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Retro Game Engine Update 🔥 Exploring a Spatial Compression system in my game engine. Instead of changing object scale, the renderer subtly compresses distant depth in the vertex shader before projection. The goal is to make far-away spaces feel more scenic and theatrical, like a matte painting or miniature... show more

Analog Dream Dev

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102,013 次观看 • 4 个月前 •via X (Twitter)

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Everything far away in a game engine can feel small, flat, and washed out. That is correct perspective, but it can make for some poor scenery sometimes. Two features I've added to my engine try to fight against that: Spatial Recession magnifies the distance. After a vertex is projected I push its screen position outward from center. Near geometry is untouched. It only moves x and y, never depth, so nothing sorts differently and nothing z-fights. The result is a long lens bolted onto the far half of a wide one: the tower and the ridgeline loom instead of receding, while I keep the wide field of view I actually play in (FOV is identical in both of these examples). Dimensional Falloff is four distance ramps on the surface itself. Lighting contrast flattens so distant hills stop having a hard lit side and a hard dark side, which is what haze does in real life. Color then desaturates toward its own brightness to fake more distance. Then that desaturated color is pushed, and that is the one doing most of the visible work here. Last is texture detail, with a custom MIP value based on distances. All of it keys off real radial distance from the camera rather than depth This is so it stays put when you turn your head. Performance cost is next to nothing. The recession is two lines in the vertex shader. The falloff is a few lerps at the end of the pixel shader, which was already computing that distance for the mip bias anyway. Quite happy with the results, what do you think? #gamedev

Everything far away in a game engine can feel small, flat, and washed out. That is correct perspective, but it can make for some poor scenery sometimes. Two features I've added to my engine try to fight against that: Spatial Recession magnifies the distance. After a vertex is projected I push its screen position outward from center. Near geometry is untouched. It only moves x and y, never depth, so nothing sorts differently and nothing z-fights. The result is a long lens bolted onto the far half of a wide one: the tower and the ridgeline loom instead of receding, while I keep the wide field of view I actually play in (FOV is identical in both of these examples). Dimensional Falloff is four distance ramps on the surface itself. Lighting contrast flattens so distant hills stop having a hard lit side and a hard dark side, which is what haze does in real life. Color then desaturates toward its own brightness to fake more distance. Then that desaturated color is pushed, and that is the one doing most of the visible work here. Last is texture detail, with a custom MIP value based on distances. All of it keys off real radial distance from the camera rather than depth This is so it stays put when you turn your head. Performance cost is next to nothing. The recession is two lines in the vertex shader. The falloff is a few lerps at the end of the pixel shader, which was already computing that distance for the mip bias anyway. Quite happy with the results, what do you think? #gamedev

Analog Dream Dev

81,310 次观看 • 2 天前

More pre-release GPT Astra outputs for my distinguished audience Both outputs were made in a custom C++20 engine, utilizing a custom Vulkan renderer, without using an off-the-shelf engine or imported assets The Kaiju game has fully simulated crowds with reactive smoke and fire (not static) , and the zombie game can render thousands of zombies on-screen

More pre-release GPT Astra outputs for my distinguished audience Both outputs were made in a custom C++20 engine, utilizing a custom Vulkan renderer, without using an off-the-shelf engine or imported assets The Kaiju game has fully simulated crowds with reactive smoke and fire (not static) , and the zombie game can render thousands of zombies on-screen

Lentils

157,772 次观看 • 7 天前

Ever wondered what fuels the performance of a jet engine? It's advanced Ester Technology in engine oil. Now, that same revolutionary tech is here for YOUR bike engine with Savsol Ester5 by SavsolLubricants! Excited to share this game-changing innovation with you! #AbKaunRokega

Ever wondered what fuels the performance of a jet engine? It's advanced Ester Technology in engine oil. Now, that same revolutionary tech is here for YOUR bike engine with Savsol Ester5 by SavsolLubricants! Excited to share this game-changing innovation with you! #AbKaunRokega

Sidharth Malhotra

24,833 次观看 • 1 年前

Let me explain what I'm doing here for those who are interested. I've been building a retro-style D3D12 game engine from scratch, and recently implemented a "Spatial Compression" effect. Essentially its a technique that makes distant geometry appear larger than standard perspective projection would, giving scenes a telephoto compression feel without changing the camera FOV globally (to keep things "normal" when close to the camera). The goal: foreground geometry completely unchanged, objects beyond a configurable start distance progressively scaled up, with a smooth power-curve falloff. The solution: Once the full view-projection transform has been applied, I'm holding 2D screen coordinates. Camera orientation is already resolved at that point, so it's done its job. Scaling those coordinates outward from screen center is a pure 2D operation with no dependency on where the camera is pointing. The scale factor itself is derived from Euclidean world-space distance between the camera and the vertex (not a view-space value, which would rotate with the camera). Combined with the 2D application, both ingredients are fully rotation-invariant. Critically, only the XY screen coordinates are modified. Depth values are left completely untouched, so the depth buffer and any shadow calculations remain correct. I then tried inverting the effect for the opposite in interiors, leading to "Spatial Expansion".

Let me explain what I'm doing here for those who are interested. I've been building a retro-style D3D12 game engine from scratch, and recently implemented a "Spatial Compression" effect. Essentially its a technique that makes distant geometry appear larger than standard perspective projection would, giving scenes a telephoto compression feel without changing the camera FOV globally (to keep things "normal" when close to the camera). The goal: foreground geometry completely unchanged, objects beyond a configurable start distance progressively scaled up, with a smooth power-curve falloff. The solution: Once the full view-projection transform has been applied, I'm holding 2D screen coordinates. Camera orientation is already resolved at that point, so it's done its job. Scaling those coordinates outward from screen center is a pure 2D operation with no dependency on where the camera is pointing. The scale factor itself is derived from Euclidean world-space distance between the camera and the vertex (not a view-space value, which would rotate with the camera). Combined with the 2D application, both ingredients are fully rotation-invariant. Critically, only the XY screen coordinates are modified. Depth values are left completely untouched, so the depth buffer and any shadow calculations remain correct. I then tried inverting the effect for the opposite in interiors, leading to "Spatial Expansion".

Analog Dream Dev

47,246 次观看 • 2 个月前

THIS SOLO DEV IS BUILDING A 2.5D MEDIEVAL SWORD FIGHTING GAME AND THE COMBAT LOOKS INSANE one person working alone on a full combat system with 2.5D art style he designed and built the art, environments, and animations himself. vibe coded the game mechanics with a game engine the silhouette work and the environments already look polished. the characters move through these detailed medieval landscapes with real weight to the animations 2.5D means the characters and world are flat sprites but rendered in a 3D space so you get depth, parallax, and lighting effects without needing a full 3D engine the combat has directional attacks, parrying, and what looks like a stamina based system. all built by one person i think it needs a bit more hit feedback like hit-stop and sharper audio on contact to make every swing feel heavier. small tweaks that would take it from looking good to feeling incredible but nonetheless this looks pretty slick. insane what one person can do now with vibe coding + a game engine solo game devs are building things that would have required a full studio 5 years ago

THIS SOLO DEV IS BUILDING A 2.5D MEDIEVAL SWORD FIGHTING GAME AND THE COMBAT LOOKS INSANE one person working alone on a full combat system with 2.5D art style he designed and built the art, environments, and animations himself. vibe coded the game mechanics with a game engine the silhouette work and the environments already look polished. the characters move through these detailed medieval landscapes with real weight to the animations 2.5D means the characters and world are flat sprites but rendered in a 3D space so you get depth, parallax, and lighting effects without needing a full 3D engine the combat has directional attacks, parrying, and what looks like a stamina based system. all built by one person i think it needs a bit more hit feedback like hit-stop and sharper audio on contact to make every swing feel heavier. small tweaks that would take it from looking good to feeling incredible but nonetheless this looks pretty slick. insane what one person can do now with vibe coding + a game engine solo game devs are building things that would have required a full studio 5 years ago

Om Patel

27,017 次观看 • 3 个月前

I think I might have discovered the best 2D game engine for vibe coding games. For the past few weeks, I have been making a lovecraftian fishing game with peaceful day time fishing and intense night time combat where you fend off mutated sea creatures. And I've been using Love2D game engine for this. Love2D game engine runs on LUA, which is a compact (token-friendly) programming language that many models (GPT5, Grok Code and Sonnet) are pretty good at. I'm considering to set up a Patreon where I'll share more in depth content (devlogs, prompts, advice, tips etc) where I'll share my learnings as I vibe code an indie game from scratch. If you're interested in this, please let me know in the replies. Trying to gauge interest on this!

I think I might have discovered the best 2D game engine for vibe coding games. For the past few weeks, I have been making a lovecraftian fishing game with peaceful day time fishing and intense night time combat where you fend off mutated sea creatures. And I've been using Love2D game engine for this. Love2D game engine runs on LUA, which is a compact (token-friendly) programming language that many models (GPT5, Grok Code and Sonnet) are pretty good at. I'm considering to set up a Patreon where I'll share more in depth content (devlogs, prompts, advice, tips etc) where I'll share my learnings as I vibe code an indie game from scratch. If you're interested in this, please let me know in the replies. Trying to gauge interest on this!

Danny Limanseta

89,808 次观看 • 11 个月前

I Built an AI Game Development Toolkit & Game Engine (and you can use it too) link in the comments This has been my every waking hour for the last 5 months... I think it's coming along nicely, with a lot still planned, Basically: it's an ever-expanding toolkit to help make asset creation and AI powered coding smoother and more streamlined for game devs. Hope you guys like and I'm entirely open to feature requests and suggestions - My goal is to make this suite as useful and streamlined as possible. #gamedev #aigamedev #vibecoding

I Built an AI Game Development Toolkit & Game Engine (and you can use it too) link in the comments This has been my every waking hour for the last 5 months... I think it's coming along nicely, with a lot still planned, Basically: it's an ever-expanding toolkit to help make asset creation and AI powered coding smoother and more streamlined for game devs. Hope you guys like and I'm entirely open to feature requests and suggestions - My goal is to make this suite as useful and streamlined as possible. #gamedev #aigamedev #vibecoding

DevDude

47,456 次观看 • 3 个月前

ROSClaw Integration Update Read the text in the video carefully ⊙ Robot is present both physically can in Nvidia Isaac Sim simulation. ⊙ The agent’s initial goal set to explore any object it finds in its spatial view. ⊙ Think of it as if the physical robot is seeing through the simulation. ⊙ ROSClaw vision uses Gemini Live for spatial narration ⊙ An object (a playground slide) is identified and the ROSClaw (OpenClaw) agent takes over. ⊙ The agent initiates action. Attempts to walk towards object. ⊙ None of it is pre-planned. The agent (robot) is acting on its own

ROSClaw Integration Update Read the text in the video carefully ⊙ Robot is present both physically can in Nvidia Isaac Sim simulation. ⊙ The agent’s initial goal set to explore any object it finds in its spatial view. ⊙ Think of it as if the physical robot is seeing through the simulation. ⊙ ROSClaw vision uses Gemini Live for spatial narration ⊙ An object (a playground slide) is identified and the ROSClaw (OpenClaw) agent takes over. ⊙ The agent initiates action. Attempts to walk towards object. ⊙ None of it is pre-planned. The agent (robot) is acting on its own

Irvin (in Japan 🇯🇵)

23,374 次观看 • 6 个月前

If you go back to 1990, Yahoo was running circles on Google in terms of revenue. But then Google came on the scene and ate their lunch, building a much more credibly neutral search engine. The same applies in the current state of crypto. While alternative L1s compete for revenue, Ethereum is playing the game at a higher dimension. This is why Ethereum will win:

If you go back to 1990, Yahoo was running circles on Google in terms of revenue. But then Google came on the scene and ate their lunch, building a much more credibly neutral search engine. The same applies in the current state of crypto. While alternative L1s compete for revenue, Ethereum is playing the game at a higher dimension. This is why Ethereum will win:

Bankless

21,283 次观看 • 11 个月前

Prepping the full game of SKINFREAK this week. One of the best attributes to a slasher game is pacing and location, so doing what I can to make the world feel immersive and give you plenty of things to do while the dread sinks in - like play creepy games on the office computers

Prepping the full game of SKINFREAK this week. One of the best attributes to a slasher game is pacing and location, so doing what I can to make the world feel immersive and give you plenty of things to do while the dread sinks in - like play creepy games on the office computers

Jordan King (Black Eyed Priest Games)

21,946 次观看 • 1 年前

This Niche Game is Zangyou, a J-horror game where you're trapped in a Tokyo skyscraper! Instead of cheap jump scares or grotesque monsters, the game focuses on realism, liminal spaces, and crushing dread when the company's AI system becomes hostile. Avoid the hostile AI overseer, explore the empty corporate tower, solve puzzles and try to navigate environments curiously changing and the AI's tightening controls~

This Niche Game is Zangyou, a J-horror game where you're trapped in a Tokyo skyscraper! Instead of cheap jump scares or grotesque monsters, the game focuses on realism, liminal spaces, and crushing dread when the company's AI system becomes hostile. Avoid the hostile AI overseer, explore the empty corporate tower, solve puzzles and try to navigate environments curiously changing and the AI's tightening controls~

Niche Gamer

229,936 次观看 • 3 个月前

GPT-5.6-Sol-Ultra built a Doom-like game in SQL: the game is running in the terminal on the left, while the SQL powering the game in the terminal on the right. How it works: DOOMQL is a game engine implemented in 2,000+ lines of SQL. Every frame, SQL raycasts the scene, calculates every RGB pixel, and encodes those pixels as coloured terminal characters. The same SQL then handles controls, movement, collision, enemy AI and combat, while Python connects SQLite to the keyboard, clock and terminal.

GPT-5.6-Sol-Ultra built a Doom-like game in SQL: the game is running in the terminal on the left, while the SQL powering the game in the terminal on the right. How it works: DOOMQL is a game engine implemented in 2,000+ lines of SQL. Every frame, SQL raycasts the scene, calculates every RGB pixel, and encodes those pixels as coloured terminal characters. The same SQL then handles controls, movement, collision, enemy AI and combat, while Python connects SQLite to the keyboard, clock and terminal.

Peter Gostev

122,181 次观看 • 1 个月前

🌎Making Game Development Simple with the World Engine The World Engine is revolutionizing how game engines work in many ways. If you create a game, it's a lot of single work that you're doing, and then you're pushing it to other people, and then they work with it. But with the World Engine, you build together in real time, like in a shared sandbox. It’s faster, easy to use, runs on JavaScript/TypeScript, and includes AI tools that help both developers and non-coders create games easily. 🖥 Watch the video for the full breakdown!

🌎Making Game Development Simple with the World Engine The World Engine is revolutionizing how game engines work in many ways. If you create a game, it's a lot of single work that you're doing, and then you're pushing it to other people, and then they work with it. But with the World Engine, you build together in real time, like in a shared sandbox. It’s faster, easy to use, runs on JavaScript/TypeScript, and includes AI tools that help both developers and non-coders create games easily. 🖥 Watch the video for the full breakdown!

NeuralAI

24,349 次观看 • 1 年前

Check out this cinematic FullDome 8K render created in Unreal Engine by Ivan Elizarov using Camera Render Studio and the Cinematic Earth asset by HuguesCG. The domed presentation format is intended for use cases like Planetariums, immersive theatres and more🌎 "In this render, I wanted to demonstrate how a detailed planetary environment can look when presented in the FullDome format. Instead of viewing the scene on a conventional flat screen, the image is designed to surround the audience across the dome surface, creating a greater sense of scale, depth, and immersion" - Ivan Elizarov

Check out this cinematic FullDome 8K render created in Unreal Engine by Ivan Elizarov using Camera Render Studio and the Cinematic Earth asset by HuguesCG. The domed presentation format is intended for use cases like Planetariums, immersive theatres and more🌎 "In this render, I wanted to demonstrate how a detailed planetary environment can look when presented in the FullDome format. Instead of viewing the scene on a conventional flat screen, the image is designed to surround the audience across the dome surface, creating a greater sense of scale, depth, and immersion" - Ivan Elizarov

Unreal Engine

20,772 次观看 • 1 个月前

$I am having a lot of fun with this ThreeJS game. Will probably be spending more time on this cosy flyer game for #vibejam And btw, shaders are awesome! I highly recommend anyone building a 3D game to add some shaders to make your game look good. Here's a quick primer on the different types of shaders you can tell your AI to level up your game's graphics: - Noise-based shader for water refractions or shimmer - Fresnel shader for a nice rim lighting effect on your 3D game objects - Post-processing shader to change your game's color scheme dynamically - Post-processing shaders like the VHS effect that @levelsio use for the Drone flyer game - Shader effect to make the trees sway or objects wobble - and many more uses Shaders are incredibly versatile and useful. I would recommend you to go YT to check out some shader basics videos and come up with more creative uses for them!$

I am having a lot of fun with this ThreeJS game. Will probably be spending more time on this cosy flyer game for #vibejam And btw, shaders are awesome! I highly recommend anyone building a 3D game to add some shaders to make your game look good. Here's a quick primer on the different types of shaders you can tell your AI to level up your game's graphics: - Noise-based shader for water refractions or shimmer - Fresnel shader for a nice rim lighting effect on your 3D game objects - Post-processing shader to change your game's color scheme dynamically - Post-processing shaders like the VHS effect that @levelsio use for the Drone flyer game - Shader effect to make the trees sway or objects wobble - and many more uses Shaders are incredibly versatile and useful. I would recommend you to go YT to check out some shader basics videos and come up with more creative uses for them!

Danny Limanseta

203,685 次观看 • 5 个月前

Live: Source: You can download this to start your scenes with #r3f, #threejs WebGPU Renderer, and Post-Processing using #tsl. I also converted my jet engine shader from GLSL to TSL using the transpiler. It works like a dream😍. I added the Royal Naboo starship in the scene to show how Screen Space Reflections reacts to all metallic surfaces, not just the floor. I hope you like it. Please give me a star⭐️on GitHub if you can. #threejsJourney

Live: Source: You can download this to start your scenes with #r3f, #threejs WebGPU Renderer, and Post-Processing using #tsl. I also converted my jet engine shader from GLSL to TSL using the transpiler. It works like a dream😍. I added the Royal Naboo starship in the scene to show how Screen Space Reflections reacts to all metallic surfaces, not just the floor. I hope you like it. Please give me a star⭐️on GitHub if you can. #threejsJourney

Anderson Mancini

20,257 次观看 • 1 年前

literally my biggest gripe in this entire game is how unintuitive aiming can feel depending on the ability/gun used and i think this showcases it pretty well Marvel Rivals A lot of other characters have this same exact issue to varying degree where abilities will hit or miss and it wont feel good or rewarding in any way what so ever

literally my biggest gripe in this entire game is how unintuitive aiming can feel depending on the ability/gun used and i think this showcases it pretty well Marvel Rivals A lot of other characters have this same exact issue to varying degree where abilities will hit or miss and it wont feel good or rewarding in any way what so ever

LiNkzr

1,554,116 次观看 • 1 年前

120 days ago... I decided to make my own custom game engine. I'm just a technical artist, never done anything like it, just wanted to learn new things. Its been one of the most exciting things I've worked on in game dev. Can't wait to see what's next! What do you think?

120 days ago... I decided to make my own custom game engine. I'm just a technical artist, never done anything like it, just wanted to learn new things. Its been one of the most exciting things I've worked on in game dev. Can't wait to see what's next! What do you think?

Analog Dream Dev

67,984 次观看 • 6 个月前

Stop Duffing Your Wedges !! If you try and apply what you do in the long game to a 50-yard pitch shot you are in trouble. When it comes to this yardage and under it’s about finesse We need a different motion to tap into our feel. If you are patient with the transition, allowing your arms to drop this will not only help you soften things up and feel more but it will also help you use the leading edge and bounce through the turf. This feel of TURN, DROP and CATCH it with the body has been game changing for our students and my own game. #golftips #golf

Stop Duffing Your Wedges !! If you try and apply what you do in the long game to a 50-yard pitch shot you are in trouble. When it comes to this yardage and under it’s about finesse We need a different motion to tap into our feel. If you are patient with the transition, allowing your arms to drop this will not only help you soften things up and feel more but it will also help you use the leading edge and bounce through the turf. This feel of TURN, DROP and CATCH it with the body has been game changing for our students and my own game. #golftips #golf

Me and My Golf

114,703 次观看 • 1 年前