Returnal phrike4/27/2023 ![]() This causes nearby particles like leaves or sparks to fly away from the impact point. For example, these forces can be included into enemy animations so that when an enemy lands a jump attack, we add a radial impulse to the fluid simulation in that moment and at that location. ![]() In addition to that simulation (which we refer to as Global Fluid Simulation), we can have additional simulations attached to different actors in the game.Īny gameplay event can be scripted to add forces to the fluid simulation causing nearby VFX elements to react. Instead we use a real time fluid simulation around the player to simulate air flow that affects movement of the particles, vegetation and other VFX elements. As we had used fluid simulations in our previous titles like Alienation and Matterfall, it was clear to us from the beginning that we shouldn’t settle for pre-baked velocity fields for Returnal. One of our key principles at Housemarque regarding visual effects is to simulate as much as possible during runtime, using as little pre-baked data as possible. VFX was then assigned the task to create dynamic tentacles that could be attached to enemy meshes and skeletons. This approach seemed a little too limited since the performance cost of doing multiple very long chains was too high, but also because we lacked means of expressing enemy states via physics simulations only. Our enemy team animators briefly experimented doing tentacles using traditional rigid body physics to simulate chains of bones attached to enemy skeletons. Game director Harry Krueger wanted them to resemble deep-sea creatures with properties like bioluminescence and tentacles. The VFX magic behind enemy tentacles and bullet trails: node particlesįrom early on in Returnal’s development, it was clear that we wanted to do something special with enemy creatures on Atropos. Other resources like textures, bone matrices and vertex buffers can also be used as inputs for particle effects. That data can be then used for volumetric character effects. Another example is a module called voxeliser which can convert an animated mesh to voxels. We also have several modules that generate data to be used as an input for effects.įor example, we have our own fluid simulation module that can feed its simulation data to NGP. It can also be used for controlling voxel behaviour in volumes or for generating dynamic procedural geometry. NGP takes care of memory allocation and most of the boilerplate code, while artists can focus on behaviour and visuals.Ĭurrently NGP is not intended to handle only particle effects. Particle authoring is done by VFX artists who write compute shader snippets that define particle behaviour and data. Focus is on good performance and flexibility. ![]() NGP is designed to be a GPU-only VFX authoring system with minimal CPU overhead. After shipping Alienation, the system was used for Nex Machina and ported to Unreal Engine for Matterfall. ![]() In 2014 we made the decision to produce all of the particle effects for Alienation with NGP. After Resogun, the particle system got a graphical user interface and we started referring to it as Next Gen Particle System (NGP). We have been working on our proprietary VFX tech since Resogun (2013 PS4 launch title), where the first prototype of our current particle system was used on some of the showcase effects.
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