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Interested in game making? Start in Unity—a game engine for mobile and desktop games and real-time simulations. Author Adam Crespi shows techniques used in game development with Unity and introduces the basics of scripting and game functionality. First, learn how to import models and textures, organize your project and hierarchies, and add terrain, water, and foliage. Next, Adam explores how to use lighting to bring the game to life, and add rendering, particles, and interactivity. The end result is a sample game with a lush environment, fully animated characters, and some basic interactive gameplay.
In Unity, onnce we've imported in our FBX files, we need to do some configuring to make them part of prefabs. I'll select my 03_03 gallery FBX. These come in with a scale factor set for Maya's centimeters, a scale 0.01. This is an automatic compensation for leaving the linear units in Maya set to centimeters. And this way, things will scale up 100 times, so that they're the right size in the scene. Because we've exported out our meshes in meters, we can set this scale factor to one, and we'll have the right size.
I'll also check generate light map UVs. What this does in a mesh is generate a second set of UV coordinates that are automatically flattened and we can use this when we're baking the lighting or pre-calculating the lighting for our game. We have the option in here to import blend shapes and also to generate colliders. Blend shapes then, allow us to morph between different models or different states of a model from Maya and are particularly useful for facial animation for example. There's no blend shapes with these models so it doesn't really matter if I leave it off or on.
However, generating colliders is important. I'm going to make the choice here because this is such a complex model. Do not generate colliders automatically. Checking the generate colliders check box puts a mesh collider on using every polygon has a collider, and many of the objects in this gallery are much more efficiently well generated with a box collider, where we have the mesh looking correct, but the overall volume of what you can pass through or not is defined by a box or a cylinder or a capsule for example.
I'll scroll down and click apply, and then repeat this with the other three meshes I brought in. I've exported out each of the three walls, hex, stagger and waves, that we'll use as blocking walls that spring up when the player contacts a painting. With each of them set to a scale of one and light map UV is on, I'm ready to bring in my I'll go into the folder in the assets folder first to make sure I'm importing in the right place. Here in texters I have two ways of importing in the textures I'm going to use. You can import in single assets by right clicking and choosing import new asset.
Alternately you can copy and paste files into this directory. Simply using a file explorer and taking a bunch of pieces. I'll import in one texture asset, and then bring in a whole bunch more by simply copying and pasting. In the Import New Asset dialog, I've browsed into the Modernista assets folder in chapter three. This is my working Mya project I'm simply pulling pieces from. I'll go into source images, and this is where I put the textures I'm going to use. There's two sub directories here, art and building, that contain the respective textures for each section.
I'll go into the building textures, and there we can see the different building textures. Bricks, normals, waves, and so on. I'll pick BricksC. What I've done here in the naming, and this is an important point, in terms of organization, is to put a tag at the end of each name. This way, I know that BricksC, for example, is the color map for a brick. Screen CS denotes color and specularity and actually that specular does double duty as a cut out, so we get a perforated metal screen.
There's n for normal and n h for normal and height where I've tucked the height map in the alpha channel of that normal for parallax mapping. So, the brick really stands out in the wall, even if we're, tangent to it in the view. I've named all of my textures this way. So that, in looking in a directory, I have a very good idea of, which texture goes in what texture what part of a material. I'll click import, and those bricks will import in, and I will be able to deal with them in my inspector. The bricks have imported in and I can see in the inspector that they came in as a texture.
Their wrap mode is set to repeat and the filter mode or how do they blur close or in distance is set to bilinear. I've also got options available for Different kinds of compression and different platforms if I need. Finally, in the lower right of the UI, there's a preview window, where I can see its maximum size, how it's compressed and how big it is: .7 of a megabyte. I'll bring in the the rest of my textures this way, taking in all of them at once by copying and pasting into the textures folder and allowing unity to batch import all of those pieces.
Then I'll configure them for different platforms and different sizes and get ready to start authoring my game.
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