Choose Your Own Adventure books – a staple of every 80’s kid’s collection. I loved these books and they definitely got me reading more – but even as a kid I could tell they weren’t the best written things. Seemingly intelligent choices would get you killed while running off against your parents wishes on the family boat across a lake during a thunderstorm would lead to high adventure.
One thing I did love, however, was the amazing illustrations in some of the books. Paul Granger’s illustrations were some of my favorites. Space And Beyond was definitely one of those books where the writing was pretty sub-par, but the pictures were fascinating to me as a kid. I remember trying to copy the ships and make my own – to reasonably good effect on the side of my notebooks and test papers.
Over time as I was exposed to more sci-fi art; and started seeing some similarities between Space and Beyond and other work. I wonder if Paul Granger got some of his inspiration from John Berkey. John Berkey was a fabulous sci-fi artist that created many futuristic works in the 70’s – including one of the most iconic Star Wars posters of the era.
As a movie lover, I’ve been unhappy with lots of modern movies. I’ve had a hard time putting my finger on it. But one of the things I’ve noticed since going back to watch some of my older favorites is how ‘clean’ and clear the action is. We can talk about the horrors of shakycam and increasingly schizophrenic cut lengths, but the poor quality of modern blocking and staging appears to be one of the major reasons things are less clear.
When you go back and look at Spielberg’s handling of framing, you start realizing why a lot of modern framing and blocking creates more confusion rather than helping be part of the exposition itself. CinemaStix does a great job showing how expertly Spielberg accomplishes this – and why he’s probably the greatest master of these techniques. He even mentions the Steven Soderbergh re-work of Raiders of the Lost Ark with different music/etc.
M.C. Escher was famous for his wonderful mind-bending images. I loved his drawings as a kid because it created a sense of wonder, playfulness, and unlocked interesting new viewpoints and possibilities simply by violating a single physical or geometric expectation.
We’re used to the world following rules. If we leave a room, we would expect to go back into that same room if we opened the door. But in rendered scenes, none of those rules needs to be followed. We can actually make M.C. Escher like worlds a reality. But how – and more importantly – how could we use them to make an interesting gaming experience?
CodeParade walks us through many interesting effects that can be created using some simple non-Euclidian rendering and movement techniques.
Other games quickly followed like Manifold Garden that added the concept of infinite world wrap-around. Hyperbolica uses hyperbolic projection mapping. Then there were forced perspective games like Superliminal. As we quickly see, there is more than one rule to break in Euclidian space.
More recently and to greater effect – non-Euclidean tricks are being used in horror games. The experience of the world shifting around you definitely can create a very unsettling emotional response. Paintings that become doorways, rooms that change when you look away. Whole games have become based on these simple effects. Non-Euclidean techniques are here to stay. The real question is, how will we think of using them next?
Learning more:
Issues Valve ran into when making the game Portal:
How to create portals and solving the most common perspective, distance, scaling, collision detection, and physics issues you’ll encounter:
Kishimisu walks you through the fascinating realm of writing programmable shader art and offers helpful insights and guidance to assist you to make your own creations.
Here we go – AI reimagines Aliens as a Wes Anderson movie
AI Fungi used generative AI technology to simulate what a Wes Anderson’s version of the classic sci-fi/horror flick Aliens might look like. He injects Tilda Swinton in the role of Ripley as well as some other recognizable regulars on Anderson’s movies and the Nostromo getting a colorful upgrade.
Yes, AI can do this today. Imagine in a few years from now…
RCLifeOn created a 2D drawing lightbox from an old 3D printer, a marker, and some LED lights to draw patterns on acrylic. Even more interesting, he did it live on Twitch.
Like many creators, they’re finding a tremendous amount of free software to complete projects without needing to invest long hours developing their own software. They’re creating increasingly more amazing stuff from off the shelf parts.
I wrote about a Twitch channel called Nothing Forever that consisted of completely AI generated dialog and animation.
Fast forward and someone has given Spongebob the same treatment. The dialog is generated by AI, the voices synthesized, and animations generated – automatically. You can even suggest things via the discord channel. It can get really strange and random, so don’t expect anything deep.
The Backrooms is an internet creepypasta that got started in 2019. A simple post and picture on 4chan caught fire. It became stories, then a video game, then lots of video games. Then, it became live short videos that use lots of VCR like 80’s video quality effects.
Andy R Animations shows how he used free versions of Blender and Davinci to create some of the higher quality Backrooms videos. Definitely worth a look at the amazing things people can generate now using free tools.
At Forest Lawn Cemetery in Glendale California there is a largely unknown gem. The largest religious painting ever made – a staggering 195 feet long and 45 feet high. It’s so large it has it’s own auditorium style seating.
The story behind it is almost equally amazing. It was commissioned in 1894 and painted by Polish painter Jan Styka. To make the painting, he traveled to Jerusalem to prepare sketches and even had his palette blessed by Pope Leo XIII. The gigantic mural was unveiled in Warsaw in 1897, traveled many European cities, then joined the 1904 St Louis Exposition. It was seized when the partners failed to pay custom taxes and was considered lost for 40 years. It was found in 1944 rolled around a telephone pole and badly damaged in the basement of the Chicago Civic Opera Company. It was restored and then displayed in Forest Lawn by American businessman Hubert Eaton.
It’s hard to find detailed images of the massive painting, but the pieces I have seen are really astounding. Read more about it here.
Also check out some of Jan Styka’s other paintings such as St Peter preaching the gospel in the catacombs.
Epic games worked with Quixel and just release the photogrammetry app RealityScan which turns smartphone photos into high-fidelity 3D models. The app is called RealityScan and is a paired down version of the desktop version of RealityCapture. Both combine a set of 2D images to make 3D assets. The idea is to enable game developers and other creatives to scan real-world objects at any time and any place for their projects (or the MetaVerse if that becomes a thing).
The scanning process begins with signing into your Epic Games account and taking at least 20 photos of an object from all sides. As you move your phone around, a real-time quality map shows how well you’ve covered it: green denotes well-covered areas, yellow could use more attention and red needs the most additional photos.
The app uploads and automatically aligns the images in the cloud as you take the photos. You can preview the model through the camera view and switch between the quality map and an in-progress, full-color render. When you want to crop it, it pops up 3D handles for you to drag around, ensuring it captures only the item, not the floor beneath it or background objects.
The process works best with simple items captured in even, indirect lighting (reflective or wet surfaces won’t capture well). It also appears to work best with larger objects, as my attempt to capture a small Mr. T action figure resulted in something that looks more like a pointillistic painting than a usable model.
The iPhone App version hasn’t got very good reviews (2.2 stars) – but it’s a start.
