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Features
  Procedural Spooling In Games
by Mick West
6 comments
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October 2, 2008 Article Start Previous Page 2 of 4 Next
 

Another data-specific compression technique is recognizing that certain numbers fall within a well-defined range and re-coding them using a reduced number of bits per value, or re-coding floats as fixed point.

You could also use lossy compression, although there's an obvious trade-off between improving bandwidth and perceptual degradation of the spooled content.

But compression on the actual scene geometry can only be taken so far. To further increase the spooling scene complexity, we need to look at procedural content.

Procedural Content

Procedural content is content that's generated from a mathematical description of the underlying form of that content, and a set of parameters that describe the specific instance of that content.

All forms of content can be expressed in procedural form to one extent or another. For example, music can be stored in MIDI format.

Speech can be stored as annotated text and converted using a text-to-speech converter. Textures can be generated with algorithmic patterns and combined archetypal layers. Animations can be generated based on archetypes and physical constraints.

The most relevant form of procedural content in the context of spooling is procedural geometry. As the player moves through a spooling world, the majority of new content that needs to be spooled is usually the environment geometry and the geometry of any new entity models.

Environment geometry can be divided into two types: natural and artificial. Natural geometry consists of things found in nature, such as natural terrain and rock formations, trees, flowers, vegetation, rocks, rivers, streams, lakes, smoke, and clouds. Artificial environment geometry is anything man-made (or alien-made, if that's your game), like roads, buildings, telegraph poles, walls, light poles, steps, ladders, and fences.

There are some obvious differences between natural and artificial environment geometry. Artificial geometry tends to have a lot of straight edges, flat surfaces, right angles, and identical components, like bricks.

Natural geometry has more curved edges, curved surfaces, and components that are similar but not the same, such as leaves and branches.


Figure 1: A procedurally generated tree of 65,000 polygons is generated from just 48 bytes.

The irregular nature of natural environment geometry results in a large number of polygons used to accurately represent the variety found in real life. Figure 1 shows the archetypical form of procedurally generated natural content: a tree.

Trees and plants are formed based on fairly simply mathematical procedures, and the shape of a tree consisting of thousands of polygons can be represented in less than a hundred bytes.

Natural geometry is hence the most obvious candidate for compression using procedurally generated geometry.

 
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Comments

Anonymous
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The big blocker for procedural content still is that generated assets just don't look as good as hand-created ones. The promise has been there for years, and in theory it's just a matter of creating better generation algorithms, but in practice generated assets tend to have an abstract and artificial feel. This is true for scenery, models, animations, textures and even sound and music.

Artists often use real-world assets (photos, high detail models, motion captures) as a base for their work, and this is much harder with procedural methods. Until procedural systems make a quantum leap in quality, they restrict artists to create what they can with the algorithm rather than what they want with a general purpose tool.

That said, yeah if your game's art direction fits with the current state of the art in procedural generation, the benefits can be huge.

Jamie Roberts
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"if your game's art direction fits with the current state of the art in procedural generation, the benefits can be huge"

The best example of course being RoboBlitz. If the game had used a natural, organic setting the procedural content would have looked horrible. But the system they used worked great for the artificial/metallic/robotic elements in the game.

Anonymous
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Elite... SpeedTree... Spore... Procedural will never be a solution for everything. It is just a tool to be explored. Example:
http://mrl.nyu.edu/~perlin/facedemo/

Hélder Gomes Filho
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In fact procedural content is underrated, I see already great procedural content around, you just need to look!

Or play krrieger and watch .debris!

Jaco van der Westhuizen
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On the quality of procedural content; I think one could use a hybrid technique. The artist starts off with a procedural model, adding artistic tweaks and photo-based additions. These tweaks and added data is stored separately from the procedural algorithm parameters, so when spooling large areas, only the parameter data is spooled, and as the viewer moves closer the artist-generated data gets loaded using traditional techniques.

I expect this will have quality about equal to modern games, but using about half as much bandwidth.

Anonymous
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In the recent years, the quality of procedural content has indeed made a big leap in quality.
When looking at procedural animations from Natural Motion, procedural buildings generation or procedural textures from the folks at Allegorithmic, you realize that procedural content nowadays can look as good as hand made assets by mixing maths and physics with artistic inputs and control over these algorithms.

Of course, procedural content is not the answer to everything (yet), but with development budgets getting higher and higher, it can help in many ways without sacrificing the global quality or the artistic vision.


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