Interactividad programada en el Game Engine de Blender

Con este proyecto se ha desarrollado una guía introductoria a uno de los aspectos más complejos y especializados de Blender, que es el control de su motor de videojuegos mediante programas escritos en Python. Está orientado a lectores que tienen un conocimiento amplio sobre el manejo de Blender, su interfaz y el funcionamiento de sus diferentes elementos, así como una mínima experiencia en cuanto a programación. Se ha organizado en una parte descriptiva, centrada en el lenguaje Python y en las bases de su uso para programar el motor de videojuegos (Game Engine) de Blender, y otra de práctica guiada, que constituye la mayoría del proyecto, donde se estudian de manera progresiva ejemplos concretos de uso del mismo. En la parte descriptiva se ha tratado tanto el funcionamiento más básico del lenguaje Python, especialmente las características que difieren de otros lenguajes de programación tradicionales, como su relación con Blender en particular, explicando las diferentes partes de la API de Blender para Python, y las posibles estrategias de uso. La parte práctica guiada, dado que esta interacción entre Blender y Python ofrece un rango de posibilidades muy amplio, se ha centrado en tres áreas concretas que han sido investigadas en profundidad: el control del objeto protagonista, de la cámara y la implementación de un mapa de orientación. Todas ellas se han centrado en torno a un ejemplo común, que consiste en un videojuego muy básico, y que, gracias a los ficheros de Blender que acompañan a esta memoria, sirve para apoyar las explicaciones y poder probar su efecto directamente. Por una parte, estos tres aspectos prácticos se han explicado exhaustivamente, y se han llevado hasta un nivel relativamente alto. Asimismo se han intentado minimizar las dependencias, tanto entre ellos como con la escena que se ha usado como ejemplo, de manera que sea sencillo usar los programas generados en otras aplicaciones. Por otra, la mayoría de los problemas que ha sido necesario resolver durante el desarrollo no son específicos de ninguna de las tres áreas, sino que son de carácter general, por lo que sus explicaciones podrán usarse al afrontar otras situaciones. ABSTRACT. This Thesis consists of an introductory guide to one of the most complex and specific parts of Blender, which is the control of its game engine by means of programs coded in Python. The dissertation is orientated towards readers who have a good knowledge of Blender, its interface and how its different systems work, as well as basic programming skills. The document is composed of two main sections, the first one containing a description of Python’s basics and its usage within Blender, and the second consisting of three practical examples of interaction between them, guided and explained step by step. On the first section, the fundamentals of Python have been covered in the first place, focusing on the characteristics that distinguish it from other programming languages. Then, Blender’s API for Python has also been introduced, explaining its different parts and the ways it can be used in. Since the interaction between Blender and Python offers a wide range of possibilities, the practical section has been centered on three particular areas. Each one of the following sections has been deeply covered: how to control the main character object, how to control the camera, and how to implement and control a mini-map. Furthermore, a demonstrative videogame has been generated for the reader to be able to directly test the effect of what is explained in each section. On the one hand, these three practical topics have been thoroughly explained, starting from the basis and gradually taking them to a relatively advanced level. The dependences among them, or between them and the demonstrative videogame, have been minimised so that the scripts or ideas can be easily used within other applications. On the other hand, most of the problems that have been addressed are not exclusively related to these areas, but will most likely appear in different situations, thus enlarging the field in which this Thesis can be used.

Transformation toughened ceramics for the Heavy Duty Diesel Engine Technology Program.

Energy Department, Office of Vehicle and Engine Research and Development, Washington, D.C.

Creating an authentic aural experience in the digital songlines game engine: Part of a contextualised cultural heritage knowledge toolkit

Digital Songlines is an Australasian CRC for Interaction Design (ACID) project that is developing protocols, methodologies and toolkits to facilitate the collection, education and sharing of indigenous cultural heritage knowledge. The project explores the areas of effective recording, content management and virtual reality delivery capabilities that are culturally sensitive and involve the indigenous custodians, leaders and communities in remote areas of the Australian ‘outback’. It investigates how players in a serious gaming sense can experience Indigenous virtual heritage in a high fidelity fashion with culturally appropriate interface tools. This paper describes a 3D ambient audio quilt designed and implemented specifically for the Digital Songlines software, which is built using the Torque Game Engine. The audio quilt developed provides dynamic ambient fauna and flora sound effects to represent the varying audio environment of the landscape. This provides an authentic contextualised interesting aural experience that can be different each time a location is entered. This paper reports on completed and ongoing research in this area.

Database and narratological representation of Australian Aboriginal knowledge as information visualisation using a game engine

Current database technologies do not support contextualised representations of multi-dimensional narratives. This paper outlines a new approach to this problem using a multi-dimensional database served in a 3D game environment. Preliminary results indicate it is a particularly efficient method for the types of contextualised narratives used by Australian Aboriginal peoples to tell their stories about their traditional landscapes and knowledge practices. We discuss the development of a tool that complements rather than supplants direct experience of these traditional knowledge practices.

Cultural and linguistic localization of games to bridge the digital and cultural divide in indigenous populations

Localization of technology is now widely applied to the preservation and revival of the culture of indigenous peoples around the world, most commonly through the translation into indigenous languages, which has been proven to increase the adoption of technology. However, this current form of localization excludes two demographic groups, which are key to the effectiveness of localization efforts in the African context: the younger generation (under the age of thirty) with an Anglo- American cultural view who have no need or interest in their indigenous culture; and the older generation (over the age of fifty) who are very knowledgeable about their indigenous culture, but have little or no knowledge on the use of a computer. This paper presents the design of a computer game engine that can be used to provide an interface for both technology and indigenous culture learning for both generations. Four indigenous Ugandan games are analyzed and identified for their attractiveness to both generations, to both rural and urban populations, and for their propensity to develop IT skills in older generations.

Multiverse

This performance showing demonstrated the integration of 3D stereographic scenography and game engine technology within a dance work by major Australian choreographer (Garry Stewart) and company (Australian Dance Theatre). The audience included major Australian arts festival and venue presenters. The work is an outcome of ARC Discovery DP120101695 Building innovative capacity in Australian dance through new visualization technologies, Vincs sole CI, and the collaboration with Garry Stewart, one of Australia's most successful and well known contemporary dance choreographers, and Australian Dance Theatre, one of Australia's major contemporary dance companies, demonstrates the industry impact and engagement of the research.

The Path between Pedagogy and Technology: Establishing a Theoretical Basis for the Development of Educational Game Environments

The power of computer game technology is currently being harnessed to produce “serious games”. These “games” are targeted at the education and training marketplace, and employ various key game-engine components such as the graphics and physics engines to produce realistic “digital-world” simulations of the real “physical world”. Many approaches are driven by the technology and often lack a consideration of a firm pedagogical underpinning. The authors believe that an analysis and deployment of both the technological and pedagogical dimensions should occur together, with the pedagogical dimension providing the lead. This chapter explores the relationship between these two dimensions, and explores how “pedagogy may inform the use of technology”, how various learning theories may be mapped onto the use of the affordances of computer game engines. Autonomous and collaborative learning approaches are discussed. The design of a serious game is broken down into spatial and temporal elements. The spatial dimension is related to the theories of knowledge structures, especially “concept maps”. The temporal dimension is related to “experiential learning”, especially the approach of Kolb. The multi-player aspect of serious games is related to theories of “collaborative learning” which is broken down into a discussion of “discourse” versus “dialogue”. Several general guiding principles are explored, such as the use of “metaphor” (including metaphors of space, embodiment, systems thinking, the internet and emergence). The topological design of a serious game is also highlighted. The discussion of pedagogy is related to various serious games we have recently produced and researched, and is presented in the hope of informing the “serious game community”.

The Development of Educational Materials for the Study of Architecture using Computer Game Technology

Computer game technology provides us with the tools to create web-based educational materials for autonomous and collaborative learning. At Worcester, we have researched the use of this technology in various educational contexts. This paper reports one such study; the use of the commercial game engine “Unreal Tournament 2004” (UT2004) to produce materials suitable for education of Architects. We map the concepts and principles of Architectural Design onto the affordances (development tools) provided by UT2004, leading to a systematic procedure for the realization of buildings and urban environments using this game engine. A theory for the production of web-based learning materials which supports both autonomous and collaborative learning is developed. A heuristic evaluation of our materials, used with second-year students is presented. Associated web-pages provide on-line materials for delegates.

What serious game studios want from ICT research: identifying developers’ needs

Although many scholars recognise the great potential of games for teaching and learning, the EU-based industry for such “serious” games” is highly fragmented and its growth figures remain well behind those of the leisure game market. Serious gaming has been designated as a priority area by the European Commission in its Horizon 2020 Framework Programme for Research and Innovation. The RAGE project, which is funded as part of the Horizon 2020 Programme, is a technology-driven research and innovation project that will make available a series of self-contained gaming software modules that support game studios in the development of serious games. As game studios are a critical factor in the uptake of serious games, the RAGE projects will base its work on their views and needs as to achieve maximum impact. This paper presents the results of a survey among European game studios about their development related needs and expectations. The survey is aimed at identifying a baseline reference for successfully supporting game studios with advanced ICTs for serious games.

RAGE Architecture for Reusable Serious Gaming Technology Components

For seizing the potential of serious games, the RAGE project - funded by the Horizon-2020 Programme of the European Commission - will make available an interoperable set of advanced technology components (software assets) that support game studios at serious game development. This paper describes the overall software architecture and design conditions that are needed for the easy integration and reuse of such software assets in existing game platforms. Based on the component-based software engineering paradigm the RAGE architecture takes into account the portability of assets to different operating systems, different programming languages and different game engines. It avoids dependencies on external software frameworks and minimizes code that may hinder integration with game engine code. Furthermore it relies on a limited set of standard software patterns and well-established coding practices. The RAGE architecture has been successfully validated by implementing and testing basic software assets in four major programming languages (C#, C++, Java and Typescript/JavaScript, respectively). A demonstrator implementation of asset integration with an existing game engine was created and validated. The presented RAGE architecture paves the way for large scale development and application of cross-engine reusable software assets for enhancing the quality and diversity of serious gaming.

Measuring Visual Consistency in 3D Rendering Systems

One of the major challenges facing a present day game development company is the removal of bugs from such complex virtual environments. This work presents an approach for measuring the correctness of synthetic scenes generated by a rendering system of a 3D application, such as a computer game. Our approach builds a database of labelled point clouds representing the spatiotemporal colour distribution for the objects present in a sequence of bug-free frames. This is done by converting the position that the pixels take over time into the 3D equivalent points with associated colours. Once the space of labelled points is built, each new image produced from the same game by any rendering system can be analysed by measuring its visual inconsistency in terms of distance from the database. Objects within the scene can be relocated (manually or by the application engine); yet the algorithm is able to perform the image analysis in terms of the 3D structure and colour distribution of samples on the surface of the object. We applied our framework to the publicly available game RacingGame developed for Microsoft(R) Xna(R). Preliminary results show how this approach can be used to detect a variety of visual artifacts generated by the rendering system in a professional quality game engine.

Computational approaches to the visual validation of 3D virtual environments

Virtual environments can provide, through digital games and online social interfaces, extremely exciting forms of interactive entertainment. Because of their capability in displaying and manipulating information in natural and intuitive ways, such environments have found extensive applications in decision support, education and training in the health and science domains amongst others. Currently, the burden of validating both the interactive functionality and visual consistency of a virtual environment content is entirely carried out by developers and play-testers. While considerable research has been conducted in assisting the design of virtual world content and mechanics, to date, only limited contributions have been made regarding the automatic testing of the underpinning graphics software and hardware. The aim of this thesis is to determine whether the correctness of the images generated by a virtual environment can be quantitatively defined, and automatically measured, in order to facilitate the validation of the content. In an attempt to provide an environment-independent definition of visual consistency, a number of classification approaches were developed. First, a novel model-based object description was proposed in order to enable reasoning about the color and geometry change of virtual entities during a play-session. From such an analysis, two view-based connectionist approaches were developed to map from geometry and color spaces to a single, environment-independent, geometric transformation space; we used such a mapping to predict the correct visualization of the scene. Finally, an appearance-based aliasing detector was developed to show how incorrectness too, can be quantified for debugging purposes. Since computer games heavily rely on the use of highly complex and interactive virtual worlds, they provide an excellent test bed against which to develop, calibrate and validate our techniques. Experiments were conducted on a game engine and other virtual worlds prototypes to determine the applicability and effectiveness of our algorithms. The results show that quantifying visual correctness in virtual scenes is a feasible enterprise, and that effective automatic bug detection can be performed through the techniques we have developed. We expect these techniques to find application in large 3D games and virtual world studios that require a scalable solution to testing their virtual world software and digital content.

Tabernacle-Game world

Tabernacle is an experimental game world-building project which explores the relationship between the map and the 3-dimensional visualisation enabled by high-end game engines. The project is named after the 6th century tabernacle maps of Cosmas Indicopleustes in his Christian Topography. These maps articulate a cultural or metaphoric, rather than measured view of the world, contravening Alper's distinction which observes that “maps are measurement, art is experience”. The project builds on previous research into the use of game engines and 3D navigable representation to enable cultural experience, particularly non-Western cultural experiences and ways of seeing. Like the earlier research, Tabernacle highlights the problematic disjuncture between the modern Cartesian map structures of the engine and the mapping traditions of non-Western cultures. Tabernacle represents a practice-based research provocation. The project exposes assumptions about the maps which underpin 3D game worlds, and the autocratic tendencies of world construction software. This research is of critical importance as game engines and simulation technologies are becoming more popular in the recreation of culture and history. A key learning from the Tabernacle project was the ways in which available game engines – technologies with roots in the Enlightenment - constrained the team’s ability to represent a very different culture with a different conceptualisation of space and maps. Understanding the cultural legacies of the software itself is critical as we are tempted by the opportunities for representation of culture and history that they seem to offer. The project was presented at Perth Digital Arts and Culture in 2007 and reiterated using a different game engine in 2009. Further reflections were discussed in a conference paper presented at OZCHI 2009 and a peer-reviewed journal article, and insights gained from the experience continue to inform the author’s research.

Neural network-based detection of virtual environment anomalies

The increasingly widespread use of large-scale 3D virtual environments has translated into an increasing effort required from designers, developers and testers. While considerable research has been conducted into assisting the design of virtual world content and mechanics, to date, only limited contributions have been made regarding the automatic testing of the underpinning graphics software and hardware. In the work presented in this paper, two novel neural network-based approaches are presented to predict the correct visualization of 3D content. Multilayer perceptrons and self-organizing maps are trained to learn the normal geometric and color appearance of objects from validated frames and then used to detect novel or anomalous renderings in new images. Our approach is general, for the appearance of the object is learned rather than explicitly represented. Experiments were conducted on a game engine to determine the applicability and effectiveness of our algorithms. The results show that the neural network technology can be effectively used to address the problem of automatic and reliable visual testing of 3D virtual environments.