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🎓 Learn how to create a powerful Dynamic Snow gradient Map in a matter of seconds in my latest video series (AAA) Pro Tips! This special Map can be used to adjust the amount of snow coverage on any 3D asset straight inside a game engine or during in-game...

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Cohen Brawley

2,516 subscribers

28,955 次观看 • 2 年前 •via X (Twitter)

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MANOR LORDS 的头像
MANOR LORDS2 年前

I see you tagged unreal and I wonder why not just height lerp from the Z component of the pixel normal instead? You can also remove inverse AO to subtract the crevices. This way you can save a lot of time and VRAM making custom masks for each and every asset.

OPEN 的头像
OPEN1 年前

Cinematic pedigree of the highest order meets innovative AAA gameplay in OP3N. Dive into the action by wishlisting on Epic Games TODAY!

Buschenrieder Alain 的头像
Buschenrieder Alain2 年前

Oh this would be useful someday, thanks. Followed.

Cohen Brawley 的头像
Cohen Brawley2 年前

Great to hear! Thanks for the support! :)

相关视频

🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ___________________________________________________ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx
1:32

🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ___________________________________________________ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

Cohen Brawley

46,031 次观看 • 2 年前

I created a 3+ hour tutorial on how to create a complete GTA game in Unreal Engine 5. This is the best-looking Unreal Tutorial ever, check out the full video on my channel! #ue5 #unrealengine #unrealengine5 #gamedev
0:51

I created a 3+ hour tutorial on how to create a complete GTA game in Unreal Engine 5. This is the best-looking Unreal Tutorial ever, check out the full video on my channel! #ue5 #unrealengine #unrealengine5 #gamedev

Gorka Games

93,312 次观看 • 1 年前

Here is a breakdown (kind of) how I did this effect for live2d Vtuber model art. I’ve drawn the lips, you would have to separate top and bottom though and added a cyan layer which will be my mask and the mask for the rigger to clip on. Then I added a shiny add layer on top and used the cyan layer as a mask, just to test the effect in procreate, you would have to delete the black/white procreate mask for the rigger because this can cause issues. If you have any questions feels free to ask. 💕
0:26

Here is a breakdown (kind of) how I did this effect for live2d Vtuber model art. I’ve drawn the lips, you would have to separate top and bottom though and added a cyan layer which will be my mask and the mask for the rigger to clip on. Then I added a shiny add layer on top and used the cyan layer as a mask, just to test the effect in procreate, you would have to delete the black/white procreate mask for the rigger because this can cause issues. If you have any questions feels free to ask. 💕

Sandrina 😈🎀 | VArtist | †øм

22,969 次观看 • 9 个月前

Introducing Dash - Your copilot for world building in Unreal Engine 5 We've rebranded GraphN and revamped it from the ground up to give you a state-of-the-art workflow that removes the bloat of Unreal Engine 5, and allows you to create art you can be proud of. Full Tutorial on Youtube!
2:21

Introducing Dash - Your copilot for world building in Unreal Engine 5 We've rebranded GraphN and revamped it from the ground up to give you a state-of-the-art workflow that removes the bloat of Unreal Engine 5, and allows you to create art you can be proud of. Full Tutorial on Youtube!

Polygonflow Dash

72,931 次观看 • 3 年前

ELON: I EXPECT THE FIRST REALLY GOOD AI VIDEO GAME TO BE RELEASED NEXT YEAR “With video understanding and improved tool use, for example, for video games you would want to use Unreal Engine or Unity or one of the main graphics engines. Then, you can generate the art, apply it to a 3D model, and then create an executable that someone can run on a PC or a console or a phone. We expect that to happen probably this year, and if not this year, certainly next year. It's going to be wild. I would expect the first really good AI video game to be next year and probably the first half hour of watchable this year and probably the first watchable AI movie next year. Things are really moving at an incredible pace.” Source: Grok 4 Presentation, July 9, 2025
1:03

ELON: I EXPECT THE FIRST REALLY GOOD AI VIDEO GAME TO BE RELEASED NEXT YEAR “With video understanding and improved tool use, for example, for video games you would want to use Unreal Engine or Unity or one of the main graphics engines. Then, you can generate the art, apply it to a 3D model, and then create an executable that someone can run on a PC or a console or a phone. We expect that to happen probably this year, and if not this year, certainly next year. It's going to be wild. I would expect the first really good AI video game to be next year and probably the first half hour of watchable this year and probably the first watchable AI movie next year. Things are really moving at an incredible pace.” Source: Grok 4 Presentation, July 9, 2025

Mario Nawfal

42,730 次观看 • 1 年前

We are excited to announce that “The Museum” has been nominated at this year’s The Game Awards. 10 maps have been chosen to represent the best of UEFN inside Fortnite. This will be a fan voting category so we hope you will take the time to cast a vote inside the game. UEFN has created a portal inside FortniteGame that connects all 10 nominated maps and an area to vote. It can be found at island code 0853-1358-8532. We have also added a portal inside “The Museum” which can be found at 5592-6865-3961. As many of you know we have been exploring the changing landscape of music and entertainment for a while now. Blockchain, virtual reality concerts and immersive worlds in UEFN provide us tools to create new and exciting experiences. Why just WATCH when you can participate? Why just LISTEN when you can play? With UEFN’s tools you can do it all. We are so incredibly proud to be nominated for this award and hope more artists create experiences for their communities. Please check out the a7x - fortnite channel on Discord for more information on our 3 maps and songs in Fortnite Festival. Now go vote!
0:22

We are excited to announce that “The Museum” has been nominated at this year’s The Game Awards. 10 maps have been chosen to represent the best of UEFN inside Fortnite. This will be a fan voting category so we hope you will take the time to cast a vote inside the game. UEFN has created a portal inside FortniteGame that connects all 10 nominated maps and an area to vote. It can be found at island code 0853-1358-8532. We have also added a portal inside “The Museum” which can be found at 5592-6865-3961. As many of you know we have been exploring the changing landscape of music and entertainment for a while now. Blockchain, virtual reality concerts and immersive worlds in UEFN provide us tools to create new and exciting experiences. Why just WATCH when you can participate? Why just LISTEN when you can play? With UEFN’s tools you can do it all. We are so incredibly proud to be nominated for this award and hope more artists create experiences for their communities. Please check out the a7x - fortnite channel on Discord for more information on our 3 maps and songs in Fortnite Festival. Now go vote!

Avenged Sevenfold

34,516 次观看 • 1 年前

CSS Tip! 🤙 You can use mask-composite and some JavaScript to create this pointer proximity following glow border ✨ .glow { mask-composite: intersect; mask-clip: padding-box, border-box; mask: linear-gradient(#0000, #0000), conic-gradient(#0000 0deg, #​fff, #0000 45deg); } The trick is to mask a background-image with a combination of mask layers. mask-composite: intersect; means the mask used will be the intersection of the layers 🔥 use source-in, xor; in browsers that don't support intersect; In this demo, you can use pseudoelements and rely on scoped custom properties to do a lot of the heavy lifting for you 🙌 Once you've masked the background, you need to update the starting angle of the conic-gradient on pointermove 👆 You can work that out by getting the center point of each card and then calculating the angle between that and the pointer with Math.atan2 🤓 let ANGLE = Math.atan2( event?.y - CARD_CENTER[1], event?.x - CARD_CENTER[0] ) * 180 / Math.PI ANGLE = ANGLE < 0 ? ANGLE + 360 : ANGLE; CARD.​style.setProperty('--start', ANGLE + 90) You plug that into your conic-gradient mask as a custom property accounting for --spread ⚡️ conic-gradient(from calc((var(--angle) - (var(--spread) * 0.5)) * 1deg), #000 0deg, #​fff, #0000 calc(var(--spread) * 1deg)); To get the blur, you apply a blur to the glow container on each card 🤙 .glows { filter: blur(calc(var(--blur) * 1px); } That's it! Layers of masks that are clipped and composited before being blurred 😎 The added trick is to fade each one in when the pointer is in the defined proximity of the card. For example, don't show unless within 100px of a card. You can see that in the video. Check out the JavaScript code for that 🫶 Couldn't resist making this one 😁 CodePen.IO link below! 👇
1:09

CSS Tip! 🤙 You can use mask-composite and some JavaScript to create this pointer proximity following glow border ✨ .glow { mask-composite: intersect; mask-clip: padding-box, border-box; mask: linear-gradient(#0000, #0000), conic-gradient(#0000 0deg, #​fff, #0000 45deg); } The trick is to mask a background-image with a combination of mask layers. mask-composite: intersect; means the mask used will be the intersection of the layers 🔥 use source-in, xor; in browsers that don't support intersect; In this demo, you can use pseudoelements and rely on scoped custom properties to do a lot of the heavy lifting for you 🙌 Once you've masked the background, you need to update the starting angle of the conic-gradient on pointermove 👆 You can work that out by getting the center point of each card and then calculating the angle between that and the pointer with Math.atan2 🤓 let ANGLE = Math.atan2( event?.y - CARD_CENTER[1], event?.x - CARD_CENTER[0] ) * 180 / Math.PI ANGLE = ANGLE < 0 ? ANGLE + 360 : ANGLE; CARD.​style.setProperty('--start', ANGLE + 90) You plug that into your conic-gradient mask as a custom property accounting for --spread ⚡️ conic-gradient(from calc((var(--angle) - (var(--spread) * 0.5)) * 1deg), #000 0deg, #​fff, #0000 calc(var(--spread) * 1deg)); To get the blur, you apply a blur to the glow container on each card 🤙 .glows { filter: blur(calc(var(--blur) * 1px); } That's it! Layers of masks that are clipped and composited before being blurred 😎 The added trick is to fade each one in when the pointer is in the defined proximity of the card. For example, don't show unless within 100px of a card. You can see that in the video. Check out the JavaScript code for that 🫶 Couldn't resist making this one 😁 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

1,180,253 次观看 • 2 年前

Precious Achiuwa on his time in Miami: “Miami really teaches you how to be a pro. I think structurally, it might be the best structure in the NBA. My rookie year, it'll be after every game, how to analyze the entire game. So you were forced to watch the game, re-watch the game and then you had to write a report on what your analysis was on the game. But just that alone, just the structure of analyzing the game, the structure of how to become a pro, how to be a pro, you learn that fast from Miami. A lot of guys don't succeed there. It's just what it is.” (via TheOldManAndTheThree)
1:14

Precious Achiuwa on his time in Miami: “Miami really teaches you how to be a pro. I think structurally, it might be the best structure in the NBA. My rookie year, it'll be after every game, how to analyze the entire game. So you were forced to watch the game, re-watch the game and then you had to write a report on what your analysis was on the game. But just that alone, just the structure of analyzing the game, the structure of how to become a pro, how to be a pro, you learn that fast from Miami. A lot of guys don't succeed there. It's just what it is.” (via TheOldManAndTheThree)

𝙃𝙀𝘼𝙏 𝙉𝘼𝙏𝙄𝙊𝙉

36,592 次观看 • 3 个月前

CSS Trick! 🤙 You can create gradient borders on translucent elements using mask-clip and mask-composite with a pseudo-element 🔥 .gradient-border::after { mask-clip: padding-box, border-box; mask-composite: intersect; mask: linear-gradient(transparent, transparent), linear-gradient(white, white); } It's the same "Transparent border trick" from before. But, now you apply it to a pseudo-element 😎 The trick is to create a pseudo-element with a gradient background and then mask it so we only see the part we want, the border ✨ mask-clip defines the area affected by a mask. Similar to how you can define background-size. Using padding-box and border-box constrains the two masks. mask-composite is the magic part ✨ It defines a compositing operation for stacked mask layers. Using intersect means that the parts that overlap get replaced. And this seems to work in all browsers 🙌 As for the rest of the styles... – Make sure you set pointer-events: none on the pseudo-element – Make sure it fills the parent element. You can use position: absolute and inset: 0 – Make sure the background fills the space including the border-width. You can use calc to achieve that: --bg-size: calc(100% + (2px * var(--border))); background: var(--gradient) center center / var(--bg-size) var(--bg-size); That's it! 🚀 Gradient borders on translucent elements. You can set all the backdrop-filter: blur() you like! 😅 CodePen.IO link below! 👇
0:37

CSS Trick! 🤙 You can create gradient borders on translucent elements using mask-clip and mask-composite with a pseudo-element 🔥 .gradient-border::after { mask-clip: padding-box, border-box; mask-composite: intersect; mask: linear-gradient(transparent, transparent), linear-gradient(white, white); } It's the same "Transparent border trick" from before. But, now you apply it to a pseudo-element 😎 The trick is to create a pseudo-element with a gradient background and then mask it so we only see the part we want, the border ✨ mask-clip defines the area affected by a mask. Similar to how you can define background-size. Using padding-box and border-box constrains the two masks. mask-composite is the magic part ✨ It defines a compositing operation for stacked mask layers. Using intersect means that the parts that overlap get replaced. And this seems to work in all browsers 🙌 As for the rest of the styles... – Make sure you set pointer-events: none on the pseudo-element – Make sure it fills the parent element. You can use position: absolute and inset: 0 – Make sure the background fills the space including the border-width. You can use calc to achieve that: --bg-size: calc(100% + (2px * var(--border))); background: var(--gradient) center center / var(--bg-size) var(--bg-size); That's it! 🚀 Gradient borders on translucent elements. You can set all the backdrop-filter: blur() you like! 😅 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

269,847 次观看 • 2 年前

🟢Substance Painter Tip With "Anchor Points" you can link layers together (e.g. use one layer as a mask for another), which makes workflows much faster. Example: You have a shadow layer and want to add an outline around it. Instead of repainting the outline every time you change the shadows, use an Anchor Point: 1. Add an Anchor Point to the shadow layer 2. Add a Fill Filter for the shadow outline layer 3. For the Fill grayscale, select the Anchor Point 4. Add a "Mask Outline" filter 5. If you paint new shadows now, the outline will adjust automatically!
0:52

🟢Substance Painter Tip With "Anchor Points" you can link layers together (e.g. use one layer as a mask for another), which makes workflows much faster. Example: You have a shadow layer and want to add an outline around it. Instead of repainting the outline every time you change the shadows, use an Anchor Point: 1. Add an Anchor Point to the shadow layer 2. Add a Fill Filter for the shadow outline layer 3. For the Fill grayscale, select the Anchor Point 4. Add a "Mask Outline" filter 5. If you paint new shadows now, the outline will adjust automatically!

Keeki | 3D Artist

38,950 次观看 • 2 个月前

In this video, Matt Ittner, Tyler Rasmussen, and TJ Bartakke break down how baserunning and bunting can be used intentionally to apply pressure, create scoring opportunities, and impact the game without relying solely on extra-base hits. The emphasis is on execution, decision-making, and understanding when small details can lead to big results. This is a preview of Using Baserunning & Bunting to Maximize Run Production, one of the new Barnstormers Clinic videos now available in the ABCA Video Library at
1:38

In this video, Matt Ittner, Tyler Rasmussen, and TJ Bartakke break down how baserunning and bunting can be used intentionally to apply pressure, create scoring opportunities, and impact the game without relying solely on extra-base hits. The emphasis is on execution, decision-making, and understanding when small details can lead to big results. This is a preview of Using Baserunning & Bunting to Maximize Run Production, one of the new Barnstormers Clinic videos now available in the ABCA Video Library at

ABCA

26,846 次观看 • 6 个月前

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.
0:40

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.

shoneec

17,888 次观看 • 1 年前

Imagine opening any map, and instantly seeing it in 3D! Soon on over 1,000,000+ maps will be explorable as a 3D model. Check out the teaser below. This is going to be a game changer. 🚀
0:26

Imagine opening any map, and instantly seeing it in 3D! Soon on over 1,000,000+ maps will be explorable as a 3D model. Check out the teaser below. This is going to be a game changer. 🚀

Soar

39,425 次观看 • 5 个月前

Marc Andreessen says AI is hyper democratizing. “Is the future of the world going to be one or a small number of companies, or for that matter, governments or super AIs that kind of own and control everything?” “Or is this a technology that's going to diffuse out and be in everybody's hands?” “This is the time in which AI is actually hyper democratizing. It has spread to more individuals, both in the country and around the world in the shortest period of time of any new technology I think in history.” “The best AIs in the world are in the consumer products.” “This technology is going to be in everybody's hands. And everybody is going to be able to use it to optimize the things that they do, have it be a thought partner, assistant for building companies.” Marc Andreessen 🇺🇸
1:34

Marc Andreessen says AI is hyper democratizing. “Is the future of the world going to be one or a small number of companies, or for that matter, governments or super AIs that kind of own and control everything?” “Or is this a technology that's going to diffuse out and be in everybody's hands?” “This is the time in which AI is actually hyper democratizing. It has spread to more individuals, both in the country and around the world in the shortest period of time of any new technology I think in history.” “The best AIs in the world are in the consumer products.” “This technology is going to be in everybody's hands. And everybody is going to be able to use it to optimize the things that they do, have it be a thought partner, assistant for building companies.” Marc Andreessen 🇺🇸

a16z

79,935 次观看 • 9 个月前

“Joey is going to be a very exciting player to watch. This is a guy who can impact the game in every different part of it.” More on Joey Wiemer’s ascent to the Majors in “The Freshmen” — watch now:
1:05

“Joey is going to be a very exciting player to watch. This is a guy who can impact the game in every different part of it.” More on Joey Wiemer’s ascent to the Majors in “The Freshmen” — watch now:

Milwaukee Brewers

48,034 次观看 • 3 年前

Day 6 of building GTA 6 with a loop of AI agents. Today's drop: - intro cinematic - a real main menu (start game actually works) - loading screen - the whole front-end wired end to end. So the look is done. Menu → load → you're in. it boots like a real AAA game. We've been building in Godot the whole way, it's starting to show its limits on the AAA stuff. So this week I'm going to go test Unity to see if we can get the actual game into AAA stuff as well. That's the part nobody measures. Every "best engine" take is about how it looks. For a game built by a loop of agents, the only question that matters is which one they can read, edit, and push on their own. Godot's good at that. Unity might be better, with way more assets off the market. I'm going to find out. Agents still looping. Fable will be back soon! I'll report back which engine they build faster in.
1:27

Day 6 of building GTA 6 with a loop of AI agents. Today's drop: - intro cinematic - a real main menu (start game actually works) - loading screen - the whole front-end wired end to end. So the look is done. Menu → load → you're in. it boots like a real AAA game. We've been building in Godot the whole way, it's starting to show its limits on the AAA stuff. So this week I'm going to go test Unity to see if we can get the actual game into AAA stuff as well. That's the part nobody measures. Every "best engine" take is about how it looks. For a game built by a loop of agents, the only question that matters is which one they can read, edit, and push on their own. Godot's good at that. Unity might be better, with way more assets off the market. I'm going to find out. Agents still looping. Fable will be back soon! I'll report back which engine they build faster in.

Ziwen

48,208 次观看 • 1 个月前

Skatepedia can be found in the menu at anytime if you need a pro tip on any of the tricks in the game. Learn the flick-it motions and bring it to your favourite spot.
0:28

Skatepedia can be found in the menu at anytime if you need a pro tip on any of the tricks in the game. Learn the flick-it motions and bring it to your favourite spot.

skate.

92,490 次观看 • 1 年前