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What’s your preference, old-school physics-based web swinging or Insomniac’s cinematic style?? Older Spider-Man games (like Spider-Man 2 & Web of Shadows) had more satisfying player expression through realistic momentum & physics, but could look and feel janky. Insomniac’s games look better but feel restrictive, and sometimes jarring, in comparison...

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JaePlayzGamez

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281,551 Aufrufe • vor 2 Monaten •via X (Twitter)

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When I was showcasing the Tokon Skin In Marvel's Spider-Man 2 I started yapping about swinging in Spider-Man Games. What would the "perfect" Web Swinging in one of these games even look like? People would say SM2 on the PS2, but even then that's shown its age a little.
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When I was showcasing the Tokon Skin In Marvel's Spider-Man 2 I started yapping about swinging in Spider-Man Games. What would the "perfect" Web Swinging in one of these games even look like? People would say SM2 on the PS2, but even then that's shown its age a little.

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Nothing really comes close to Web of Shadows. No Spider-Man game has done swinging and air combat better than this game does, no I don't care about extreme realism, sometimes I just wanna feel powerful and just kick-ass in the air
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Nothing really comes close to Web of Shadows. No Spider-Man game has done swinging and air combat better than this game does, no I don't care about extreme realism, sometimes I just wanna feel powerful and just kick-ass in the air

Yash

298,725 Aufrufe • vor 5 Monaten

I love how smooth Miles tricks to swing transitions feels compared to Peter’s. After doing mid-air tricks, Miles flows right back into swinging seamlessly, while Peter’s transitions feels stiffer. I wish insomniac focus more on Peter swinging and add more features. I want them to add these in next games - Wall Run while descending - Climbing web mid-swing like in the Raimi Movies - Make low to the ground swinging feel more impactful and immersive There’s still lot that can be improved gameplay wise. But I know Insomniac will cook with Spider-Man 3.
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I love how smooth Miles tricks to swing transitions feels compared to Peter’s. After doing mid-air tricks, Miles flows right back into swinging seamlessly, while Peter’s transitions feels stiffer. I wish insomniac focus more on Peter swinging and add more features. I want them to add these in next games - Wall Run while descending - Climbing web mid-swing like in the Raimi Movies - Make low to the ground swinging feel more impactful and immersive There’s still lot that can be improved gameplay wise. But I know Insomniac will cook with Spider-Man 3.

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Ubisoft please consider removing the camera cut during double assassinations in Assassin's Creed Black Flag Resynced and future AC games. It's a significant downgrade compared to what we had in Assassin's Creed Unity, the original Assassin's Creed Black Flag and even other Assassin's Creed titles. The camera cut breaks the flow of gameplay and makes double assassinations feel awkward instead of smooth and seamless. We understand that the new Anvil engine is far more complex than the one used in previous games. But there are already mods for AC Shadows that remove the camera cut during double assassinations, and the animations look much smoother as a result. So, if you work on this, I'm sure you'll find a way to remove it as well. We hope future Assassin's Creed games will remove this camera cut and restore the seamless double assassination experience that made the older games feel so satisfying.
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Ubisoft please consider removing the camera cut during double assassinations in Assassin's Creed Black Flag Resynced and future AC games. It's a significant downgrade compared to what we had in Assassin's Creed Unity, the original Assassin's Creed Black Flag and even other Assassin's Creed titles. The camera cut breaks the flow of gameplay and makes double assassinations feel awkward instead of smooth and seamless. We understand that the new Anvil engine is far more complex than the one used in previous games. But there are already mods for AC Shadows that remove the camera cut during double assassinations, and the animations look much smoother as a result. So, if you work on this, I'm sure you'll find a way to remove it as well. We hope future Assassin's Creed games will remove this camera cut and restore the seamless double assassination experience that made the older games feel so satisfying.

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Color grading in Blender is how you build your visual style. Most artists skip it — and every render ends up looking like a render. Technically fine. Visually forgettable. Grading directly in Blender means no external tools, no roundtripping. Cinematic result straight out of the renderer. But more than that — this is where your signature look comes from. The contrast, the temperature, the way shadows feel. That's not the scene. That's you. Ignore it and you're always one step away from having a style of your own. Power Grade Color Grading in Blender add-on:
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Color grading in Blender is how you build your visual style. Most artists skip it — and every render ends up looking like a render. Technically fine. Visually forgettable. Grading directly in Blender means no external tools, no roundtripping. Cinematic result straight out of the renderer. But more than that — this is where your signature look comes from. The contrast, the temperature, the way shadows feel. That's not the scene. That's you. Ignore it and you're always one step away from having a style of your own. Power Grade Color Grading in Blender add-on:

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28,626 Aufrufe • vor 5 Monaten

New body-physics test for the best AI video tools: The newly released Grok Imagine 1.5, the king Seedance 2.0, Google’s “revolutionary super-duper” Gemini Omni Flash, and the old-timer Kling 3.0 Pro. This time I tested how each model handles realistic running motion, body movement, fabric physics, and natural secondary motion. And the result was much less obvious than I expected. Believe it or not, I can’t call Seedance the clear winner this time. Each model got several attempts. - Grok Imagine 1.5: The new version is finally available on the official Grok website, so I could properly test it. Honestly, I didn’t notice a massive improvement over the previous version. Still, the result was acceptable. It produced the most cartoonish image, and the woman runs as if she’s wearing heels, but the body physics were decent enough. It also understood the instructions quickly and followed them correctly. - Kling 3.0 Pro: The old man decided to test my patience. It repeatedly blocked a simple running scene as adult content, then misunderstood the instructions several times. The successful result has the most realistic lighting and frame rate, but the actual body physics look strange. It almost feels like loose foam padding is bouncing inside the leggings. There are also several visible artifacts and unnatural movements. - Gemini Omni Flash: As usual, it gave me that strange slow-motion, low-FPS look that Google models seem to love. But it didn’t censor anything, understood the instructions immediately, and produced a beautiful, realistic result. Surprisingly, this is the output I liked the most in this test. - Seedance 2.0: Seedance also blocked a couple of generations, just like Kling, but eventually produced a strong result. It delivered the most beautiful and visually appealing footage, but I honestly expected better physics. The video looks great, yet I can’t confidently call it the most physically accurate result. - My ranking: 1. Gemini Omni Flash — not perfect, but the best overall result for me 2. Seedance 2.0 — visually stunning, but I preferred Omni’s physics 3. Grok Imagine 1.5 — cartoonish look and strange running, but still acceptable 4. Kling 3.0 Pro — the longest wait, the strangest physics, and the most inconsistent result Do you agree with my ranking? #AIVideo
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New body-physics test for the best AI video tools: The newly released Grok Imagine 1.5, the king Seedance 2.0, Google’s “revolutionary super-duper” Gemini Omni Flash, and the old-timer Kling 3.0 Pro. This time I tested how each model handles realistic running motion, body movement, fabric physics, and natural secondary motion. And the result was much less obvious than I expected. Believe it or not, I can’t call Seedance the clear winner this time. Each model got several attempts. - Grok Imagine 1.5: The new version is finally available on the official Grok website, so I could properly test it. Honestly, I didn’t notice a massive improvement over the previous version. Still, the result was acceptable. It produced the most cartoonish image, and the woman runs as if she’s wearing heels, but the body physics were decent enough. It also understood the instructions quickly and followed them correctly. - Kling 3.0 Pro: The old man decided to test my patience. It repeatedly blocked a simple running scene as adult content, then misunderstood the instructions several times. The successful result has the most realistic lighting and frame rate, but the actual body physics look strange. It almost feels like loose foam padding is bouncing inside the leggings. There are also several visible artifacts and unnatural movements. - Gemini Omni Flash: As usual, it gave me that strange slow-motion, low-FPS look that Google models seem to love. But it didn’t censor anything, understood the instructions immediately, and produced a beautiful, realistic result. Surprisingly, this is the output I liked the most in this test. - Seedance 2.0: Seedance also blocked a couple of generations, just like Kling, but eventually produced a strong result. It delivered the most beautiful and visually appealing footage, but I honestly expected better physics. The video looks great, yet I can’t confidently call it the most physically accurate result. - My ranking: 1. Gemini Omni Flash — not perfect, but the best overall result for me 2. Seedance 2.0 — visually stunning, but I preferred Omni’s physics 3. Grok Imagine 1.5 — cartoonish look and strange running, but still acceptable 4. Kling 3.0 Pro — the longest wait, the strangest physics, and the most inconsistent result Do you agree with my ranking? #AIVideo

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I've been thinking about games that feel truly ageless - ones that are essentially as enjoyable and satisfying today as they were when they first released. You can go back to classics like Pong, Space Invaders, or Pac-Man, but it’s hard to deny that you can see (and feel) their age now. They’re still fun, but time hasn’t passed them by unnoticed. I would argue that Tetris is the most ageless game ever made. It never relied on flashy graphics or impressive sound; its strength lies in one of the simplest and most brilliant concepts in gaming history. I'm confident it will still be played in 100 years - and that it will have exactly the same addictive appeal then as it does now. Can you think of any other games that fit this pretty rare category?

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Farzam 🔜 Gamescom

58,291 Aufrufe • vor 17 Tagen

MASTERS OF THE UNIVERSE may have disappointed at the box office, but it makes perfect sense for Prime Video. Amazon’s audience is packed with Gen X and older Millennials who grew up with He-Man, comic books, video games, and 1980s genre storytelling. Look at what already works there. THE BOYS. INVINCIBLE. FALLOUT. These are older-skewing genre franchises with loyal fan bases, deep mythology, and plenty of merchandise attached. That is the same audience Amazon wants for MASTERS OF THE UNIVERSE. The theatrical release may have been less about turning a huge profit in theaters and more about making the movie feel like an event before it lands on Prime, where Amazon can monetize it through ads, subscriptions, toys, and retail. And maybe that is where these Gen X and Millennial-coded properties belong now. Not dead. Not irrelevant. Just better suited for streaming, where the audience already lives. Are 1980s nostalgia franchises becoming too old for theaters but perfect for streaming?
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MASTERS OF THE UNIVERSE may have disappointed at the box office, but it makes perfect sense for Prime Video. Amazon’s audience is packed with Gen X and older Millennials who grew up with He-Man, comic books, video games, and 1980s genre storytelling. Look at what already works there. THE BOYS. INVINCIBLE. FALLOUT. These are older-skewing genre franchises with loyal fan bases, deep mythology, and plenty of merchandise attached. That is the same audience Amazon wants for MASTERS OF THE UNIVERSE. The theatrical release may have been less about turning a huge profit in theaters and more about making the movie feel like an event before it lands on Prime, where Amazon can monetize it through ads, subscriptions, toys, and retail. And maybe that is where these Gen X and Millennial-coded properties belong now. Not dead. Not irrelevant. Just better suited for streaming, where the audience already lives. Are 1980s nostalgia franchises becoming too old for theaters but perfect for streaming?

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Nothing makes you feel older than realizing Tobey Maguire’s girlfriend was born after he fought Doc Ock in Spider-Man 2. We always talk about "age is just a number," but numbers represent life stages. There is a massive difference between being 20 and being 50. One is still figuring out their path, and the other has three decades of life lessons, career moves, and a 19-year-old daughter. Is it really just "two consenting adults," or do we have a right to find the "daughter is older than the girlfriend" dynamic a bit jarring? If the law didn't exist, where would the floor actually be for some of these guys? I’m genuinely curious—is this a red flag, or are we just projecting? Let's settle the "gap" debate.

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Spiderwoman in your town Seedance 2.0 on FlovaAI prompt 45-Second Cinematic AI Video Prompt** 45 seconds, photorealistic, cinematic superhero film, ultra-detailed, 8K HDR, realistic physics, dynamic camera movement, fast-paced editing, dramatic lighting, natural facial expressions, high-end VFX, Japanese female lead, no text, no watermark. **Main Character:** A beautiful young **Japanese woman** in her early 20s with fair skin, soft natural makeup, expressive dark brown eyes, and shoulder-length black hair tied into a low ponytail. She wears an **oversized light blue knit sweater**, loose gray pants, and white sneakers throughout the story. Maintain identical facial identity, hairstyle, body proportions, and outfit consistency across every scene. ### Scene 1 (0–6s) – The Spider Bite Inside a cozy modern apartment during the afternoon. Extreme macro close-up as a glowing crystal-like translucent spider slowly crawls onto the back of the Japanese woman's neck. The spider sparkles with iridescent blue light before gently biting her. A glowing blue spider-shaped mark appears beneath her skin, sending shimmering energy across her neck. She gasps softly and turns in surprise. Cinematic macro lens, shallow depth of field, dramatic lighting. ### Scene 2 (6–12s) – Powers Awakening She walks through her apartment wearing her oversized **light blue sweater** and gray pants. Suddenly books, mugs, and small household objects begin floating around her. Confused, she raises her hands, and a metallic glowing spider web suddenly shoots from her wrist, sticking to a distant wall. Her eyes widen in shock before she smiles with excitement. Fast push-in camera, floating debris, cinematic energy effects. ### Scene 3 (12–21s) – First Leap She steps onto the balcony of a towering skyscraper overlooking a massive modern metropolis under bright daylight. Without hesitation she leaps into open air. The camera rotates as she freefalls upside down between towering glass skyscrapers. Just before reaching another building, she fires brilliant silver-blue web lines from both wrists and swings powerfully through the city. Dynamic drone shots, rapid FPV movement, realistic wind simulation, superhero movie energy. ### Scene 4 (21–31s) – Web Acrobatics An adrenaline-filled montage of spectacular web-swinging through narrow urban streets, soaring between skyscrapers, performing flips above busy intersections, landing gracefully on rooftops, vaulting across glass towers, and gliding over a luxurious rooftop infinity pool overlooking the skyline. The camera alternates between cinematic tracking shots, aerial drone views, slow-motion hero moments, and fast FPV chase sequences. Bright daylight, highly realistic reflections, cinematic action. ### Scene 5 (31–36s) – Sunset Break Golden-hour sunset. A peaceful wide cinematic shot shows her sitting comfortably on a high steel construction beam far above the city. She casually eats a sandwich while admiring the glowing skyline. Gentle breeze moves her ponytail and oversized **light blue sweater**. Warm orange sunlight creates a calm contrast to the previous action scenes. Emotional cinematic composition. ### Scene 6 (36–41s) – Neon Night Nighttime in a vibrant neon-lit alley filled with colorful reflections after light rain. She hangs upside down from a single web line, smiling warmly. A curious black cat sits calmly on a nearby windowsill staring back at her. Blue and pink neon lights reflect across her face and sweater while the city glows behind her. Slow cinematic camera orbit with soft depth of field. ### Scene 7 (41–45s) – Home Again She swings effortlessly back toward her apartment building, lands smoothly on her balcony, performs a stylish flip into the living room, and collapses onto the sofa laughing happily. She pulls out her phone, starts chatting excitedly, and smiles as the camera slowly pulls away through the apartment window while the city lights sparkle outside. End with a cinematic superhero-style closing shot. **Visual Style:** Hollywood superhero movie aesthetic, photorealistic, cinematic color grading, realistic cloth simulation, physically accurate web physics, dynamic lighting, volumetric sunlight, realistic facial animation, expressive emotions, smooth character consistency, high-speed action choreography, premium VFX, ultra-detailed environments, crisp reflections, motion blur, dramatic camera transitions, IMAX-quality visuals, 8K HDR.
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I decided to make an UPDATED VERSION of Geno's Shapeless Man style and here's how it turned out! 👀 Below is a video comparison & image of the official Shapeless Man material not including the niagra (flame & distortion vfx) and my version of the Shapeless Man material. While making this, I made sure to use the SAME textures that were used on the official Shapeless Man style. Although I was a tad bit more restricted in Blender with what I could do, I still think it came out good. No disrespect at all to the artists who created the Shapeless Man style, but the biggest issue I have with it is that the lines on his body aren't animated. Along with the distortion, that was a huge factor in what made the Shapeless Man... well, shapeless. The animated lines were present in the Collision version of the Shapeless Man, so I'm not sure why they aren't present in the official style. 🫤 Another change I made to the material was Geno's eyes. In the Collision Event his eyes had a nice gradient and looked a lot more intimidating. Unfortunately that was niagra which I do not have access to in Blender, but I tried my best to recreate a similar look in Blender. Additionally, I also added back Geno's scarf around his neck (Yes, it's codenamed scarf). This was another big detail apart of the Shapeless Man that really made his look feel complete and it was unfortunate to see that was excluded in the official style. I'd like to thank Point⁉️🍉 for help with the node setup & aiden for providing me with the material for the original Shapeless Man style. 🫶 Despite some of my disappointments with the material itself, I LOVE the new unique mesh for the Shapeless Man. In comparison to the Collision version, this mesh makes Geno look a LOT more unsettling and the team behind it did a wonderful job on it! 👏 All in all, I'd love if Epic could take this into consideration and possibly update Geno's Shapeless Man style to look more like the version I'm suggesting. I only want the best for this character. 🤞 Support on this post would be appreciated and thank you to whoever took their time to read this! ❤️
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I decided to make an UPDATED VERSION of Geno's Shapeless Man style and here's how it turned out! 👀 Below is a video comparison & image of the official Shapeless Man material not including the niagra (flame & distortion vfx) and my version of the Shapeless Man material. While making this, I made sure to use the SAME textures that were used on the official Shapeless Man style. Although I was a tad bit more restricted in Blender with what I could do, I still think it came out good. No disrespect at all to the artists who created the Shapeless Man style, but the biggest issue I have with it is that the lines on his body aren't animated. Along with the distortion, that was a huge factor in what made the Shapeless Man... well, shapeless. The animated lines were present in the Collision version of the Shapeless Man, so I'm not sure why they aren't present in the official style. 🫤 Another change I made to the material was Geno's eyes. In the Collision Event his eyes had a nice gradient and looked a lot more intimidating. Unfortunately that was niagra which I do not have access to in Blender, but I tried my best to recreate a similar look in Blender. Additionally, I also added back Geno's scarf around his neck (Yes, it's codenamed scarf). This was another big detail apart of the Shapeless Man that really made his look feel complete and it was unfortunate to see that was excluded in the official style. I'd like to thank Point⁉️🍉 for help with the node setup & aiden for providing me with the material for the original Shapeless Man style. 🫶 Despite some of my disappointments with the material itself, I LOVE the new unique mesh for the Shapeless Man. In comparison to the Collision version, this mesh makes Geno look a LOT more unsettling and the team behind it did a wonderful job on it! 👏 All in all, I'd love if Epic could take this into consideration and possibly update Geno's Shapeless Man style to look more like the version I'm suggesting. I only want the best for this character. 🤞 Support on this post would be appreciated and thank you to whoever took their time to read this! ❤️

Rezztro

32,972 Aufrufe • vor 5 Tagen

My nephew was browsing through the shelves in my gaming room and asked where I keep the "older games that I played when I was his age" (he's 14 now). I showed him the section from the early 80s. Obviously, he didn't recognize a single game (making me feel quite old, haha), but for some reason Lode Runner caught his attention. I said that it's not a "pretty" game in terms of graphics or sound, but that it was one of my favorites back then. We loaded it up, I showed him for about 2 minutes what to do, and we ended up playing it for almost 3 hours. It made me happy for many reasons, but most of all grateful to see that these old games - despite their shortcomings in graphics and sound - can still fascinate even younger generations. Lode Runner by Brøderbund (1983), a truly timeless gem.
1:06

My nephew was browsing through the shelves in my gaming room and asked where I keep the "older games that I played when I was his age" (he's 14 now). I showed him the section from the early 80s. Obviously, he didn't recognize a single game (making me feel quite old, haha), but for some reason Lode Runner caught his attention. I said that it's not a "pretty" game in terms of graphics or sound, but that it was one of my favorites back then. We loaded it up, I showed him for about 2 minutes what to do, and we ended up playing it for almost 3 hours. It made me happy for many reasons, but most of all grateful to see that these old games - despite their shortcomings in graphics and sound - can still fascinate even younger generations. Lode Runner by Brøderbund (1983), a truly timeless gem.

exQUIZitely 🕹️

227,083 Aufrufe • vor 8 Monaten

🧱 #Live3D #Live2D #HandTracking 🧱 I spent some time refining the way I use Warp Deformers to create lateral physics-based swinging motion in Live2D. With a new production concept, I tried to achieve the highest possible level of mathematical precision. At the core are two fundamental swinging structures, which I can mix in different proportions to create different qualities of motion. The first is parallel swinging. Both sides of the Warp Deformer remain perfectly parallel throughout the motion, making it look somewhat like a sheet of paper or a tassel. The second is bending swinging. The angle between the two sides of the Warp Deformer changes as it moves, making it look more like a flexible tube or a tail. （0:12）Interestingly, when I layer the first and second structures together, the bottom forms an X-shaped pattern as it swings. It looks a little like a spine or some kind of mechanical structure. （0:23）The third structure is an equal blend of the first and second. Its characteristics are much more neutral, combining the qualities of both. （0:35）The fourth and fifth structures are created by smoothly blending the first structure into the center of the second, and the second into the center of the first, respectively. This makes them appear softer and more flexible, somewhat like a piece of fabric. （0:28）Interestingly, when I blend the fourth and fifth structures equally, the result is exactly identical to the third structure. This also demonstrates that, despite their apparent complexity, the two are actually perfect mirror images of each other. Every physics-based motion shown here uses a two-segment pendulum structure, with a swinging range of ±90°. In theory, when curled to its limit, it can bend upward into a perfect semicircle. To most people, this may look as boring as a brick. But to me, this is exactly where the romance of Live2D physics lies. Does anyone else feel the same way?
0:59

🧱 #Live3D #Live2D #HandTracking 🧱 I spent some time refining the way I use Warp Deformers to create lateral physics-based swinging motion in Live2D. With a new production concept, I tried to achieve the highest possible level of mathematical precision. At the core are two fundamental swinging structures, which I can mix in different proportions to create different qualities of motion. The first is parallel swinging. Both sides of the Warp Deformer remain perfectly parallel throughout the motion, making it look somewhat like a sheet of paper or a tassel. The second is bending swinging. The angle between the two sides of the Warp Deformer changes as it moves, making it look more like a flexible tube or a tail. （0:12）Interestingly, when I layer the first and second structures together, the bottom forms an X-shaped pattern as it swings. It looks a little like a spine or some kind of mechanical structure. （0:23）The third structure is an equal blend of the first and second. Its characteristics are much more neutral, combining the qualities of both. （0:35）The fourth and fifth structures are created by smoothly blending the first structure into the center of the second, and the second into the center of the first, respectively. This makes them appear softer and more flexible, somewhat like a piece of fabric. （0:28）Interestingly, when I blend the fourth and fifth structures equally, the result is exactly identical to the third structure. This also demonstrates that, despite their apparent complexity, the two are actually perfect mirror images of each other. Every physics-based motion shown here uses a two-segment pendulum structure, with a swinging range of ±90°. In theory, when curled to its limit, it can bend upward into a perfect semicircle. To most people, this may look as boring as a brick. But to me, this is exactly where the romance of Live2D physics lies. Does anyone else feel the same way?

📐Hephaestus📏Live2D匠人魂

19,362 Aufrufe • vor 28 Tagen

Tom Holland speaks on the day he got cast as Spider-Man… he says he was disappointed at first “i can remember the day i got cast like it was yesterday” “like i remember being sat in my bed with my computer, i remember scrolling through the article” “i remember reading that headline, the more and more disappointed i got because i wasn't seeing my name” Zendaya: “yeah” Tom Holland: “and then i remember going downstairs and my brother was there… my dad wasn't in i remember” Zendaya: “I'm just getting anxious even hearing you tell the story” Tom Holland: “i remember that day like it was yesterday” “i remember exactly where i was when Kevin Feige called me… i was in my parents garden” “i remember calling my agents and they were freaking out and being like” “yo, look we've seen the news but we haven't heard anything from the studio” “we don't know if this is real or not” “yeah, and that does feel like yesterday, but then when i look at pictures from that time… i look literally like a child” “like i look like a baby so it does feel like a lifetime ago… but then also yesterday” Zendaya: “yeah” “well I'm glad it happened the way it did” Tom Holland: “yeah, crazy”
1:08

Tom Holland speaks on the day he got cast as Spider-Man… he says he was disappointed at first “i can remember the day i got cast like it was yesterday” “like i remember being sat in my bed with my computer, i remember scrolling through the article” “i remember reading that headline, the more and more disappointed i got because i wasn't seeing my name” Zendaya: “yeah” Tom Holland: “and then i remember going downstairs and my brother was there… my dad wasn't in i remember” Zendaya: “I'm just getting anxious even hearing you tell the story” Tom Holland: “i remember that day like it was yesterday” “i remember exactly where i was when Kevin Feige called me… i was in my parents garden” “i remember calling my agents and they were freaking out and being like” “yo, look we've seen the news but we haven't heard anything from the studio” “we don't know if this is real or not” “yeah, and that does feel like yesterday, but then when i look at pictures from that time… i look literally like a child” “like i look like a baby so it does feel like a lifetime ago… but then also yesterday” Zendaya: “yeah” “well I'm glad it happened the way it did” Tom Holland: “yeah, crazy”

5sta reze

627,584 Aufrufe • vor 1 Monat

Why the character movement in my custom game engine felt janky and how I fixed it. In a game engine, most often, a character moves using the physics engine. Meaning, the player is not just a coordinate in space but a physical body. It has velocity, it handles collisions, and it interacts with the world. Now, as you might know, physics engines need stability. If you run them at variable framerates, things start breaking. Objects phase through walls or fly off into space because the math becomes unpredictable. This is why most game engines lock their physics loop to a 60Hz fixed rate. But here’s the problem: If you have a high-end system, you don't want to limit it at 60 FPS. That's a waste of good hardware. Now, that said, if the GPU is rendering at 144 FPS but the player's position (physics driven) only updates 60 times a second, it creates a micro-stutter that ruins the "smooth" feel of the game. A good way to fix this is to treat the character as two separate things: 1. The Physics Body (Invisible part): This is the "real" character. It lives in the 60Hz physics world, it moves the player and handles collisions. 2. The Visual Model and Camera (Visible part): This is what the player actually sees. It doesn't care about collisions, its only job is to look nice and smooth at whatever framerate the GPU is pushing. Once you have this separation, you can use interpolation to keep them in sync. Every time the physics clock ticks, you save the previous position of the invisible body before moving it to the new one. Between those ticks, calculate how far we are between the last physics update and the next one. By using this to drive the visible parts of the game, the stutters disappear. The physics loop stays fixed behind the scenes, while the visuals slide smoothly between the snapshots. Example: - Right after a tick: blend_weight= 0.0 (The visual model stays at the old physics position). - Halfway to the next: blend_weight= 0.5 (The visual model slides to the middle point). - Just before the next: blend_weight= 0.9 (The visual model is almost at the new physics position). Pro-Tip A critical mistake I made initially, and one many devs make, is parenting the camera and visible parts directly to the player body. If you do this, the camera inherits the discrete 60Hz physics movement by default. In that setup, interpolation won't work because the camera is "stuck" to the physics clock. For this fix to work you must decouple the camera and visuals from the body and move them separately. Player movement processing in Detis Engine: - fixed_process: Physics runs at 60Hz. Handles collisions and raw movement. - process: Variable rate. Mainly used for player input caching in the player case. - late_process: Variable rate. Handles interpolated camera movement after physics and everything else is done being processed. - render. Submits the final interpolated transforms to the GPU. The test environment in the video is running on an old 2070-based laptop. Hopefully the video compression won't introduce any stutter... I’m sharing this in hopes it helps a fellow dev. Cheers.
0:23

Why the character movement in my custom game engine felt janky and how I fixed it. In a game engine, most often, a character moves using the physics engine. Meaning, the player is not just a coordinate in space but a physical body. It has velocity, it handles collisions, and it interacts with the world. Now, as you might know, physics engines need stability. If you run them at variable framerates, things start breaking. Objects phase through walls or fly off into space because the math becomes unpredictable. This is why most game engines lock their physics loop to a 60Hz fixed rate. But here’s the problem: If you have a high-end system, you don't want to limit it at 60 FPS. That's a waste of good hardware. Now, that said, if the GPU is rendering at 144 FPS but the player's position (physics driven) only updates 60 times a second, it creates a micro-stutter that ruins the "smooth" feel of the game. A good way to fix this is to treat the character as two separate things: 1. The Physics Body (Invisible part): This is the "real" character. It lives in the 60Hz physics world, it moves the player and handles collisions. 2. The Visual Model and Camera (Visible part): This is what the player actually sees. It doesn't care about collisions, its only job is to look nice and smooth at whatever framerate the GPU is pushing. Once you have this separation, you can use interpolation to keep them in sync. Every time the physics clock ticks, you save the previous position of the invisible body before moving it to the new one. Between those ticks, calculate how far we are between the last physics update and the next one. By using this to drive the visible parts of the game, the stutters disappear. The physics loop stays fixed behind the scenes, while the visuals slide smoothly between the snapshots. Example: - Right after a tick: blend_weight= 0.0 (The visual model stays at the old physics position). - Halfway to the next: blend_weight= 0.5 (The visual model slides to the middle point). - Just before the next: blend_weight= 0.9 (The visual model is almost at the new physics position). Pro-Tip A critical mistake I made initially, and one many devs make, is parenting the camera and visible parts directly to the player body. If you do this, the camera inherits the discrete 60Hz physics movement by default. In that setup, interpolation won't work because the camera is "stuck" to the physics clock. For this fix to work you must decouple the camera and visuals from the body and move them separately. Player movement processing in Detis Engine: - fixed_process: Physics runs at 60Hz. Handles collisions and raw movement. - process: Variable rate. Mainly used for player input caching in the player case. - late_process: Variable rate. Handles interpolated camera movement after physics and everything else is done being processed. - render. Submits the final interpolated transforms to the GPU. The test environment in the video is running on an old 2070-based laptop. Hopefully the video compression won't introduce any stutter... I’m sharing this in hopes it helps a fellow dev. Cheers.

Ioannis Koukourakis

48,703 Aufrufe • vor 8 Monaten

Did FPS games peak in the 90s? I guess the newer ones have better graphics, but do they really "feel" better in terms of gameplay and fun? Unreal Tournament (Epic Games, 1999) was one of the best of its kind. A favorite for our LAN sessions back in the day. Carrying a 21" mintor over to your friend's house felt a little less heavy when you knew you'd be playing Unreal later that day... Exellent and colorful graphics (even on PCs that weren't high end, like those you needed for Quake III Arena for example), great sound, and your typical capture the flag or deathmatches - I mean, what more did you need? Plenty of "Game of the Year" nominations (with some wins), the highest critcal acclaim, and massive sales numbers. I think we can all agree that Unreal Tournament belongs in the Hall of Fame of FPS games. Or maybe I am just getting old and gloryfing things from the past too much.
2:26

Did FPS games peak in the 90s? I guess the newer ones have better graphics, but do they really "feel" better in terms of gameplay and fun? Unreal Tournament (Epic Games, 1999) was one of the best of its kind. A favorite for our LAN sessions back in the day. Carrying a 21" mintor over to your friend's house felt a little less heavy when you knew you'd be playing Unreal later that day... Exellent and colorful graphics (even on PCs that weren't high end, like those you needed for Quake III Arena for example), great sound, and your typical capture the flag or deathmatches - I mean, what more did you need? Plenty of "Game of the Year" nominations (with some wins), the highest critcal acclaim, and massive sales numbers. I think we can all agree that Unreal Tournament belongs in the Hall of Fame of FPS games. Or maybe I am just getting old and gloryfing things from the past too much.

exQUIZitely 🕹️

256,523 Aufrufe • vor 6 Monaten

𝗞𝘂𝗹𝘁𝗚𝗮𝗺𝗲𝘀 𝗶𝘀 𝗰𝗵𝗮𝗻𝗴𝗶𝗻𝗴 𝗵𝗼𝘄 𝘄𝗲 𝗽𝗹𝗮𝘆 𝗴𝗮𝗺𝗲𝘀 𝗿𝗶𝗴𝗵𝘁 𝗻𝗼𝘄 It is the main place where you can enjoy intelligent gaming today. You play connected games that work together. Your progress and items stay with you across all games instead of starting over each time. You can also create AI agents. These agents learn from your play style. They compete against others in games. They get better and stronger as they play more with you. The whole platform uses advanced AI tools from 0G labs. This makes the games feel smart and connected. Everything runs on the blockchain so you truly own your items and progress. The experience feels smooth in one browser on web or mobile. 𝗛𝗲𝗿𝗲 𝗮𝗿𝗲 𝘁𝗵𝗲 𝗴𝗮𝗺𝗲𝘀 𝘆𝗼𝘂 𝗰𝗮𝗻 𝗽𝗹𝗮𝘆 𝗿𝗶𝗴𝗵𝘁 𝗻𝗼𝘄 ➡ Zero G Pool lets you play a fun version of pool with a space theme. ➡ Guess The AI challenges you to beat smart AI in mind games. ➡ Warzone Warriors gives you action with real progress that carries over on the blockchain. ➡ Highway Hustle is a racing game where you dodge traffic and own the road. ➡ Zero Dash offers fast paced challenges helped by AI. You can also join the AI Agent Sports League. Your agents can predict sports results and build a real reputation over time. Register: Use my referral code: FOUNDER2024 👈 Visit today to see all the games join the waitlist and start your intelligent gaming journey. Follow Kult Games for more updates. This is where gaming feels alive and connected right now.
1:31

𝗞𝘂𝗹𝘁𝗚𝗮𝗺𝗲𝘀 𝗶𝘀 𝗰𝗵𝗮𝗻𝗴𝗶𝗻𝗴 𝗵𝗼𝘄 𝘄𝗲 𝗽𝗹𝗮𝘆 𝗴𝗮𝗺𝗲𝘀 𝗿𝗶𝗴𝗵𝘁 𝗻𝗼𝘄 It is the main place where you can enjoy intelligent gaming today. You play connected games that work together. Your progress and items stay with you across all games instead of starting over each time. You can also create AI agents. These agents learn from your play style. They compete against others in games. They get better and stronger as they play more with you. The whole platform uses advanced AI tools from 0G labs. This makes the games feel smart and connected. Everything runs on the blockchain so you truly own your items and progress. The experience feels smooth in one browser on web or mobile. 𝗛𝗲𝗿𝗲 𝗮𝗿𝗲 𝘁𝗵𝗲 𝗴𝗮𝗺𝗲𝘀 𝘆𝗼𝘂 𝗰𝗮𝗻 𝗽𝗹𝗮𝘆 𝗿𝗶𝗴𝗵𝘁 𝗻𝗼𝘄 ➡ Zero G Pool lets you play a fun version of pool with a space theme. ➡ Guess The AI challenges you to beat smart AI in mind games. ➡ Warzone Warriors gives you action with real progress that carries over on the blockchain. ➡ Highway Hustle is a racing game where you dodge traffic and own the road. ➡ Zero Dash offers fast paced challenges helped by AI. You can also join the AI Agent Sports League. Your agents can predict sports results and build a real reputation over time. Register: Use my referral code: FOUNDER2024 👈 Visit today to see all the games join the waitlist and start your intelligent gaming journey. Follow Kult Games for more updates. This is where gaming feels alive and connected right now.

Eyenidim

11,168 Aufrufe • vor 1 Monat

In response to me saying Ghost of Yotei has the most "majestic and beautiful" horse riding in gaming, some said Red Dead Redemption 2 tops it. Realism alone doesn't equate to the above. RDR2's a stunning game, but its horse riding can be rather sterile in comparison to Yotei. It doesn't have near the same artistry, colour, vibrancy, mass flocks of animals, lush foliage, wide angle and cinematic in gameplay camera, aggressive weather/wind dynamics, as many effects, particles, the DualSense feedback and so on. There's a reason I listed Zelda and Shadow of the Colossus in my top examples. Again, it's about so much more than just realistic graphics, animations, or horse balls lol. It's a culmination of all these other components that come together to make something feel so much more majestic and beautiful, and it's why Yotei clears RDR2 in said areas. Quick and dirty video comparison of random open field horse riding gameplay in both games, to highlight the point. #GhostofYotei #PS5 #PS5Pro #RedDeadRedemption2
1:05

In response to me saying Ghost of Yotei has the most "majestic and beautiful" horse riding in gaming, some said Red Dead Redemption 2 tops it. Realism alone doesn't equate to the above. RDR2's a stunning game, but its horse riding can be rather sterile in comparison to Yotei. It doesn't have near the same artistry, colour, vibrancy, mass flocks of animals, lush foliage, wide angle and cinematic in gameplay camera, aggressive weather/wind dynamics, as many effects, particles, the DualSense feedback and so on. There's a reason I listed Zelda and Shadow of the Colossus in my top examples. Again, it's about so much more than just realistic graphics, animations, or horse balls lol. It's a culmination of all these other components that come together to make something feel so much more majestic and beautiful, and it's why Yotei clears RDR2 in said areas. Quick and dirty video comparison of random open field horse riding gameplay in both games, to highlight the point. #GhostofYotei #PS5 #PS5Pro #RedDeadRedemption2

NIB

3,370,557 Aufrufe • vor 11 Monaten

Seen the fragile snowflakes complain people aren't posting combat gameplay from Ghost of Yotei, but not only is my timeline filled with it, I've been posting plenty myself too. Here's another. This segment did a great job of making me feel part of a larger battle, while being atmospheric and just pure fun. May look easy, but keep in mind you get killed in 2-3 hits so can die in seconds. Unlike Assassin's Creed Shadows where even on Expert it feels like you could beat certain engagements with your eyes closed, Yotei on the hardest difficulties actually demands precision and keeps you on your toes, which I LOVE. It's notably harder than Tsushima, and the enemy movesets, attack speed and AI more aggressive. On Hard/Lethal combat difficulty or deadliness wise, it can at times end up feeling more like a Soulsborne or Sekiro than it does many action adventure games. Even normal enemies will occasionally kill you in an instant if you slip up. #PS5Pro gameplay video. #GhostofYotei #GhostOfYōtei #PS5
2:59

Seen the fragile snowflakes complain people aren't posting combat gameplay from Ghost of Yotei, but not only is my timeline filled with it, I've been posting plenty myself too. Here's another. This segment did a great job of making me feel part of a larger battle, while being atmospheric and just pure fun. May look easy, but keep in mind you get killed in 2-3 hits so can die in seconds. Unlike Assassin's Creed Shadows where even on Expert it feels like you could beat certain engagements with your eyes closed, Yotei on the hardest difficulties actually demands precision and keeps you on your toes, which I LOVE. It's notably harder than Tsushima, and the enemy movesets, attack speed and AI more aggressive. On Hard/Lethal combat difficulty or deadliness wise, it can at times end up feeling more like a Soulsborne or Sekiro than it does many action adventure games. Even normal enemies will occasionally kill you in an instant if you slip up. #PS5Pro gameplay video. #GhostofYotei #GhostOfYōtei #PS5

NIB

55,379 Aufrufe • vor 10 Monaten