This blog is intended as a write-up of recent events and activities of our game development company SassyBot Studio. As a result, the contents of the blog reflect personal approaches and insights that we like to share and should not be taken as industry facts. We hope that by sharing our thoughts and experiences of past and future events it may help other start-up indie devs with struggles and questions of their own. We embrace contact and encourage you to share your adventures and lessons with us either here or through Twitter @SassyBotStudio.
Office space for digital media
As of this month, you can find SassyBot Studio in an office space of its very own. Well, that’s not technically true as we share it with a few other folks. Regardless, we believe that having a space for our projects and operations is invaluable.
It could be argued that, because the nature of our business is largely digital, game developers don’t really need office space. That would be true if virtual collaboration with others would be as rich, synchronous, and seamless as it is in the real world. The biggest bonus of having a dedicated space for work is most definitely the noticeable focus and productivity increase compared to working from home. Working on a different location outside of home gets you out of the everyday domestic distractions. It’s possible to find these work places at a library, university, a diner, or coffee shop. The real benefit of an office space over public work places is obviously the ability to customize the work space, determine your own work hours, and the peer pressure of showing up and putting in the necessary hours.
Of course, there are also downsides such as rent, insurance, furniture, equipment, and other matters that are mandatory or recommendable to a practice such as ours. Even though an office space comes with an initial time investment and financial cost, we think it is definitely worth the sacrifice as productivity has increased and collaboration is now a lot easier.
Additional assistance – interns
As of this month, our team is also being reinforced by the very cool Baiba, who is active for the foreseen future as an art intern. She is currently assisting us in the character department of Fragments of Him with character concepts. When we post future videos and images about our character development process, it is very likely that you will be seeing some of her work. It’s important to have a focus for the work of an intern, and in a small company it is especially important to be sure that they fit with the group both creatively and socially.
There is much to be said on the subject and we mean to share more about working with interns in the future.
Fragments of Him update
Progress on our upcoming title Fragments of Him has been picking up over the last month, although other important matters, such as external work and the recent Casual Connect conference in Amsterdam, has taken a chunk out of our precious development time. An outline of the game’s design now exists and it is enough to block out the premise, characters, and mechanics for the game.
Based on the instructions and descriptions in the design, we have started blocking out environments that provide the player with context in which the game will be taking place. The basic gameplay systems are currently in place, such as player navigation and an art pipeline that allows for fast iterations.
The characters in Fragments of Him are going to be more dynamic than those that were seen in the prototype that is still up on Kongregate. Even though the story in the prototype could be told in an impactful way with static characters, we believe that lifelike animation can greatly emphasize the message, if acted out properly.
We want to have a lot of short, realistic animations in the game. In order to quickly iterate through motions until we have the right one, we think that a motion capture system could be greatly beneficial. Hand animating believable and lifelike character motions requires a substantial amount of time and expertise to pull off. Cleaning up animation keyframes from motion capture data takes less skill and it will probably be faster to get to the desired result. For these reasons, we are close to making the decision of creating a motion capture rig of our own.
The software we intend on using to create a motion capture setup that fits within our budget is called iPi Motion Capture and it supports consumer motion cameras such as Kinect and PS Eye as input devices. What we have seen up till now has made us very enthusiastic about the ease of use and overall possibilities using this technology.
Fragments of Him development approach
As we are creating a larger game than previously attempted, we have been doing quite a bit of high-level thinking on how we can best approach this project. It’s important that we make the best use of our available time and resources by catching problems early on when they do not yet have a considerable financial impact on the end result.
The high level approach we currently use for making Fragments of Him can be seen as a sequence of phases which we have labelled as follows:
- Horizontal slice phase
- Vertical slice phase
- Decor phase
- Polish phase
During production, we use the term horizontal slice to indicate the bare minimum that we need in order to have the game playable from A to Z. In this phase, we try to put the most important and rough objects into the game as soon as possible. This is also known as the MVP (Minimum Viable Product). The horizontal slice is made up out of critical elements that are necessary for the game to function.
We are going to approach the horizontal slice of Fragments of Him in this order:
- Environment blockout/whitebox
- Key interaction objects and functionality
- Critical interface elements
- Narrative system with placeholder scripts
- Main characters in crude forms
- Audio placeholders
- Sound effects
Good audio is critical to the experience of a narrative-heavy game such as Fragments of Him and, although this approach appears to place it at a low priority, we hope to move on to including it very rapidly. We expect to use free assets from classical royalty free libraries before moving on to working on a finalized score for the final release.
The result from this phase can be used to figure out if the core value of the game can already be experienced. Usually, the first result will not create the experience that the design has in mind. From this point onwards, a lot of iterations need to take place that will nudge the game towards where it needs to be. When the core design is present and representable for the game’s intended experience, we can include playtesters into the iteration cycle who will be able to tell us whether or not the design and game is working as intended. While that happens, we can direct our attention towards creating a vertical slice.
Vertical slice phase
A vertical slice represents a short segment of the game to a standard that is representative of the final product. On a graphical level, this can set the standard as to how the rest of the game should look and feel. Additionally, this is useful for promotional purposes as it can give people a taste of what they can expect in the full game. If you are looking for funding for your game, then creating a vertical slice of your game can be used for this. With Fragments of Him, we intend to create a vertical slice for promotion in order to raise awareness and muster support. We’ll try to make this vertical slice available to as many conferences, game journalists, and let’s play content creators as possible.
To get an impression of what is required for a vertical slice, you could imagine the work required for the phases below applied to approximately a 10% segment of the final game. It is basically getting a taste for a piece of the cake.
The décor phase can be seen as the phase where non-essential assets and functionality gets added to the game. A lovely analogy for this is this:
Imagine actors rehearsing for a theater play. These actors picture the environments and props around them as they practice to get the entire piece acted out and presented properly. In many ways, that can be seen as the horizontal slice. The décor phase is where the set dressing, lights, music, audio, and character costumes are pulled out to complete the set for the grand performance.
Essentially, the elements that get added in the décor phase of our game development process are to accommodate for mood, atmosphere, flow, and ambience that support the core of the game. The elements required for this phase are not critical for playing the game, but it does add tremendous value to the intended presentation. Some of the elements you can think of adding in this process are:
- Scene dressing
- Complete set of rigged character models
- Additional, non-essential, animations
- Scene lighting
- Particles and effects
- Additional, non-essential, functionality
- Interface graphics
- Complete audio set for music, sound effects, and foley
When we get to the point where all the elements of the game are put together, we will go into the polish phase. In this phase, we will not add any more assets or elements unless they will add considerable value to the game. Usually, this phase can take the longest to finish. Most of the work that is done in this phase is not really visible to the player and takes place behind the scenes. The purpose of this phase is to improve game performance by optimizing game assets and code as well as track down and minimize the occurrence of game breaking and experience hindering bugs. This process aims to make the game look as great as our resources allow us. Some of the activities we do in this process are:
- Clean up and perform optimization of:
- Game systems
- Tweak scene light parameters and light bake settings
- Quality assurance of the game’s performance and experience
This last month has been pretty busy as we moved into SassyBot’s first office, attended a conference, and the awesome Baiba joins us as an intern. Due to all this, the development of Fragments of Him has taken a slight backseat although we have made progress. We also decided that motion capture will very likely be the way we intend to get animations into the game and have researched cost-effective ways of doing this. Lastly, we have planned the development approach of Fragments of Him by dividing it up into the horizontal slice, vertical slice, décor, and polish phases. Thank you for reading all the way to the end and we hope you let us know what you think either through Facebook or Twitter (@Tinovdk & @SassyBotStudio). What blog topic will be next? I don’t know, but I’ll let you know when I do.
Conceiving Fragments of Him by Mata Haggis February 21, 2014
A little over nine months ago, Elwin and I put our faith in Mata Haggis as he proposed that we should make a narrative game for the upcoming Ludum Dare game jam challenge. Ludum Dare is an online game jam event where developers around the world create a game, either alone (48 hour time limit) or in a small team (72 hour time limit), under great time pressure. These games are encouraged to follow a theme that is announced at the start of the event.
The game that Mata had in mind was to be a narrative game. With the little game jam experience we had back then, we knew the scope had to be manageable if we were to finish the game at all. Mata explained we needed 3D characters, fully decorated indoor and outdoor scenes, several written and voiced dialogue lines for multiple playthroughs, and shader magic for some of the interactions. As you can imagine, we told him he was mad.
As with any mad doctor, he convinced us that this could be done and we were willing to give him the benefit of the doubt. In retrospect, the faith has not been misplaced. As of this writing, Fragments of Him has been played over 28.000 times on Kongregate with a rating of 3,7 and received 4th place in Ludum Dare’s mood category out of 736 entries. It’s the responses in the comment section that personally thrill me the most. These responses convinced us that there is more to be done here. With Fragments of Him funded it might be a good idea to reflect on how the initial prototype came to be.
We are still very early in development and we do not want to reveal too much. What we can share is the complete post-mortem of Dr. Mata Haggis (@MataHaggis) , written roughly a week after the game jam. It takes you through the process that Mata used to create the prototype that is the foundation for the upcoming full version.
All text onwards is written by Dr. Mata Haggis.
My name is Dr. Mata Haggis and I was the narrative & game designer/producer on Fragments of Him, our entry to Ludum Dare 26.
I had never done a game jam before, so this was a new experience for me. I was fortunate enough to have two talented developers ask me to join their team. Between us we created a narrative game experience with one programmer, one artist (and his 3D modeller girlfriend for an evening), and myself in only 72 hours.
Below you will find out what a narrative designer does on a game jam, what a producer can do, and a little more about the decisions that I made when creating the title.
Before we go any further you should play the game:
Seriously. I mean it. This post will have a lot of spoilers very soon, so go play the game now and come back in ten minutes.
Okay, let’s talk about the process…
The theme was minimalism, and I wanted to do a game with a very prominent story in it. I worked on several ideas in my head, but the one that stuck was investigating why a person would choose to live in a minimalist style in their house. The result of this was the idea that the lead character had lost their partner and couldn’t stand to be reminded of the loss.
In narrative terminology, the loss of the partner would be referred to as ‘the inciting incident’. The process of creating minimalist spaces gave me a gameplay mechanic too.
I pitched the concept to the team – one artist and one programmer – and I was fortunate that they were enthusiastic about it. There were several key decisions that are worth examining here:
The theme was going to need a lot of art. Specifically, the world was going to need a lot of models in it. I immediately said that the world was going to be stylised and colour coded: the protagonist (the ‘hero’ of the story) would be blue, and yellow would be used to indicate the dead partner, along with objects related to that partner. Everything else in the game was going to be white – this would allow the artist to focus on building the space and objects without worrying about texturing any of it.
In terms of showing figures in the environment, again I needed to keep a close eye on the scope of the project. I asked the artist to create one generic character model which would be used for both the protagonist and the dead partner. In every scene, these figures would be posed in a tableau (a static pose that suggests narrative action). In this way we could give a powerful idea of character relationships without the difficulty of animating figures.
For the programmer, there were a few challenges that I had to consider. The audio and subtitles would need to be displayed, there would need to be highlighting and signposting of affordances, and the most difficult task was probably going to be the final scenes where the gameplay mechanic (clicking to remove objects) is reversed. By keeping these interactions very simple, I could limit the complexity of the task that I was giving to the programmer.
I voiced the lead character of the game, and I am male. In the game, the character talks about his dead boyfriend. I felt that the story would work perfectly with either a male or female partner character, but I also feel that non-heterosexual relationships are under-represented in gaming, and so I had a preference for making both characters male.
I described the outline of the story to the team and they had no feelings either way on the gender of the partner, and so we ended up with a story about coping with grief, where the lead characters happen to both be male.
When stories are told about the death of a non-heterosexual man (it is not defined if he was gay or bisexual), they often focus on stereotypical perceptions of gay lifestyle choices: drugs, promiscuity, clubbing, and of course HIV/AIDS. I didn’t want to tell a gay love story; I just wanted to tell a love story.
I know that the audience for any story will be predominantly heterosexual, with then lower proportions of gay, bisexual, transgender, and other queer-identifying players. Part of my goal was to ignore the non-heterosexual elements and to write a story that anyone could relate to; in doing this, I wanted to completely normalise the lives of the men. To do this, I choose to focus on the small and relatable things in people’s lives.
I suspect that anyone who has had a break-up, especially after living with a partner, can relate to the quiet sadness of removing one towel from the bathroom. I think that feeling of sorrow is a universal experience that has nothing to do with sexual preferences, and that is what I wanted to convey in this game. In doing this, the sexuality of the characters became irrelevant in the sea of everyday memories.
As a side-benefit to the choice of going for a homosexual relationship, the artist only needed to make one body and animation rig, saving him a lot of time in the game jam time constraints!
How to write a good story quickly
I’ve been writing for several years and have cobbled together a system which works well for me. I’ve based it on several sources, but the main ones are ‘Save the Cat’ by Blake Synder and ‘Will Write for Shoes’ by Cathy Yardley.
Neither of these are high-brow books on how to create your epic masterpiece, but they are very focussed on creating a tight, enjoyable story.
I put ideas from the books together and now here’s what I use whenever I start writing:
Before the inciting incident: ‘Save The Cat’
Show the life of the character before life goes wrong. The character does something that makes you like them (‘save the cat’).
5% Inciting incident
Something changes that forces the protagonist to act.
25% Plot point one: state the external motivation
What forces the protagonist to make this clear statement of their objective?
50% Plot point two: the low mid-point
It appears impossible to complete the external motivation, protagonist loses hope
75% Plot point three: Hope
The protagonist is given hope that they can fulfil their external motivation goal, but only if they truly dedicate themselves to it.
90 – 95% “The Black Moment”
The external motivation appears impossible to fulfil.
95% – 100% Resolution
The story concludes in a satisfying manner – this may be successful completion of the external and internal motivations (a happy ending), it may be a failure on external motivation but a success in the internal motivation (common in comedies, romance, or tales of self-discovery), success of external motivation but failure of internal motivation (common in tragedy and tales of self-discovery). It is not typical for a story to end with failure of both external and internal motivation – this is the total failure of the character to grow or succeed and makes an audience wonder why they spent their time with the character.
I use this whenever I write and it’s working out pretty well for me so far!
In the case of Fragments of Him, as with other stories I write, I began from a feeling and worked back to an inciting incident. The feeling was a person clearing away all of their belongings to create a minimalist living space – why would they do this? This question led back to the inciting incident – the objects were related to grief at the sudden death of a partner.
From there I worked through the template, filling in the gaps. For Fragments of him, it looks like this:
Before the inciting incident: ‘Save The Cat’
Scene – Park. Feeding ducks, narrator talks about how good life is.Two characters – protagonist is blue, the ex is yellow. All other objects are yellow too.The player clicks on objects (or parts of objects) in the scene, they turn transparent.
5% Inciting incident
End of first level – the player has been removing the polygons, when everything is transparent except for the main character – the partner dies.
25% Plot point one: state the external motivation
Scene – House. Protagonist wants to remove all traces of the ex from his life.
50% Plot point two: the low mid-point
Scene – Street . It appears impossible to remove everything – everywhere he goes there are reminders. He doesn’t want to go outside.
75% Plot point three: Hope
Scene – Office. If he can remove everything from his interior spaces he feels like he might be able to cope.
90 – 95% “The Black Moment”
Scene – back in the empty House. Protagonist is sitting on the floor. Ex appears behind… The protagonist feels like he will never be free of the memories, even when everything is gone.
95% – 100% Resolution
As the player clicks to remove the ex from the House scene, the protagonist’s colour changes, blending the two into green – the ex has become part of the protagonist. The player clicks through the scenes, where the transparent objects are back. As the player clicks on the transparent objects they turn green too. This goes much faster than the removal.The protagonist understands that the ex is part of him. Things are different, but life will go on in a new way.
As you can see, I’ve used the basic structure from the template to create a narrative arc that is satisfying and also that integrates with the gameplay – at each step I have made sure the interaction with the game adds to the plot.
I chose locations where it would be viable to have few characters in the scene because of the limitations on the art scope.
There are three variations of most of the instances of dialogue in the game. These are chosen randomly during each play through, giving a slightly different experience for each time.
The dialogue was written with three key events in mind:
- The start of a level
- Removing a particular object or a percentage of objects
- The end of a level
The start and end triggers would give the main plot points, and the objects would trigger smaller memories.
I recorded the audio in a make-shift audio booth constructed from a pair of curtains and a clothes rack on a €100 digital microphone. It’s not ideal, but it did the trick. I then edited the sound files into one or two sentence chunks with some antiquated software. This was very laborious and time consuming for me, but sometimes design requires this kind of repetitive grunt work to get the project done.
Ambient audio and music is absolutely essential in selling any emotional experience: I believed this going into this project and now I am utterly convinced of this. In every scene there are several audio triggers built into the environment that work in a very subtle way to make the spaces feel more believable.
I have a suspicion that the audio space of a game may be more important than the visual style when it comes to creating emotional resonance. Most of this work will never be noticed by the player on a conscious level, but that it exists in the mix is important. In the apartment, did you hear the muffled footsteps of a neighbour going down the hall? Or in the office, did you notice the sound of typing outside the room, or the noise of a plane flying past overheard? Probably not, but they’re there, and they help you feel that the space you are in is alive.
For the music, I found a wonderful website of free music: https://musopen.org/
Everyone on the team instinctively felt that a piano score would suit the mood. I tried several pieces and found a 14 minute piece by Chopin that fitted the feeling I wanted to create… Then I had the laborious task of trying to cut it into pieces that would loop naturally.
Sound effects were more difficult: I wanted to get musical notes again but failed to find a copyright free source for these, and so I used generated audio tones with echo effects on them. It’s not ideal, but it does have the advantage that they contrast clearly with the ambient and musical soundtrack of the game.
To begin with I found a lot of reference material for the spaces that I wanted to create for the game. I recently went on a trip to London (possibly the greatest city in the world for any form of storytelling) and had decided that the story would be set in a location similar to Knightsbridge and Hyde Park.
We set up a shared Dropbox folder and so all of the reference material was instantly shared across the team.
As the artist worked, we often talked about ‘exactly what kind of lampshade would he have in his office’ or ‘what does he have on the side in his hallway’. Every time I was asked a question like this I would always think back to how I imagined the characters to be, what kind of people they are, and what their priorities are in life. Wherever possible, the art was always created to support the characters: if it didn’t say something about the people that owned the object then we would keep looking until we found a better, more expressive choice.
Sometimes the artist would create a space that inspired these choices. He modelled the handles on a drawer for the apartment in a particular way that made me realise that my characters were a little old-fashioned in their choices, or the filing cabinets were placed away from the wall in the office, and I would see that and decide that the character might have dropped a book down there but felt too depressed to be bothered about the effort of retrieving it. This iterative loop was very rapid, where I fed the artist ideas, and his responses inspired me to understand my characters more.
We wanted to keep the interface minimal, but there needed to be various elements to help the player understand what they needed to do. These were designed by me, but implemented by the programmer on the team.
Here is a list of events and the feedback I designed:
Reticule – not on object: Reticule is white
Reticule – on clickable object – (before second house scene): Reticule is yellow
Reticule – on clickable object – (during second house scene): Reticule is green
Reticule – clicking on empty space: Reticule pulses blue
Note that I also designed negative feedback (when the player clicks but there is nothing to remove from the game at that point). It is always important to make sure that the player knows when they are doing something wrong! Audio cues were added to support the visual positive and negative feedback systems.
In the world, we had highlighting in yellow, the colour of the dead boyfriend, to show objects that could be clicked on. There was a yellow bar at the top of the screen that got smaller when the player removed more yellow objects, and on the title screen the buttons were highlighted yellow when you started the game.
After testing with a non-gamer, we found that this still wasn’t sufficiently clear, and so a pink outline was added to objects that could be clicked but were too far away…
Which still wasn’t enough, and so we added a timer that means that clickable objects pulse slowly yellow after the player has been on a level for two and a half minutes.
I created a spreadsheet of the bugs for the game, allowing us to test, iterate, and improve all of the game over the last twelve hours of the game jam. It seemed trivial when I started the spreadsheet, but as the day wore on it proved to be invaluable in helping us focus our attention.
Lessons for game jams, and limited-resource games development
I need to upgrade my audio recording equipment and learn some more modern audio software. This part of the process was extremely time consuming and I feel that the quality of the audio could have been improved too.
Try and arrange to get a good actor involved if you can! My vocal performance is sufficient, but I think we could have added more emotion with a more powerful performance.
Convey the most difficult scenes, in terms of mechanics, more clearly to the programmer and as early as possible. I don’t feel I did a good enough job in getting across my idea for the ending of the game at any early enough stage, resulting in pressure on the programmer at the end of the three days. If I had handled that better then maybe the ending could have been more polished.
Even with all of the highlighting on the interface, we still get comments that people find it frustrating to find the last object in a scene. What can I learn from this? Well, SIGNPOST ALL TEH INTERACTIONS! And that MOAR SIGNPOSTING STILL is one way to go. Really – it’s hard to convey just how much highlighting of is needed to adequately smooth the whole experience. Of course, this has to be balanced to not break the mood of the game, which is tricky. The other option would be to allow players to progress after they have got most of the objects and not require 100% completion… I don’t know about that. Many people like playing to completion, but I suspect a narrative game needs to remember that the story is more important than 100% completion. Believe me when I say that this balance is something I will think deeply about on future projects, both game jams and full development projects.
Testing the game resulted in big improvements on the interface. I definitely want to do this for future game jams – I think this probably doesn’t happen often for game jam creations due to the tight time constraints, but I’ve seen the value that this added to the product and I encourage others to do this whenever possible.
I’m very proud of what we have created. As the first few comments began being posted, about players starting to cry while going through our game, I couldn’t help but think of Steven Spielberg when he said that games would only be art ‘when somebody confesses that they cried at Level 17.’
I’ve made games where you rip the heads off of space marines, and games where you slam cars into each other as fast as you can, or where you control a monkey in a spaceship collecting space-bananas. I’m proud of those games in their own ways, but this game was very personal for me – it was my first attempt to put mature writing into a gameplay scenario.
We have all felt loss at times, or incapable of coping with grief, and it’s easy to forget that this is normal. We are supposed to feel like that sometimes, and we just have to learn how to cope with it. SassyBot and I put together an experience that helped people to contemplate the universality of this, hopefully also stepping beyond stereotypes of sexuality to show how the common events that make us human unite us more than the differences that appear to push us apart.
I wanted to convey a message about acceptance and hope, and ultimately make people feel that there is always something more to look forward to. I have always believed that games could do that, but Fragments of Him has proved this to be true, at least for some players. I feel incredibly inspired by this experience. If you are feeling jaded with your time developing games, I highly recommend challenging yourself to create something that you believe in, perhaps in a game jam if you are pressed for time, and maybe you’ll fall in love with the potential of our medium again.
My thanks go to Tino and Elwin from the award winning SassyBot Studio (http://sassybot.com/) for asking me to join them on this adventure, and thank you for reading this post-mortem of our game.
About Dr. Mata Haggis:
I’m a games & narrative designer with over ten years of experience of making both indie and AAA games, and writing for games, television, webcomics, and print. I occasionally blog about games on my own website (http://games.matazone.co.uk/) and reblog onto Gamastura here.
Since 2010, I have been teaching the next generation of games developers on the IGAD (International Games Architecture & Design) programme at NHTV University in Breda, The Netherlands. It’s a very highly rated course, taught entirely in English, and if you’re interested in learning more about games development then I highly recommend it: http://made.nhtv.nl/
Follow me on Twitter: @MataHaggis
Small Bang Theory at Casual Connect February 10, 2014
Grab your calendar and write down ‘Casual Connect Amsterdam‘ on the 11th, 12th and 13th of February. Casual Connect is a game industry event where industry professionals of all makes and masteries get together to share information, learn from each other, and hopefully have time left to play some games. In the course of these three days there will be over 150 promising lectures from seasoned and upcoming developers, publishers, marketeers, and many other industry roles. Part of Casual Connect is the Indie Prize where over 110 developers from over 40 countries are invited to demonstrate their game and compete for the revered Indie Prize that is awarded on the last day.
Small Bang Theory is one of those games that received an invitation to Casual Connect and we are very excited and honored to be at the event. If you managed to get a ticket or you are demonstrating a game of your own then we would love get to know you. Please get in touch through Twitter or stop by our stand to play Small Bang Theory. If you can’t wait to play Small Bang Theory we would greatly appreciate it if you could support us and get the game on either iOS or Android.
Unity3D: Area light shadows February 6, 2014
Hey everyone. Previous week you may have seen the tutorial where I take you through the creation and preparation of a mesh in 3ds Max before taking it into Unity3D for lightmapping. Due to a computer crash, I wasn’t able to show you how to bake area light shadows into your light map. The video below will quickly show you how to get area light shadows in your light map using Unity3D.
As of this week we will move into a bi-weekly blog format where we will give you updates on the development of Fragments of Him. Please check back in two weeks or subrscribe at the top or bottom of this page to be notified of a new blog post when we have more information to share with you.
Have a nice day!
Lightmapping: 3ds Max to Unity3D January 30, 2014
Lightmapping in Unity3d with custom meshes can be a little tricky at times. This tutorial will explain how to prepare a mesh in 3ds Max and how to set up a simple lightmapping scene in Unity3D. In retrospect, this tutorial may try to compress too much information and making it feel a little rushed. Let me know if you would like to see any of these steps explained in more detail.