Author Since the first post in this forum about namespaces being introduced, it was hinted that at some point we may get the using namespace; syntax from C++ in Angelscript. Is this still planned?It just came up in a discussion we had about implementing a logging API, where it would be nicer to type info("hello") rather than log::info("hello"), given we can do something like using log; first.

Buildings destruction for RTS games Published December 28, 2024 by Kopavel Do you see issues with this article? Let us know. Advertisement Hello dear readers!I've been working on my RTS game for about 3 years, using my personal game engine, and one of the things I'm really happy with is the way buildings are demolished, have a look -We are a very small team, so I had some important conditions for destruction systemIt need to be easy to set up, because we don't have time and resources to i.e. decompose meshes and then animate themIt need to be reliable because I can't be coming back to it once it's doneIt need to look cool and make my game stand out among dozens of other RTS gamesThose points are especially important because we expect the community to make mods for our game, and our destruction solution should work out of the box for them.So here's how it's done in The Scouring.Part 1. SetupAll the artist need to do is attach mesh blobs to parts of the building that he wants to come off, like this -We use about 100-150 blobs for buildings, and it takes just a couple of hours to set them up.And that's it.Part 2. Mesh ProcessingMost destruction systems use geometric intersections (boolean operations) to break mesh into pieces. However, it is a very slow and complex process that generally requires the mesh to be constructed in a specific, “correct” way.Instead we use alpha-clipping to break the mesh into pieces.2.1. So the first thing is to generate blob intersections against the original mesh.These are our chunks that will break off the building.We also generate the “backsides” of each hole.This might be the trickiest part of the whole thing, but I would not like to go into details of it as it is very technical. Get in touch with me if you need more details.2.2. Next, generate a texture atlas for our buildingThere are publicly available libraries that can do that, I used https://github.com/jpcy/xatlas.For an RTS camera and a building like that, 512x512 atlas has enough accuracy.2.3. Iterate every pixel in the atlas, and mark it with chunk id when the corresponding 3d position on the building surface is within one of the “blobs” This is the most time-consuming process (relatively speaking, the whole process described in this paper takes 0.25 ms on my 10 years old PC).The most important thing to speed things up is to assume all blobs to be “convex” (and there is no reason not to do so).Checking if a given point is inside a 3d convex hull is trivial. And there is a public library that generates convex hulls - https://github.com/akuukka/quickhullPart 3. RuntimeSo when a unit hits a building, we detect the chunk that is closest to the hit position, and mark it as active. Each building has a texture buffer with the size of “n chunks”, storing a boolean for each chunk, whether it is active or not.In pixel shader, we read the texture atlas storing chunks id’s, and do a clip if this chunk is active.We also need to show the “backside” of a clipped hole. We render the “backsides” mesh, with the inverted logic of the check mentioned above (if a chunk is active - DON’T clip the backside).And of course the chunk itself. If the building is visible, we spawn a physical body for it. If not, we simply activate it in its resting position (next to the building). We only use 3 calls to draw the whole thing:Building itselfBacksidesChunks. We put all of the chunks geometry into a single geometry buffer, and use the same texture buffer in pixel shader to clip-out inactive chunks.When the building is being repaired, instead of activating the chunks, we deactivate them.Last (but not least) a few notes about additional effects.We separate the building into “burnable” and “static” parts. The “burnable” part slides down when the building is destroyed, and has some fancy shader effects applied to. The “static” parts simply dissolves (using a screen-space per-pixel technique)Thank you for reading!If you have any questions, please fire at pavzag@gmail.com!And please check out our game on Steam!https://store.steampowered.com/app/3338950/The_Scouring/ Cancel Save Comments Nobody has left a comment. You can be the first! You must log in to join the conversation. Don't have a GameDev.net account? Sign up!

The company sold its third-party mobile gaming business to Scopely last month.

The game is expected to release next week.

QA EngineerEasybrainWarsaw2 hours agoApplyEasybrain develops mobile games and applications that millions of people around the world play every day. Right now, we are looking for a seasoned QA engineer to join our BI team. The BI department is responsible for operating large-scale data pipelines, integrating dozens of data sources, and collecting a rapidly expanding list of datapoints on how users interact with our games. Using this vast data, we predict a user’s value and create analytical reports for other teams to help them make data-driven decisions. Join us and make an impact on games played by millions!Responsibilities:Manual and automatic testing of the internal analytics system:- Data quality tests;- Controlling consistency of data between reports and third-party sources;- Web UI acceptance of new reports and testing changes to existing reports;- Testing of API integrations with third-party systems;- Automated checks for anomalies in data.Requirements:- Deep understanding of the software development and testing process;- Strong knowledge of SQL;- Familiarity with HTTP protocols, enabling effective testing of web applications and API;- Understanding of statistical methods, anomaly detection in data;- Russian language proficiency – advanced;- English level of B1 or higher for reading technical documentation.Would be a plus:- Experience with Python;- Experience with Pytest;- Experience with Playwright;- Experience with Postman.Benefits:Besides the engaging tasks, support from experienced colleagues, challenge, and drive, we offer:- Full support in relocating to countries where our offices are located;- High-end market salary with performance bonuses;- All needed equipment;- Regular company events and monthly Friday meetings;- Social benefits (private medical cover, sports reimbursement, etc.);- Paid vacations, sick days;- English, Greek, and Polish online language classes;- Reimbursement for education and professional development. Create Your Profile — Game companies can contact you with their relevant job openings. Apply

CurseForge Community Content ManagerOverwolfRamat Gan Israel2 hours agoApplyDescriptionWe’re on the hunt for a CurseForge Community Content Manager to join the Overwolf pack and help us keep our modding platform safe, fresh, and deeply connected to its community.As our Community & Content Maestro, you'll juggle content curation, creator relations, and community insights with precision, making sure the right projects rise to the top and the best creators feel seen and supported. You’ll be tuned into the community across platforms like Discord and forums, or any other modding hub, always ready to spot trends, answer questions, and make sure CurseForge remains the best place to mod.If you're a community-minded gamer with strong instincts, attention to detail, and a passion for modding, it’s time to fulfill your destiny and step into this role.ResponsibilitiesIn this role, you will:Manage content featured across the CurseForge website, app, CF4S, and marketing surfaces.Ensure the CurseForge discovery pages maintain high standards of quality, relevance, and community value.Oversee the premium mods funnel from lead to live.Attend to partner needs and support their content-related initiatives.Manage and moderate author Discord spaces, helping creators feel heard, supported, and valued.Maintain a steady flow of information between authors, partners, and internal teams, surfacing questions, concerns, and blockers - especially around the creation flow.Serve as a trusted point of contact for creators, responding to inquiries and encouraging their growth across multiple channels.Collaborate with Product, R&D, and Moderation teams to resolve operational issues and improve content workflows.Actively contribute to community knowledge through guides, how-tos, and articles.Pilot the company Wolf-mech in case of another alien attack.RequirementsPassionate gamer, actively engaged with 2–3 PC games (bonus points for Minecraft, World of Warcraft, The Sims 4, or ARK: Survival Ascended).Deep involvement in modding communities. You know where the magic happens, who’s rising, and what trends are forming.Excellent communication skills with a ‘can-do’ mindset and community-first attitude.Able to work independently with strong organizational and time management skills.Clear and consistent in reporting progress and community insights to HQ.Strong analytical and problem-solving abilities.Skilled at troubleshooting and multitasking in a fast-paced environment.Native-level fluency in written and spoken English.Proficiency in mech and/or Zord piloting and weapon systems.Extra Bonus Points:Prior experience in tech or software companies.Familiarity with different file types and folder structures.Experience with Unreal Engine, whether modding, developing, or just nerding out.Experience combining multiple mechs into one larger mech at a pivotal plot moment. Create Your Profile — Game companies can contact you with their relevant job openings. Apply

The Last of UsByKenneth ShepardPublished3 minutes agoWe may earn a commission from links on this page.Image: HBOIt’s been a difficult week for The Last of UsTwo episodes into the second season of HBO’s live-action series, fans are experiencing the traumatic events of The Last of Us Part II, the game on which this season is based. Those of us who played it dealt with this five years ago and are being retraumatized. Now, we also have to comfort new viewers who had no idea what was coming, are crashing out, and are angry at long-time fans who didn’t warn them about what was coming.Suggested ReadingDisney's New Lo-Fi Goofy Video Is Hiding A Kingdom Hearts Tease Share SubtitlesOffEnglishview videoSuggested ReadingDisney's New Lo-Fi Goofy Video Is Hiding A Kingdom Hearts Tease Share SubtitlesOffEnglishIn episode two, Abby (Kaitlyn Dever) tortures and kills Joel (Pedro Pascal) for killing her father in season one. It was a brutal scene and a controversial choice in The Last of Us Part II, but a lot of people who watch the show never touched the games and aren’t tuned into online video game discussions enough to have caught wind of this moment. So even though Abby essentially voiced her intentions directly to the audience in episode one, newcomers may have had some hope that this would be a season-long conflict that Joel might survive, rather than one that would see him taken out just two episodes into the season.Newcomers are in shambles and posting their reactions online. After sitting with this grief for five years, I eat this shit up. I love re-experiencing the crash-out vicariously through others. By the time The Last of Us Part II was over, I was at peace with it and understood why the story had put us through this. The TV show is extending the game’s story across multiple seasons, so it might take some time before viewers get that same closure, but for now, they get to sit with all this grief, and I’m lapping up their reactions.If you or a loved one has been personally victimized by The Last of Us season two, there are steps you can take to mitigate any further harm. Please remove all golf paraphernalia from your home, keep your old acoustic guitars in their cases and out of sight, and hide all instances of Pearl Jam from your Spotify playlists.

ByEthan GachPublished32 minutes agoWe may earn a commission from links on this page.Image: SonyDays Gone is arriving on PlayStation 5 later this month with a host of new accessibility features. One of those is a new game speed toggle that will let players turn the entire open-world zombie experience into a bullet time fever dream. Suggested Reading6 Things To Know Before Starting Persona 5 Tactica Share SubtitlesOffEnglishview videoSuggested Reading6 Things To Know Before Starting Persona 5 Tactica Share SubtitlesOffEnglish “Game Speed determines the speed of gameplay ranging from 100 percent to 75 percent, 50 percent, and 25 percent,” wrote Bend Studio creative lead Kevin McAllister on the PlayStation Blog. “Game Speed is ideal for players who might feel overwhelmed in certain situations or have difficulty with various inputs in high pressure moments, specifically fighting off hordes of Freakers. Hordes are a pillar in Days Gone gameplay and with our new Horde Assault mode arriving in the remaster, we wanted to make this unique combat experience more accessible to our players.” Horde Assault adds 300 more Freakers to the onscreen attacks and introduces a permadeath mode to up the stakes of survival, but it’s not the only new feature dropping in the Days Gone remaster out on PS5 and PC on April 25. Subtitle and background customization adds 11 new colors to help with dialogue visibility, and a fully customizable high-contrast mode will also help distinguish the HUD and UI from the rest of the game. There’s also UI narration and my personal favorite tweak: audio cues for helping players locate the game’s 240 collectibles. The option to auto-complete quick-time events has been made available in all difficulty modes as well, not just while playing on easy. It’s a nice suite of accessibility upgrades and follows a trend of Sony using next-gen ports and remasters to modernize gameplay customization features and introduce quality-of-life improvements across some of its older games. The new version of Days Gone is $50, but anyone who has the game already can upgrade for $10. .

With mobile in-app advertising poised for significant growth in 2025,* staying ahead means embracing new opportunities while navigating evolving privacy and identity standards.We sat down with Evan Gehring, Head of DV+ Channel Partnerships at Magnite, who shared how his team is enhancing in-app supply and shaping the future of programmatic advertising through innovative solutions. Let’s dive right in.Can you tell us about yourself, your role at Magnite, and what you’re responsible for? Evan Gehring: I lead our DV+ Channel Partnerships team here at Magnite. My team is responsible for managing our indirect supply partners. We work with tech companies like Unity that enhance inventory access through collaboration with direct publishers. We help to optimize their integrations on DV+, our supply-side platform (SSP) for all channels outside connected TV (CTV). That entails ensuring that the supply is enriched with all of the data demand-side platforms (DSPs) and buyers are looking for and curating their supply into our sold deals and packages.What tools does Magnite provide to help advertisers effectively engage users within mobile apps? Gehring: At Magnite, we have incredibly strong partnerships with brand buyers, agencies, and holdcos, as well as a variety of offerings that help make our mobile app supply as valuable as possible to these partners. We support app-specific fields and signals within our requests and various formats within in-app environments, such as interstitials, native ads, and rewarded video. One of our largest value propositions to buyers is our omnichannel exchange, with premium supply partners across all screens and environments. We also have a wide variety of data and enrichment offerings that span across those environments, including in-app, to help our buyers reach their target audiences and drive outcomes across all the places their users consume media.Unity: Making mobile app inventory more valuable through enriched data and diverse ad formats is key to driving better results for everyone involved. At Unity, we count on SSPs like Magnite to connect publishers’ premium inventory with advertisers looking to reach engaged audiences. It’s all about working together to create the best possible outcomes on both sides. How is Magnite working to facilitate more direct paths between buyers and sellers for mobile app supply? Gehring: We’ve recently launched a Direct Placements program in order to help buyers better identify unique supply through channel partners —trusted facilitators of direct publisher connections— who have historically been labeled intermediaries, which signal resold supply. This works very well in a mobile app software development kit (SDK) environment where SDK providers have unique access to mobile app supply that we don’t see within existing direct seats today. In this program, we integrate this supply directly into our publisher partners’ seats on DV+ to provide greater transparency and control to app developers and allow them to capture the unique demand we provide via our Auction Packages and Curated Marketplaces.Unity: That makes sense. Direct supply paths surface unique inventory, while private marketplaces (PMPs) and programmatic guaranteed (PG) deals provide customized, premium access at scale. By combining both approaches, publishers gain transparency and control, while buyers get tailored solutions that meet their strategic goals. It’s a win-win. Speaking of transparency and control, that’s becoming even more critical in a world shifting away from cookies. How does Magnite perceive the shift towards first-party data and a cookieless world, and what identity solutions and opportunities does Magnite offer brands to adapt to these changes in programmatic advertising? Gehring: At Magnite, we believe the future of user identity will involve several solutions that both buyers and sellers can use together. We’ve developed tools and features to support all the ways we think identity will be used moving forward. Our Magnite Access products help publishers utilize their own data, create audience groups based on behavior and interests, securely share data while protecting privacy, and support various alternative ID methods. By offering these options, we aim to enable better and more meaningful transactions between buyers and sellers in a world without cookies.Fill in the blank. “When it comes to mobile marketing, bet on ________.” Gehring: Unique supply and demand paths, audience data enrichment, and Magnite’s suite of product offerings!Unity: Thank you for joining us and giving us your insight into the evolving world of mobile app advertising. We appreciate your time and look forward to sharing more industry perspectives!Want to learn more about Unity’s programmatic solutions? Click here. * Source: eMarketer, Mobile Advertising 2024

Creative fatigue can be a roadblock to maximizing campaign performance. As ads repeatedly appear before users, their engagement rates decline.Networks like ironSource Ads and Unity Ads offer advertisers the ability to run dozens of creatives per campaign - an opportunity that, when used strategically, can help prevent creative fatigue and keep your ads fresh and engaging. Let’s explore some actionable best practices to maintain creative performance throughout your campaigns.1. Use more creatives to drive better machine learningWhen it comes to combatting creative fatigue, variety is your closest ally. The more creatives you have, the more varied concepts your audience is exposed to. Diversity in your campaigns captures attention and delivers a fuller picture of your game, increasing engagement and interest over time. Diversity here refers not only to the concepts you utilize but also to the formats - use a variety of video, playables, and a mix of both in your campaigns to fight fatigue.Networks like Unity Ads and ironSource Ads have sophisticated machine learning models monitoring performance. Having a rich pool of creatives boosts their ability to determine which ads resonate the most with an audience. This process is critical to finding high-impact creatives and scaling their performance. By running multiple creatives, advertisers can more quickly identify what works for different kinds of users, enabling better segmentation on the model level.2. Optimize your creative rotation strategyTo avoid creative fatigue, it’s essential to be strategically rotating your creatives. This is not a one-size-fits-all process, but there are some general basic practices which can be leveraged depending on the stage of your game’s launch.For new or not-yet-live games, it’s recommended to start small and scale gradually. After launching your campaign, add new creatives 3 few days. When adding new creatives, ensure your previous creatives have achieved sufficient impressions to successfully complete the learning phase.For existing games, your campaigns should start with existing (pre-learned) creative sets that can be launched with up to 30 creatives. Add new creatives every 3 days to gradually reach 30-creatives. It’s important to keep your creatives in active "exploration" while reviewing performance to ensure every new addition gets the impressions required for a thorough learning phase.3. Refresh your best performing creatives with incremental modificationsRegularly refreshing and analyzing your creatives is vital to long-term success and avoiding creative fatigue. That means consistently uploading new creatives. But that doesn’t mean removing top performing creatives to make space for new ones. Rather, adjust your existing top performers with incremental modifications to keep your creatives fresh while still leveraging the creative concepts that are resonating.Some easy opportunities for optimization for your best-performing creatives are usually incremental adjustments like the duration, color scheme, theme, or even swapping in new characters or scenarios.Follow these tips to help ensure that your campaigns stay effective and continue to drive growth. Reach out to your account manager to learn more about how you can drive impact with your Unity campaigns.