![]() This often leads to not having unique geometry at all, as it is too much trouble. The image below shows an example of this from the Citadel: If you want to have large organic shapes, like a massive spiral tower that slowly unravels over hundreds of meters, you would need to carefully plan how to deal with all this unique geometry. Simply put, there is no canvas, instead, you have a collection of things. You would have an object for the terrain, static meshes for the towers, walls, even the rocks making up your cliffs would be a bunch of instanced meshes clearly intersecting each other. While it is possible, you would be building out of a myriad of objects placed in your scene. If you have developed for UE4 or Unity before, think of how you would approach a project like this Citadel. It is a really distinct feel, which cannot be explained rather experienced. There is no difference between a tower roof versus terrain you have terraformed. You feel more like you are working on a canvas. You change because you begin seeing your entire project as a single fabric of content. I let people figure this out by themselves, I do not want to be that weird guy saying you really need to try LSD. What I rarely say is that once you work with voxels, your mind changes. Also, if you are doing procedural generation of anything that goes beyond heightmaps, voxels make it much easier to express and realize your procedural objects into something you can render using traditional engines like UE and Unity. CSG is what allows to create game mechanics like harvesting, tunneling, destruction and building new things. I usually point at the obvious bits: If you want to do real-time constructive solid geometry (CSG) pretty much anything else is too slow. I would like to cover a couple of aspects that I find interesting from this experience.Ī question I often get is why use voxels at all. The demo is not available yet, we are still working on the game-side of it in UE4, but the Citadel model is pretty much complete at this point.
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