Halo News Items

Halo 2: Bigger, Badder, Uncut.


One thing they didn't mention was the 5 days and 40 GB of raw data I had to render out at least three separate times. Plus the tools I had to write to handle movies bigger than 2 GB.

Random trivia for the hardcore: I rendered the movies at 1280x960, 30 fps. This is the best you will ever see Halo in motion.


H2 Whoa….

Water is your friend.

If you happen to feel so weary that a bucket of coffee doesn't help, try drinking a bucket of water. You're probably dehydrated.

An easier way to tell is to check the color of your urine when you pee. If it's not clear, drink more water.

This message brought to you from your cranky neighborhood Bungie programmer.

A little bit of history repeating

So I think it's now quite obvious why I haven't updated in a month or so.


Since I'd probably get severely disciplined by the Bungie Webmaster if I scooped bungie.net, I thought I might reminisce a little bit today. Gearbox finally released the HEK (Halo Editing Kit for my parents), so now you all get to see what I got hired by Bungie to do three years ago. I've read some of the comments people have had over the quality and breadth of the tools in the HEK, and I thought I'd answer a few of them.

Firstly, if you have issues with the learnability of Sapien, you should understand that it was developed with the intent of always having a programmer (namely, me) on call to handle support issues. So, most of what is in Sapien is not documented anywhere. It also does not have any loading progress visualization, so if you see Sapien load up and then just sit there, it's (probably) not hung, it's just loading.

Secondly, if you're wondering why Sapien doesn't support more mapmaking features that you'd find in other game modding packages, namely, map creation, it's because the primary goal of Sapien was to be what 3dsmax and Maya are to artists for designers. That, and it's much more cost effective to buy an off the shelf 3d art package and write an exporter than to create a 3d modelling tool from scratch. It's unfortunate that currently you need to own MAX 4.x-5.x, but as I understand that, Gearbox is working on a solution to expand the range of apps that will support exporting Halo models.

As for the overall quality of Sapien, I'm surprised that it is still working almost three years after we shipped Halo 1. Ah well; I'm looking forward to seeing what the Halo mod community creates with the HEK. I might even post one or two tips and tricks to using Sapien in the future.

The Joy of Me

One of the great things about being me is that every once in a while I get to say "John Carmack is wrong."

[I actually said something more colorful at work.]

In the programming GDC keynote this year, Carmack mentioned that (game) audio could be solved today given total dedication of processing power, and that in two years it will be solved altogether. While technically true (we can simulate a lot with DSP), such a statement ignores the growing trend of data as the limiting factor in games. And while graphics may be the sexiest thing in gaming right now, audio is, and will continue to be the biggest part. At least in good games.

Here a little scary fact about game audio. Let's assume that a game will play up to 256 mono-channel sounds simultaneously. Given the current standard of games today, let's also assume the sample rate is 44.1kHz, slightly above the Nyquist limit for human hearing, and the sample size is 16 bits (2 bytes).

One second of audio using 256 unique sounds will require (channel count) x (sample rate) x (sample size) = 256*44100*2 bytes = 22.5 megabytes per second.

Of course, the worst case doesn't really apply to the general case, so lets say an average gameplay second will have 40 unique sounds playing at once. Now the bandwidth drops from 22.5 MB/s to 3.5 MB/s. Current hardware supported compression schemes appropriate for games can drop that to about 1 MB/s.

Seems pretty reasonable. Unfortunately, if we want to play more than 40 seconds worth of sound, we're going to need a bit more data. A lot more data, in fact. Halo had a total of 2.5 GB of data, uncompressed, with a mixture of 22kHz and 44kHz of data. Compressed, that's about 700 MB total, which works out to about 150-200 MB per level.

200 MB doesn't sound so bad. But since no one really budgets that well for sound memory, we'll need to be able to stream that data in from disk. And unless we can perfectly predict what sounds will play when (which we can't, given a dynamicly satisfying environment), we'll need to have either a rather large sound memory cache or a really good random access disk transfer rate. Unfortunately, most storage devices optimize for sequential access, and no one ever wants to give memory to sound, so that kind of makes us SOL. I'm overstating the problem a bit, but the common way of solving this problem (reducing the amount of sound data) isn't that satisfying.

Even if the content/data problem is solved, a convincing sound environment has computational expenses that are an order of magnitude more complex than graphics. To do that, we need reverberation, or as I put it, the echo problem.

Reverberation describes the reaction of an acoustic environment to sound. A good example is how different it sounds when you sing in the bathroom versus when you sing in the car. A more complete explanation of sound propagation can be found here.

To determine the reverberation effects of a single sound we need to determine all the paths between a sound source and the listener. This includes the direct path plus all audible reflected paths from the sound to the listener. If you really want to be accurate, you'll need to do this separately for different frequency spectrums of the sound. (Lower frequencies can travel farther due to reflections than higher frequencies.) The equivalent problem in graphics is global illumination, which current games pre-calculate for static lighting in some fashion due to the sheer complexity of the problem. Neither of these can be determined in real-time even with the entirety of processing power available. Hardly something that is "basically solved."

[That's not to say that we don't have a good enough approximation. The current generation of sound hardware conforms to the I3DL2 spec, so we can have at least some modicum of auditory goodness without drastically impacting performance.]

This is why I like being the sound programmer :)

Well that’s a funny looking strike!

It's no secret that I hate most modern video games. Lately I have played three games that show what is right and what is wrong with video games today.

First off, let's talk about Final Fantasy: Crystal Chronicles. This game has an extremely low frustration factor, not only due to its simplified gameplay mechanics (three character attributes, infinite magic casting, that sort of thing), but also due to its amazingly forgiving treatment of death (at least in solo player mode). When you die, you're presented with a short game-over screen, and then you can jump right back into the action. The time between dying and getting back into the game is usually on the order of 1-2 seconds, making it really easy to spend an hour or more fighting the same boss over and over without noticing how many times you've died.

While I have a few issues with the lack of instant teleportation, too few inventory slots, and non-interruptive game events, for the most part the gameplay is nice and smooth, like a tiny glass of hot sake. This game gives me hope for games of the future; games that put gamers' fun before developers' crapulence.

Juxtapose this game with the newly released Ninja Gaiden for the Xbox and you will find much of what is wrong with the mindset of many game developers today. This game is a technical and artistic achievement of astounding proportions; I don't think any game up until now has had this level of graphical splendor and yummy goodness; being a (virtual) ninja has never been so much fun.

However, if you fail to live up to the level of excellence expected from you by Team Ninja, you will feel the harsh punishment meted out to those not worthy of Ninja Gaiden's greatness. From the beginning of the game, the player must endure many trials to experience the golden nugget of fun. Failure is dealt with in a fashion most frustrating, starting with a non-existent checkpoint system, multiple repeats of the same area (due to lack of a good checkpoint system), to unforgiving boss fights, more multiple repeats of the same area, and ending with an excruciatingly long reload process when you die. In other words, this game has a very unforgiving learning curve, and almost goes out of its way to make your life miserable if you suck. It reminds me of those stupid games you play where everyone knows the rules except for you.

Naturally, such a hard game has the gaming press falling over itself in praise of such a "hardcore" game. Gamerankings currently has Ninja Gaiden running at an approval rating of 92%. I wish game critics reviewed games with a magical switch that would randomly cause game death every few minutes so that they would experience what the rest of us do: the harsh experience of game over. Maybe then we'd get games that are fun to play, no matter how good or bad you are, rather than games that you have to have the manual dexterity of a god to enjoy.

Fortunately for everyone, neither of these games have the same crack factor as Warthog Launch. I'll let the experience speak for itself.