Santo) GAME PROGRAMMING 64 2 TeContents FOFrEWOrd. 2. cee xi Preface... ccc te ee eee xv About the Cover Image ......... wee eee eee eee » XXi Contributor BiOS .. 1... ee xxii SECTION 1 GENERAL PROGRAMMING ........00 0000 ne eenuneunnas 1 Introduction... 0... 0002: c eee ee eee 22s d Adam Lake, Intel Software Solutions Group 1.1 Lock-Free Algorithms .......0.0000 cee eee eee cee 5 Loby Jones, Microsoft 1.2 Utilizing Multicore Processors with OpenMP .......... weueneeea WL Pete lsensee, Microsoft Corporation 1.3 Computer Vision in Games Using the OpenCV Library ...........: 25 Arnau Ramisa, Institut d'Investigacié en Intelligencia Artificial Enric Vergara, Universitat Politécnica de Catalunya Enric Martt, Universitat Auténoma de Barcelona 1.4 Geographic Grid Registration of Game Objects. .......02000 220002 O9 Roger Smith, Modelbenders, LLC 1.5 BSP Techniques. .......... ween ween wee ee tees 49 Octavian Marius Chincisan, Freelancer 1.6 Closest-String Matching Algorithm .........2 00000 ence ene 69 James Boer, ArenaNet 1.7 Using CppUnit To Implement Unit Testing ......0 002 eee eee eee 79 Blake Madden, Oleander Solutions 1.8 Fingerprinting Pre-Release Builds To Deter and Detect Piracy. ..... 97 Steve Rabin, Nintendo of America, Incorporated 1.9 Faster File Loading with Access-Based File Reordering.......... 103 David L. Koenig, Touchdown Entertainment, Incorporated 1.10 Stay in the Game: Asset Hotloading for Fast Iteration. ... . see eeee 109 Noel Llopis and Charles Nicholson, High Moon Studiosvi SECTION 2 MATHEMATICS AND PHYSICS .......... wena oun e ee 117 Introduction .....000n eee eee eee ewe ee 119 Jim Van Verth, Red Storm Entertainment, Inc. 2.1 Floating-Point Tricks ......00 0c eee eee 121 Chris Lomont, Cybernet Systems Corporation 2.2 GPU Computation in Projective Space Using Homogeneous Coordinates ...... 000: cece eee eee eens VOD Vaclav Skala, University of West Bohemia 2.3 Solving Systems of Linear Equations Using the Cross Product. .... 149 Anders Hast, University of Gévle 2.4 Sequence Indexing for Game Development ..... ee ee 161 Palem GopalaKrishna, Indian Institute of Technology 2.5 Exact Buoyancy for Polyhedra.......02.0000u0eus eee eee ees 175 Erin Catto, Crystal Dynamics 2.6 Real-Time Particle-Based Fluid Simulation with Rigid Body Interaction. .......... ween een en nen wen an ennenae 189 Takashi Amada, Sony Computer Entertainment, Inc. SECTION 3 ARTIFICIAL INTELLIGENCE. ........000cuae Introduction... 0... 0. eee 209 Brian Schwab, Sony Computer Entertainment of America 3.1 Applying Model-Based Decision-Making Methods to Games: Applying the Locust Al Engine to Quake® HD... cece QI Armand Prieditis and Mukesh Dulal, Lookahead Desicions Incorporated 3.2 Achieving Coordination with Autonomous NPCs........0000008: 223 Diego Garcés, FX Interactive 3.3 Behavior-Based Robotic Architectures for Games ...... . Hugo Pinto and Luis Otavio Alvares 3.4 Constructing a Goal-Oriented Robot for Unreal Tournament Using Fuzzy Sensors, Finite-State Machines, and Extended Behavior Networks. ......000c0neennenennenen neon 245 Hugo Pinto and Luis Otavio AlvaresContents vii EEL EEE ESTED AEE BLEED T EDEL EAE EAP AER TED NEE CARE AU AEE OSSD ASA MAPA E00 PDTC HAE DRONE DED OOOO CDS MASAI GARD RFX ETH CDOWI GON MOREE A reason ae aD Manan donee stneNMAA{RtuILonémconce 3.5 A Goal-Oriented Unreal Bot: Building a Game Agent with Goal-Oriented Behavior and Simple Personality Using Extended Behavior Networks. ........0000cneueunauunruneeas 259 Hugo Pinto and Luis Otavio Alvares 3.6 Short-Term Memory Modeling Using a Support Vector Machine. . . . 273 Julien Hamaide, Elsewhere Entertainment 3.7 Using the Quantified Judgment Model for Engagement Analysis . . . 283 Michael Ramsey 3.8 Designing a Multilayer, Pluggable Al Engine ....... wees 291 Sébastien Schertenleib, Swiss Federal Institute of Technology 3.9 A Fuzzy-Control Approach to Managing Scene Complexity........ 307 Gabriyel Wong and Jialiang Wang, Nanyang Technological University SECTION 4 SCRIPTING AND DATA-DRIVEN SYSTEMS .............317 Introduction. .........: Chee eens meee 21.319 Graham Rhodes, Applied Research Associates, Incorporated 4.1 Scripting Language Survey ........0000eeeeueee ween eee 323 Diego Garcés, FX Interactive 4.2 Binding C/C++ Objects to Lua... ee ee es 341 Waldemar Celes, PUC-Rtio Luiz Henrique de Figueiredo, IMPA Roberto Terusalimschy, PUC-Rio 4.3 Programming Advanced Control Mechanisms with Lua Coroutines .......00enncuee wee eee wenenaue 357 Luiz Henrique de Figueiredo, IMPA Waldemar Celes, PUC-Rio Roberto Ierusalimschy, PUC-Rio 4.4 Managing High-Level Script Execution Within Multithreaded Environments.........0c0000nceuuaas senneaat Olt Sébastien Schertenleib, Swiss Federal Institute of Technology 4.5 Exposing Actor Properties Using Nonintrusive Proxies .......... 383 Matthew Campbell and Curtiss Murphy, BMH Associates, Incorporated 4.6 Game Object Component System .........002000ees ween nnnee 393 Chris Stoy, Red Storm Entertainmentviii Contents pamnnssnaiesgaLuenaerueiorcARsians cn mnRLesaLnaoeanetoRi RES Cacia ESCA oR SORie ER ArRMeO MRL ORME 0 PK OOK COON CORCORAN AP ABSA A SES ABBE MMAR HEE DOD COIL OX ENCODERS Ine AAA i MALANAATA AA ARAMA SARA HE ASABE AHEAD EAMES CEA HE SELLA ADL BEE SECTION 5 GRAPHICS. ............. wee eee 405 5.1 §.2 5.3 5.4 5.5 5.6 5.7 5.8 5.9 Introduction. .......0000nneae eee ee 407 Paul Rowan, Rho, Incorporated Synthesis of Realistic Idle Motion for Interactive CharacterS.....0 000 c see eee eee ees 409 Arjan Egges, Thomas Di Giacomo, and Nadia Magnenat-Thalmann; MIRALab, University of Geneva Spatial Partitioning Using an Adaptive Binary Tree. ..........005.5 423 Martin Fleisz Enhanced Object Culling with (Almost) Oriented Bounding Boxes . . 437 Ben St. John, Siemens Skin Splitting for Optimal Rendering............0000000eenuee 449 Dominic Filion GPU Terrain Rendering .....0 000 c cece eee eee 461 Harald Vistnes interactive Fluid Dynamics and Rendering on the GPU........... 473 Frank Luna Fast Per-Pixel Lighting with Many Lights ...........000000008: 489 Frank Puig Placeres, University of Informatic Sciences, Cuba Rendering Road Signs Sharply ........02000 cee eee nee »».. 501 Jorn Loviscach, University of Applied Sciences Practical Sky Rendering for Games.........0000 cnn eeu aeuaaes 517 Aurelio Reis, Raven Software High Dynamic Range Rendering Using OpenGL Frame Buffer Objects..........-. wee ee 529 Allen Sherrod, Ultimate Game Programming SECTION 6 AUDIO... . wc ec eee et OOE 6.1 Introduction 2... cece cee ees seen ee OOD Alexander Brandon, Midway Home Entertainment Real-Time Sound Generation from Deformable Meshes.........: 541 Marg Singer, Red Storm EntertainmentContents ix SAR YL DONORS EHH greece RVR DOMED BE reer ar AR AO OES CENT Sob AML MEE ROAR pina ta SL ORE DEDS IL EDO br Hea MRIEPA rH Sa Ef REDD CoOL EO HOON COMED OUTER Eten 6.2 A Lightweight Generator for Real-Time Sound Effects ........... 549 Frank Luchs, Visiomedia, Ltd. 6.3 Real-Time Mixing Busses ........2 000 e eee n eee 555 James Boer, ArenaNet 6.4 Potentially Audible Sets. ..... 0.02 cc nce cence nena 561 Dominic Filion 6.5 A Cheap Doppler Effect... 1.0... 0000 cee eee ee 573 Julien Hamaide, Elsewhere Entertainment 6.6 Faking Real-Time DSP Effects. ...... 2.002002 eee enema ee 583 Robert Sparks, Radical Entertainment SECTION 7 NETWORK AND MULTIPLAYER ........0000000nue »... 589 Introduction... . ccc cee eee 591 Scott Jacobs, Virtual Heroes 7.1 Dynamically Adaptive Streaming of 3D Data for Animated Characters. ......0000 0c e eee een 593 Thomas Di Giacomo, HyungSeok Kim, Stephane Garchery, and Nadia Magnenat-Thalmann, MIRALab, C.U.1.; University of Geneva, and Chris Joslin, School of Information Technology, Carleton University, Ottawa 7.2 Complex Systems-Based High-Level Architecture for Massively Multiplayer Games ......-..2 20000 nsec eee 607 Viknashvaran Narayanasamy, Kok-Wai Wong, and Chun Che Fung, Murdoch University 7.3 Generating Globally Unique Identifiers for Game Objects......... 623 Yongha Kim, Nexon Corporation 7.4 Massively Multiplayer Online Prototype Utilizing Second Life for Game Concept Prototyping ........00000n0nuee 629 Peter A. Smith, University of Central Florida 7.5 Reliable Peer-to-Peer Gaming Connections Penetrating NAT...... 641 Larry Shi About the CD-ROM ... ccc eee 651The Importance of Tool Foreword Mark DeLoura [email protected] elcome to Game Programming Gems 6. This sixth volume of the Game Program- ming Gems series has been explicitly designed with your current challenges in mind. As this series has grown, so have the demands on game programmers. With team sizes constantly expanding, developers are finding themselves pushed to become increasingly specialized. This makes it important to have cutting-edge material in your specialization at your fingertips, as well as resources at your disposal that you can call upon in case you need to work outside your area of expertise. I hope that in these instances you will turn to Game Programming Gems. Since we're at the sixth book in the series, let’s take a moment to think about what has come before. Examining the material in the previous Gems volumes gives us an interesting historical perspective; the issues that were most pressing during the cre- ation of the original Gems volume in the year 2000 now seem substantially less trou- blesome. Implementing advanced shader effects, integrating real-time physics into game design, synchronizing multiplayer networked games, and finding artist- and designer-friendly scripting languages are all prominent issues that we now need to confront. But the biggest issue facing all of us now is cost. The next generation of machines is upon us—PlayStation® 3, Xbox® 360, Nintendo® Revolution®, multicore PCs—and with the new capabilities come some new challenges. Our players will expect higher- fidelity models and animations, fancier physics and graphics effects, and more-intelligent Al. In order to create these, we'll build up our teams and lengthen our schedules, and ultimately spend a lot more money. If we can’t increase the price of games (please, no!) or increase our market size (please, yes!) we'll be more pressed than ever to deliver com- pelling experiences on time and on a budget. Crunch time, here we come! Making the technology we develop easily accessible to the rest of our team has become one of the most important things we do as game programmers. After all, what’ the use of having that fancy shader that we stayed up all night writing if our artists cant figure out how to use it? While it’s true that our team sizes are growing xix ef Oreword quickly, most of the growth comes from the increasing number of artists. So if we can make their lives easier by making some simple tools, our games will not only likely wind up looking better, they will also be produced more quickly and inexpensively as well—all good things! Fortunately in this platform-transition period, reusing tools is much easier than reusing engine technology. The front-end interface of a tool can remain relatively unchanged, while the underpinnings and output of the tool are altered to suit the new target. This makes tools one of the easiest things to amortize the cost of, since they can largely be reused for multiple titles or multiple teams over time. Having tools available at the beginning of the development process for pre- production and early production work is very helpful, and practically de rigueur now in order to save time on the development schedule. Unfortunately at this time, we're seeing a reduction in the number of tools available on the middleware market. So if you don’t already have your own tools, what should you do? Increasingly, studios are banding together into larger development groups or being bought out by publishers, and for them, the logical choice is the creation of a central technology group. Collaboration fhe ia RR a eee aah Nar hoe i SAGO 20 aot eA Bria a Ror Seis a ea SMR ot aie er pate a lena Miao aretha apn beth porate ome ee eo coe A i ee eee The thought of trying to convince many studios to work together on sharing com- mon technology and to rely on others is not something most of us relish. But with our costs spiraling upward, distributing the development cost of a piece of technology across multiple platforms and titles is a smart decision. Frankly, some of the larger projects recently have become so expensive that they've gone from amortizing their cost across multiple platforms to amortizing them across multiple future sequels! The development costs are so expensive, this might be the only way they'll ever turn a profit. How else could one justify these huge expenditures, if not by seeking to estab- lish a strong brand and then reusing the tools and technology across multiple games in a franchise? It seems crazy, but with a large risk comes the possibility of a large reward. Another kind of collaboration that is increasingly useful involves globalizing your development. By turning to studios in regions that haven't previously been consid- ered—such as Eastern Europe, China, and India—publishers and developers in Europe, North America, and Japan have discovered new ways to keep their costs down. Producers are learning to pull together resources for a game from locations around the globe, and having solid tools to rely on becomes extremely important in this scenario. Parallelization SRS: a BEES RSI Ba HSS NA ES SA EH CS BRE RS GB SY CRATERS MERTENS an SEU te OR aa Hae eR aR tt A re Hae aa eg Be Ee er RS See ere aA As console developers move onto the next series of machines, they're facing a new challenge: parallelizing their game engine. PC developers have a little more time before they're pushed in this direction, as well. The upcoming multicore systemsForeword xiii seontcceinestsatieetitHiiag engocnatoo katt se PTH OT ROI OMS OOH CEE HOES ELH ze ARASH ELENLDOACERESE ENDED! OSE crt ony nen A ACO HR ya ah SUNCOM GOIN nl LO AK RCRD Pr co RCO RAPE ne ARCO CK GOIN PRED DPR ol END GRO NCONOO EPROP i HTNDA UBC UDSUO EC it ROE OHO RN ROE either HEAD require serious study and creative new techniques in order to be fully taken advantage of. While we've all gotten used to some parallelism (e.g., between the CPU and GPU), these new machines are forcing us to think in new ways. How will we deal with splitting our engine into many pieces that are easily parallelizable? Will we be able to rely on compilers and other tools that make programming these multicore machines easier, or will we have to create new tricks and techniques for maximizing performance on parallel architectures, ourselves? It certainly won't be a boring time for expert programmers. One interesting side effect to the increasing complexity of dealing with the hard- ware is a bifurcation of programming roles at larger development houses. Many teams now have dedicated, platform-specific programmers who deal with interfacing the game engine to the hardware, while the majority of their programmers write platform- independent code. This never works quite as cleanly as it sounds, and with the differ- ences between the various platforms, there’s definitely a lot of job security for the low-level coders. But ultimately, this is yet another way costs can be kept down, since some of the high-level programmers can then be less experienced and therefore less expensive! Acknowledgments The Gems series provides an interesting glimpse into the recent evolution of technol- ogy in the games industry. There are other resources that address technical issues, such as Game Developer magazine, gamasutra.com, and the Journal of Game Development, but none of them cover as much material, and that as thoroughly. Thanks to all of the authors and editors who have contributed so much of their time and energy to the series. If you haven't yet contributed your unique perspective to Gems, please consider writing down some of your experiences to share in the future! Finally, many thanks to Michael Dickheiser for being such a professional and crafting Gems 6 with his tireless persistence. I think you'll find that Mike’s unique per- spective has created a very valuable volume, and I hope that it finds a place of honor on your bookshelf!Preface Mike Dickheiser, Applied Research Associates, Inc. [email protected] his series is no longer for game developers. Or rather, it’s no longer just for game developers. The past several years have seen a rise in the related industries of Game-Based Learning, Edutainment, and other “serious games.” Admittedly, this is nothing new, and the buzz surrounding these developments has been steadily growing ever louder. However, the activity in the last year or so must be described as nothing less than an invasion. Discovered snipes eee EER ea rere une onaon on Computer game engines and tools are drawing attention on a scale that probably escapes most game developers too busy to look up from their coffee-stained key- boards. As someone who has recently left the industry to explore the other side, I can vouch for the fact that many, many eyes are looking eagerly at what this industry has produced. New companies are sprouting up everywhere like mushrooms after the rain. Focused entirely on the use of game technology for the creation of commercial and military training environments and simulations, they are coming en masse to claim their stake in the New World. But it’s not just industry that’s moving in. The academic world is paying greater attention to our efforts as well. ’m not talking about computer game schools and courses—those are exciting developments that deserve their own discussion. I’m talk- ing about the use of licensed game technology in extremely sophisticated, cutting-edge research. A brief inspection of the activities in progress at many major universities will reveal the use of our best engines as out-of-the-box tools for exploring human- computer interaction, cognitive modeling, intelligent agents, interactive narrative, auditory pathology, motor skill therapy, human information processing... the list goes on and on. XV