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Companion CD included with Paint Shop Pro 8 evaluation edition!Interfaces strongly affect how an application or game is received by a user, no matter which cutting-edge features it may boast. This unique book presents a comprehensive solution for creating good interfaces using the latest version of DirectX. This involves building an interface library from the ground up. Divided into three sections, the book discusses the foundations of interface design, the construction of a feature-rich interface library, and the creation of a fully functional media player in DirectShow.
The world around us is filled with subtle lighting effects, but until recently it was not possible to duplicate these real-world effects in computer games because of the limits of consumer graphics hardware. Advanced Lighting and Materials with Shaders explains the principles of lighting theory and discusses how to create realistic lighting that takes full advantage of the capabilities of modern hardware. Topics include the physics of light, raytracing and related techniques, objects and materials, lighting and reflectance models, implementing lights in shaders, spherical harmonic lighting, spherical harmonics in DirectX, and real-time radiosity.Upon reading this text, you will understand the underlying physics of light and energy; learn about the visual features of different materials and how they can be modeled for real-time graphics; find out about the different lighting models; discover how real-time techniques compare to ray tracing; learn to use the provided shader implementations to implement lights and realistic materials in real time.Accompanying CD-ROM includes all the code in the book with resources (models, textures, probes, etc.) needed to run the programs, along with the SDKs and libraries needed to build the programs and luminance Radiosity Studio, an advanced radiosity program.
An examination of the many complex aspects of game audio, from the perspectives of both sound design and music composition. A distinguishing feature of video games is their interactivity, and sound plays an important role in this: a player's actions can trigger dialogue, sound effects, ambient sound, and music. And yet game sound has been neglected in the growing literature on game studies. This book fills that gap, introducing readers to the many complex aspects of game audio, from its development in early games to theoretical discussions of immersion and realism. In Game Sound, Karen Collins draws on a range of sources—including composers, sound designers, voice-over actors and other industry professionals, Internet articles, fan sites, industry conferences, magazines, patent documents, and, of course, the games themselves—to offer a broad overview of the history, theory, and production practice of video game audio. Game Sound has two underlying themes: how and why games are different from or similar to film or other linear audiovisual media; and technology and the constraints it has placed on the production of game audio. Collins focuses first on the historical development of game audio, from penny arcades through the rise of home games and the recent rapid developments in the industry. She then examines the production process for a contemporary game at a large game company, discussing the roles of composers, sound designers, voice talent, and audio programmers; considers the growing presence of licensed intellectual property (particularly popular music and films) in games; and explores the function of audio in games in theoretical terms. Finally, she discusses the difficulties posed by nonlinearity and interactivity for the composer of game music.
Digital interactive audio is the future of audio in media - most notably video games, but also web pages, theme parks, museums, art installations and theatrical events. Despite its importance to contemporary multi-media, this is the first book that provides a framework for understanding the history, issues and theories surrounding interactive audio. Karen Collins presents the work of academics, composers and sound programmers to introduce the topic from a variety of angles in order to provide a supplementary text for music and multimedia courses. The contributors cover practical and theoretical approaches, including historical perspectives, emerging theories, socio-cultural approaches to fandom, reception theory and case study analyses. The book offers a fresh perspective on media music, one that will complement film studies, but which will show the necessity of a unique approach when considering games music.
This book is the only book of its kind on the market covering how to use the basic, intermediate, and advanced search modifiers Google makes available to users.
This book details how the unique Butterfly Grid can be implemented in existing and new game projects to minimise the complexity of network programming, allowing the game developer to concentrate on game design and programming. It also highlights the unique Butterfly grid technologies from the basics to more advanced features such as server-scripted game logic using Python and how player syncronisation works using the Dead Reckoning process. CD-ROM included.
First part of this book describes UDF's and the second part emphasizes system UDF's.
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Digital interactive audio is the future of audio in media - most notably video games, but also web pages, theme parks, museums, art installations and theatrical events. Despite its importance to contemporary multi-media, this is the first book that provides a framework for understanding the history, issues and theories surrounding interactive audio. Karen Collins presents the work of academics, composers and sound programmers to introduce the topic from a variety of angles in order to provide a supplementary text for music and multimedia courses. The contributors cover practical and theoretical approaches, including historical perspectives, emerging theories, socio-cultural approaches to fandom, reception theory and case study analyses. The book offers a fresh perspective on media music, one that will complement film studies, but which will show the necessity of a unique approach when considering games music.
What does it mean to interact with sound? How does interactivity alter our experience as creators and listeners? What does the future hold for interactive musical and sonic experiences? This book answers these questions with newly-commissioned chapters that explore the full range of interactive audio in games, performance, design, and practice.