite new Twitter bots: by It tells the story of a sea-going community, and what they encounter. And the appearance of having denser information makes for better-looking, more convincing generation. Third, one reason why I think this looks better is that turbulent textures have an implied history, and that history is extra information. Second, try combining processes and information (in the technical sense) from other sources: use flow fields and slime mold growth and plate tectonics and earthquake data and traffic noise into your generators. There’s still lots and lots of new techniques that can be discovered. No doubt there are other methods out there, but I’m mentioning this one to point out a couple of things:įirst, the common procedural generation tools (Perlin noise, in this case) aren’t always the best choice. Stephen’s presentation (which he developed as part of his open-source game Space Nerds in Space) and this Junkship dev blog post about texturing planets looks like a good starting point for using a flow map created with curl noise via procedural fluid flow to create the swirling textures. Having a way to replicate that opens up another class of texturing options. Especially on a large scale, the swirls and flows form complex patterns that are beautiful and appear information-dense. Perlin noise is a common basis for a lot of texturing, but despite looking a bit like puffy clouds it isn’t all that great for representing textures that are swirling or turbulent. And it’s not just for Jovian planets: Earth’s clouds look wrong without it, and there’s a whole host of smaller-scale texturing (like water or flames) that looks better with it. This effect is tough to replicate with some of the common texturing approaches. Cameron, about procedurally generating textures for gas giants that look appropriately swirly. The other isįrom a presentation by Stephen M. One of the images above is from the amazing photos of Jupiter that have been captured by the Juno mission. Procedural-generation: Turbulent Planet Textures Instantiating and connecting NavMeshes with different positions.Įverything to get started is available here: for user generated content).īake NavMesh on a surface for any orientation.īake NavMesh only within a specified volume.Ĭontinuously update the NavMesh around a moving character. ![]()
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