MentalEdge
Eskating cyclist, gamer and enjoyer of anime. Probably an artist. Also I code sometimes, pretty much just to mod titanfall 2 tho.
Introverted, yet I enjoy discussion to a fault.
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So the article above is sraight up wrong? All frame generation is already extrapolation, not interpolation?
I had to look it up because I could have sworn that reprojection can and does use motion vectors to do more than just update the perspective.
AND IT DOES.
You’re talking about what VR does as the last step of EVERY rendered frame, which is an extremely simple reprojection to get the frame closer to what it would have been (what oculus called ATW), had it been rendered instantly (which it obviously can’t be). This is also seemingly the extend to which the unity demo showcased by LTT took it.
What Oculus called ASW, asynchronous space warp, absolutely can and does update the position of the ball, which is why it can and is used to entirely replace rendering every other frame.
Valves version of it is a lot simpler, and closer to just ATW, and does not use motion vectors when compensating for lost frames. Unlike ASW their solution was never meant to be used constantly, for every other frame, to enable VR on lesser hardware.
The reprojected frame with the ball in the same spot is still more up to date than a generated frame using interpolation.
With reprojection, every other frame is showing where the ball actually is.
It essential displays the game-world at the framerate it is actually being generated, with as little latency as possible.
I vastly prefer this. Together with the reduced perceived input latency, this makes motion tracking FAR easier than with frame generation.
With current frame generation, every frame, is showing where the ball was, two or three frames ago. You never see where it is right now. Due to this, in fast paced action, hand-eye coordination is slower, more likely to overshoot, etc.
And further developed reprojection, absolutely could account for such things.
Thank you for being rude.
I’m not pretending it solves anything other than the job of increasing the perceived responsiveness of a game.
There are a variety of potential ways to fill in the missing peripheral data, or even occluded data, other than simply stretching the edge of the image. Some of which very much overlap with what DLSS and frame generation are doing.
My core argument is simply that it is superior to frame generation. If you’re gonna throw in fake frames, reprojection beats interpolation.
Frame generation is completely unfit for purpose, because while it may spit out more frames, it makes games feel LESS responsive, not more.
ASW does the opposite. Both are “hacky” and “fake” but one is clearly superior in terms of the perceived experience.
One lets me feel like the game is running faster, the other makes the game look like it runs faster, while making it feel slower.
This solution by intel is better, essentially because it works more like ASW than other implementations of frame generation.
Can we please stop with this shit?
The ideal framerate booster was already invented, it’s called asynchronous space warp.
Frames are generated by the GPU at whatever rate it can do, and then the latest frame is “updated” using reprojection at the framerate of the display, based on input.
Here is LTT demoing it two years ago.
It blows my mind that were wasting time with fucking frame generation, when a better way to acheive the same result has been used for VR (where adding latency is a GIANT no-no) for nearly a decade.
The bouncing around isn’t a bad thing.
In fact, if anything, I try to be sensitive to when I start to burn out on a game, and when that happens I avoid playing until the desire is really strong again.
Sometimes looking for something to play means having a LARGE number of false starts before I find the thing, but I make a note of not trying a bunch of similar games whenever something isn’t scratching the itch. I make each attempt with something very different.
And coming back to a game can take years.
That’s kind why you need a TON of games if you don’t want to take breaks from gaming entirely, because otherwise the medium just doesn’t have enough variety to keep the human brain engaged.
You should try shorter games, and completely ignore whether something is “big” enough to be worth your time. The big stuff is what’s boring you right now, so don’t waste time on trying to force the enjoyment.
Plus, if you’re restricting yourself to stuff that achieves critical acclaim, you’re limiting yourself to games everyone likes. That means you’re probably missing some stuff only you and people like you would like.
Not all good things are enjoyed by everyone universally, some things are just for a subset of people.
The only “ad” steam pushes into your face is the startup pop-up, which can be disabled in settings.
Without that, you can use whatever you like to launch your games. Valve doesn’t care. You can have a desktop shortcut for every one of your games and never see steam open, or use something like PlayNite to aggregate the games from several services into one library.
I don’t understand people who “demand” things from volunteers. Open source devs, modders, and still recently content creators are/were treated like public service workers, by some.
Imagine if we went around treating artists as if they were obligated to please each of us individually with their every piece? I’m very happy to see this attitude improve with streaming and youtube, where creators are more and more met with care and support when they have to step away for a bit or retire entirely.
It sadly seems like this modder was eventually putting in tremendous effort, in a vain attempt to please absolutely everyone using her mods. But that isn’t a good reason to work for free.
Any work I do for free, is something I do because I want to, but this modder explicitly says she did work she didn’t want to do in order to please fans. And I can’t help but ask, why? (I know why, but someone should have cared enough to show her she is allowed to just say no, and do whatever she prefers.)
The blurb about her doing music is how you’re SUPPOSED to feel doing something for fun. I’m happy that she found her way to something that makes her feel that way.
You might just need to reduce choice anxiety.
Once my library got really big, I would find time to game, but then waste it on figuring how exactly I want to spend the time. End up on youtube or something and not actually get into a game at all.
The solution was to keep just a few games favorited, and forget the rest existed.
When I’m done with a game, it gets unfavorited. When I buy a new game it gets favorited.
If the list gets too short, I might do some spelunking in my library to favorite something from my backlog.
This way, each time I sit down to game, I have a very short list of stuff to start or continue that I might actually manage to pick from.
What the others said.
Maybe you need to take a break from games and indulge in some other, or new, hobby.
I like audiobooks, electric skateboards, cycling, manga… And more.
You could also expand the kinds of games you play. I keep trying new genres and if one gets boring I try something else.
Don’t force yourself if you aren’t having fun. That’s a quick way to really ruin something you like.
I’ve gone through several episodes of feeling like there’s nothing I want to play… But, if I keep giving things a chance, and make sure not to burn myself out by trying to find something too hard, or forcing myself to play something because it “supposed” to be fun, even when right then it isnt, something eventually gets me hooked right back in.
Most recently that has been Deadlock. I can’t get enough of it and the feeling is the best.
It’s unclear.
Considering it was the first project from Kojima Productions (the independent studio he started after Konami) it’s actually probable that they didn’t own the IP.
They would have needed someone like Sony and 505 to foot the bill of developing their first project, with no incoming cashflow, and those deals usually leave the publisher holding the IP.
Whats really confusing me, is that it wasn’t Sony holding the IP rights, it was 505.
It looks like maybe 505 was holding it all, giving Sony a cut of the pie for the timed console exclusive, and now sold it all back to Kojima, allowing them to do the Xbox release.
I for one am really happy that studios are wising up and buying the rights to their own stuff when its successful enough to enable them to do that, instead of letting their IP be owned by the publishers in exchange for having them bankroll development.
Studios like Kojimas and Remedy have been shopping around with multiple publishers, and owning their own IP, means they can now even more easily drop a publisher for another, if they try to sacrifice quality.
Did you get the scare that can happen in the Mind Place?
There’s one point in the story, where after interacting with the clue board and exiting out, turning around, a cultist will appear in the room.
If you got used to just switching between the different things in the mind place using the buttons, though, instead of walking around, it never happens.
…
That pedestal being, that they keep making games that are just plain good, despite at the same time being involved with shit industry practices by working with Microsoft and Epic?
I think that particular pedestal is pretty fucking deserved. And one that looks their faults in the eyes.
They keep making good stuff, while marred by the bullshit that allows them to fund the studio.
Why do you think I’m specifically excited for them to finally do something fully self-published, so they can make something I can enjoy with no fucking strings attached?
Ok. Unfortunately it sounds like you’re asking me to stop liking a studio that I like, based on speculation about how a future title of theirs might work. That’s not an actionable argument.
Nothing about a multiplayer title requires it be made in a way that will break whenever the official servers go down. You are assuming this one will work that way, and I’ll grant you it likely will.
But the change we both want isn’t going to come from voting with our wallets, but even harder.
It’ll come from something like this.
We know one of their WIP titles is a PvE multiplayer game set in their connected universe. Aside from that, nothing more is known, except for your generic corporate “we’re excited about our future projects with Remedy” statements from 505.
I’d be very suprised if Remedy turns around and makes it overtly exploitative.
They wont.
Remedy games have been “underperforming” despite rave reviews for a while. Yet they’ve been chugging along doing what they think is neat, instead of caving into the current money-making models.
And in this case, the Epic partnership definitely hurt the game. And they know it did. Before AW2, it was microsoft putting the breaks of Quantum Break despite it being great.
Control was the first time since Max Payne I felt they truly achieved the success that their level of quality deserves (and even then it was a timed epic exclusive).
Now Remedy has set themselves up to finally self-publish the follow-up to Control. I can’t wait.
Remedy has fans, but something always seems to get in the way.
They were pretty well done. Most of the time something suddenly happening is a good scare, and AW2 had several events like that. The first cultist encounter with a big guy bursting through a wall, for example.
But I might agree that some of the full-screen scares that just flashed an image over the screen along with a loud noise were a bit cheap.
Build software using contractors.
Use software to make game using contractors.
Finish game, end contracts with contractors.
Company now has literally no-one on payroll who still knows how to do anything with their “in-house” tools.
Fuck everything up for years, and get literally nothing done, because you keep trying to finish things with a revolving door of contractors who all have to learn to use your in-house crap made by other contractors who aren’t around to answer questions or update documentation.
Switch to UE5 because all the contractors already know how to use it, as you won’t consider hiring actual employees again.
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If you like the combat and the quarry, the Jukebox lets you play a bunch of challenge levels in locations from the same dimension as the quarry is in.