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When the wild symbol appears it completes a winning combination by acting as the third or fourth symbol. Pretty much like the wild card in a game of poker.
The most dry spins I experienced during the base game was 10! Spinning the reels manually can become a workout in itself rather use the Auto Play feature.
Before the free spins start an expanded wild symbol is added to it, in my case it was the Anubis Egyptian god of the dead symbol.
When 2 or more of them appear on a reel they expand by covering it entirely, every time this happens huge wins ensue.
I pressed on and managed to trigger the free spins within 25 spins for the second time! This time round 3 scatter books paid me coins.
I started the free spins with this amount, once again the expanding wild was Anubis. I triggered the free spins again when an additional 3 scatters appeared and winning another During the production process, the Demo Team created a list of the assets that they would need and Quixel would capture new assets if they were missing an appropriate match in their existing library.
Many of those assets were vegetation such as grass, plants, and bushes, that require proper equipment and setup to scan.
Quixel did not only provide us with texture sheets for those assets, but they also created the geometry, with their LODs and vertex color setup to support our wind shader.
Between the released Book of the Dead: Environment project, and the unreleased assets used in the teaser, we received over 50 assets of high quality and of complexity that would have seen us struggle to make our deadlines with the few artists we have on the team.
During the production, we could get the assets pretty quickly into the engine, and looking good. Luckily Quixel has recently released a tool, Megascans Bridge, that would do most of the importing work that we did manually.
It saves time in repacking textures for HDRP and the likes. All the assets are ready to be imported into a project setup with the High Definition Render Pipeline or the Lightweight Render Pipeline.
The creation of a wind system for vegetation assets and its whole pipeline is always a tricky process. There are many different kinds of vegetation assets that would need to be animated in different ways; two different trees might require completely different setup and different shader complexity.
For this reason, our team decided to create a custom vertex shader based procedural animation for the wind effect on our vegetation assets. We made it tailored to work with our specific project and the trees or bushes it contains.
Allowing us to have a complete control over it. Torbjorn Laedre, our Tech Lead built a shader that would support several different types of vegetation, using 3 different techniques:.
The trees were the more complex assets to prepare, on the content side, they are using the Hierarchy Pivot type of animation and they rely on 3 distinct levels of hierarchy:.
The shader needs to know the level of hierarchy and the pivot of every single vertex of the tree. I first had to author the geometry of the tree itself, and then assign the level of hierarchy for every polygon of the tree using the green vertex color channel.
I did this using Autodesk Maya, with some small scripts I was able to set up all of the LODs of an asset in minutes. They are texture masks that would help determine where in the geometry the pivot of the branch be.
We used this for the branches that used hard alpha textures for geometry. Here is an illustration of this mask.
With all this information prepared, I could use the C script that would input my tree prefab, and generate a new prefab with the pivot information of every vertex baked in.
After adding a WindControl object to my scene, I can import my tree in the scene, and start playing with the material properties. You can see that each hierarchy level has a range property basically the length of the trunk, or branches and an elasticity property.
There are also some properties to set up wind flutter animation. They add a bit of procedural noise to the vertex positions, to imitate the vibration of the branches when the wind blows on them.
Last, but not least, we had to make the wind sound FX influence the wind animation. The volume of the sound is driving the wind strength of the animation.
It is really surprising how a simple idea can add to the project. If you have not done it already, you should open the project and walk around.
You will notice the trees and all the grass around shaking when you hear large gusts of wind hit your surroundings.
When targeting the level of detail and density of a project like Book of the Dead , it was important for me to think about how I was going to structure the level, to avoid performance issues later in production.
One of the things I tried to be careful about, was to limit long view distances in the scene. This video shows the Occlusion Culling Visualization, and you can easily guess where the camera is looking at from the top view.
You will also be able to see that some objects are not culled, those are mostly the really tall trees, some over 25 meters tall, that have a very large bounding box and are therefore hard to cull behind the cliffs.
The HDRP Layered Shader allows blending of layers using their heightmap texture, so the result is better than the linear blend that comes with the legacy terrain shader.
In this animation, I am simply changing the different layers height offset. This is, of course, a temporary solution, and not properly integrated in the UI.
These layers are there mainly to help you paint the different layers on the terrain. They are not used for rendering the terrain, except for the tiling settings.
Instead, look for the material applied to your terrain, and you will find all the textures and the material properties that affect the terrain.