Posts Tagged video

Framerates do matter.

fpsheader Framerates do matter.

A while ago I was reading up on Starblade, one of the first commercial polygon-based games. What really struck me about the game was just how smooth it was compared to its spiritual successor, Starfox (granted the above links are YouTube videos that don’t accurately reflect framerates, but the differences are still quite noticeable).

It’s an extreme case, but one that nicely demonstrates the importance of rendering speeds.

smb Framerates do matter.

Despite having animations that consisted of only 2-3 frames, many classic games ran at 60fps. This granularity helped to smooth out movement, including Mario's beloved jump.

Of course no one ever complains about games being too smooth, but the debate of 30fps vs. 60fps continues to pop up. What’s more, the 60fps side keeps losing ground, often to the argument that humans can’t really detect more than 30 frames in a single second.

And that is completely untrue.

It’s an inherently flawed statement as humans are not digital machines. The human brain is always on, always receiving input. Light hits our eyes as a wave, and the information it carries is almost instantly transmitted to the Visual Cortex. The brain analyzes this data, focusing on changes brought on by motion and fluctuations in intensity. Displacement is interpolated via motion blur and identical input is discarded to avoid extraneous processing.

The “decoded” image is further analyzed by various parts of the brain, but the overall process — as complex as it is — is quite fast and versatile. Much faster than 30fps. Faster than 60fps, in fact.

So where does the myth of 30fps come from? Well, film and TV for the most part, but the framerates of those media are not analogous to those of videogames. Others have written extensively about the topic, so I won’t go too deep into it. What I’d like to talk about, though, is why high framerates are important to games.

unrealtournament3 Framerates do matter.

The Unreal Tournament series has been known for letting its players set very high FPS benchmarks.

As a preface, different titles obviously have different requirements, and some suffer more from a low FPS than others. Also, the reasons for Insomniac’s decision to move away from their 60fps standard were completely understandable, if a little painful to accept.

With that said, here’s why I think high framerates are important:

1). Granularity

The framerate of a game is usually directly tied to the processing of its logic. As a result, action games that run at 30fps cannot have the same granularity of movement as those that run at 60fps. This might not matter much for turn-based strategy titles, but it makes an awful lot of shmups technically impossible to do at lower framerates.

2). Input Lag

Games are inherently an interactive medium, and as such the response times for input need to be virtually instant. On the hardware side this is rarely an issue, but a stuttering framerate can reduce the response times and greatly detract from the overall experience (especially in “twitch” titles).

3). Consistency

30fps isn’t bad, but what most people fail to realize is that it’s often the “ceiling” measurement, i.e., the best case scenario. Unlike TV and film, games are dynamic, and the processing required to render any given scene can fluctuate quite significantly. As a result, 30fps games actually tend to run at a rate of 20-30fps. These sort of inconsistencies can be very difficult to avoid, but they’re much less noticeable with higher benchmarks.

motionblur Framerates do matter.

Motion blur at its finest.

4). Motion Blur

Motion blur is the biggest reason TV and film get away with smaller framerates. The phenomenon of motion blur relies on the human brain’s ability to stitch together a series of blurred images into a single, smooth animation. Until fairly recently, games had absolutely no motion blurring, and even these days it doesn’t have quite the same effect. The reason for this is that post-process blurring is not always accurate, and in many cases purposely exaggerated to create a distinctive visual effect.

To properly accommodate for all these factors, a high framerate is a must. And when it’s there, it creates a certain synchronization between the player and the game; a smooth flow that more developers should strive to achieve.

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Design roundup #1.

articlesheader Design roundup #1.

Whenever I sit down to write an article about some aspect of game design, I always do a bit of research first. Often I run into works that already cover the topic, usually more extensively than I would have, so I scrap it. That doesn’t make these existing pieces any less valid, though, so I’ve decided to periodically highlight them.

Also, there’s a lot of information out there that isn’t specifically aimed at videogame design: neuroscience, prose, psychology, etc. Articles that discuss these topics can still be quite useful for a designer, so I’ll try to include them as well.

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Tribes of Mexica DreamBuildPlay contest entry.

dbpheader1 Tribes of Mexica DreamBuildPlay contest entry.

It’s finally done, and none too soon either.

The idea behind that splash-page is stolen from the Xona Games guys, by the way, except I designed our version to be compatible with lower resolutions without the need to scroll. It’s still temporary, but I think its’ a good bare-bones placeholder.

With that out of the way, regular programming will now resume…

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How I got art for my game, part 1.

tomart1header How I got art for my game, part 1.

As a kid, I used to excel at various visual arts. I enjoyed sketching, drawing, painting, etc., and some of my work was even briefly displayed at a quite silly our-children-are-the-future event. As I grew older, though, my interest in art waned and I eventually abandoned it for other hobbies. These days I can draw a stick figure as good as anyone else, but that’s about the extent of my skills. As such, I definitely needed some help with the visuals of Tribes of Mexica.

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Tribes of Mexica, the beginning.

tomcoverheader Tribes of Mexica, the beginning.

I’m making a game. Here’s a video of the tech-demo/proof-of-concept:

The basic premise of Tribes of Mexica evolved from kicking around a few ideas that dealt with creating gameplay mechanics from radial menus. I have a couple different takes on it, actually, but the one I’m currently focusing on is a classic match-three approach. The reason for this is that it’s a relatively simple and intuitive concept, but it still provides me some room to be unique.

Of course the fact that match-three is almost a genre unto itself means that I’m not going for 100% originality. And that’s OK, too. Very few developers seem to be willing to point out their inspirations, and it’s a silly phobia. Also, too many titles are credited with being original when they simply use an existing formula with a new element or two. Instead, I’m committed to creating this game all the while calling a spade a spade.

tlalocconcept Tribes of Mexica, the beginning.

Concept art for Tlaloc, one of the more significant gods in Aztec mythology.

So what’s my inspiration? Well, I think Puzzle Quest will draw the most comparisons, and that’s fairly accurate.

Soon after prototyping the ring-rotation, though, I realized that it’d be tough to make a pure puzzle game out of ToM. The interconnected nature of all the coloured elements meant that it was virtually impossible to visualize ahead more than a move or two. Typical links/chains/combos were possible, but they were usually a result of luck, not skill. The radial design also imposed various limitations that are not an issue with static, grid-based puzzlers such as Bejeweled. Still, I was fond of the core concept, so I decided to build on top of it and turn it into a combat game of sorts.

Much like Puzzle Quest, each attack fills up a colour-coded “spell” (currently indicated by the Xbox 360 controller’s face buttons), but I think that’s where the similarities end. ToM is a real-time game, requiring constant analysis and input. In fact, I think it’s more akin to Patapon than anything else; it’s an abstraction of an RPG battle system coupled with an interesting input mechanic.

The one-on-one nature of ToM also allows it to draw upon some elements found in traditional fighting games, and I’ll try to incorporate more of those as the title progresses.

Also, until we give the Incubator Games website an upgrade, I’m going to chronicle the whole experience here on Significant Bits. It’ll allow me to talk about the evolution of ToM’s design while bringing up a couple of other topics such as contracting and promotion. Too often such talking points are relegated to sentiments of “You should do it, and it’d help if you did it well,” though, and that’s not very helpful. Instead, I’ll strive to provide hard numbers and some personal opinions on the overall experience. Hopefully you’ll all find it interesting.

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