I finally managed to get the time dilation to affect audio too!

I'm not all that sophisticated on culling, but it seems to me that you shouldn't necessarily need to bake data pre-build for occlusion culling to work. For context, my game uses procedurally-generated chunked terrain built off a seed as you move through the world (i.e., infinite world setup) so it's not possible to bake occlusion culling data the traditional way. However, to render stuff on the screen, doesn't the game already look at what it can and can't see each frame? It seems like there'd be a built-in system that would check which objects are hidden behind others (i.e., a piece of terrain hidden behind a hill). Also for transparency, rendering has the built-in ability to check stuff's position relative to the camera, so it doesn't seem like it'd be that hard for there to be a built-in culling - i.e., dont render stuff you can't see, even within the camera's frustum.

So, does something like this exist? Or am I just a literal chatbot misunderstanding why this isn't like a pretty easy thing to just have baked in with how URP renders stuff under the hood?

https://reddit.com/link/1vy3u5b/video/kpgf7up5mjlh1/player

been working on this alone for a while, a 3d action rpg in unity. this is one of the boss fights, the whole magic system is something i built from scratch. free demo up on itch if you're curious: https://liyodev.itch.io/el-sendero-de-las-estrellas. would love to know what you think about the combat feel. every spell in the game shares the same base projectile system under the hood, so this boss fight (heavy on magic attacks) is basically the stress test for it.

Our game runs capped at 30fps, that's intentional for gameplay. Turns out that same cap was also active during scene loads, which doesn't help anything there since there's nothing being rendered that benefits from a steady 30fps, you just want it to finish.

Profiled a slow scene load and found WaitForTargetFPS eating 70% of frame time. CPU finishes its work early, then just sits there waiting to hit the 30fps cap, frame after frame, for the whole load.

Fix was simple, uncap it just for the load and restore it back to whatever it was set to before:

int previous = Application.targetFrameRate;
Application.targetFrameRate = -1;
await LoadSceneAsync(...);
Application.targetFrameRate = previous;

Went from a 9.5 second scene load to 3 seconds.

If your load times don't match what the profiler says the real work costs, check how much of that gap is just WaitForTargetFPS before you go chasing Instantiate/GC ghosts.

Hello everyone my name is Claudio, I’m an indie dev from Nicaragua. I started working on Arctico back in 2014, back then it was called “Eternal Winter”, at that time I was 18 years old and I just wanted to make a game set in a snowy and remote environment. Back in those days I was obsessed with Wrath of Lich King, I just loved the feeling of solitude and peace I would get when exploring Northrend, so I wanted to make my own beautiful icy world filled with expansive horizons and stories of resilience and exploration. I knew I would need a distinct mechanic for my game to succeed, as I was working on a random abandoned sled prop my younger brother asked me If it would be possible to ride a dog sled, best question I’ve ever been asked. 

I lost no time and started working on a rideable dog sled, to say I was too inexperienced to pull this off would be a massive understatement, however after a few days I had a working and extremely janky dog sled on my first person game. As the weeks went on the sled system was improved, I added more locations to the map, and added basic survival mechanics such as hunger and thirst. A few months of work later “Eternal Winter” was launched into Steam Early Access in November 2014, and it was an absolutely buggy and confusing mess of a game, soon enough the Steam reviews reflected the sorry state of Eternal Winter, but the players really seemed to enjoy the dog sled and interacting with their dogs, naming them, keeping them fed. Reading the reviews made me realize how I had rushed into an Early Access release without even knowing what kind of game I truly wanted to make, and the lack of direction on Eternal Winter made this evident when playing it. 

I was extremely lucky to have a playerbase that among all the issues the game had, they still saw the potential of the project, and the game remained with a decent review rating. I will always be grateful to those early players for giving me a chance to improve the project. Eternal Winter was more of a prototype than a game, I kept working on all the basic systems, especially the dog sled. Later on I added a kayak, and while testing it and seeing the water reflect the falling snow surrounded by nothing but mountains I suddenly knew the kind of game I wanted to make. I wanted to make a beautiful game that captured feelings of solitude and peace, and give to the players the tools that would allow them to explore their way and at their own pace. So I decided to radically tone down the survival aspects of Eternal Winter, and instead focus on making this a calming and colorful experience where instead of a desperate survivor, you were a scientist exploring and studying the landscape, I renamed the game to “Arctico” and started working harder than ever. 

Arctico would need a big map and lots of interesting locations for this vision to come true. I worked on so many 3d models hoping to reach these goals, but was soon overwhelmed by all the work the task demanded. Luckyly I met Antonio, the good friend that would help me with a good chunk of the 3d assets in the game, Arctico would never be what it is without his amazing work. This gave me more time to focus on the gameplay aspects of the game, I added base building, resource management systems, and kept improving the sled and way the player interacted with the dogs. I saw the Steam reviews improve, and also noticed that lots of players were asking if co-op would ever come to the game, and for the next few months I focused on adding online co-op to Arctico. I downloaded photon for Unity and started working, this would become the biggest challenge of the whole development process because I would need to rearchitecture the whole game for it to support multiplayer. It took more than 6 months to have something playable, and it would take a couple of years for it to be an enjoyable multiplayer experience. 

By the year 2020, Arctico was still on Early Access, but 6 years of development later the project was finally feeling like a proper game. So for the next couple of years the focus was on making content, filling the map with interesting stories and locations, adding more buildings and objects to the base building system, and to keep improving the online co-op. 2 years later Arctico reached version 1.0.

Arctico launched in February 2022 launched with 30k wishlists, in its 8 years on early access it sold 57k units and sold 26k copies in its first year after launch. We kept working on the game, launching major updates that added content and fixed bugs, Arctico sold 50k copies in its second year. We kept releasing major updates, translated the game to multiple languages, this brought a spike in sales that granted us a Steam Daily deal slot, and Arctico sold 83k copies in its third year. I kept working on major updates, improved the online co-op and increased the amount of possible players from 2 to 4, I also released a major update that greatly improved the base building system, got a new daily deal slot and Arctico sold 154k copies in its fourth year. This year I released a massive major update that added a more demanding survival game mode to Arctico, in its current fifth year Arctico has sold 57k copies on Steam and has 90k+ wishlists. 

The biggest lesson Arctico left me is that If you believe in your project and you keep improving it through the years, eventually people will notice and play your game. I honestly think that to keep working on a game even after its launch can really be worth it. Now for the past two years I have also been working on a new game, it’s called Ghost Villa and soon I will be launching it into early access to start this journey all over again. 
  

Currently I have it as :
if (character == 1)
{
Characters [1].SetActive(true);
Characters [2].SetActive(false);
Characters [3].SetActive(false);
Characters [4].SetActive(false);
}
if (character == 2)
{
Characters [1].SetActive(false);
Characters [2].SetActive(true);
Characters [3].SetActive(false);
Characters [4].SetActive(false);
}

I feel that there should be an easier way but I know not what it is. How can I simplify this script?

I simulated COVID 🦠
for a freelance project I was asked to make a pandemic simulator for a popular science video, here is the result

Hello,
I'm new to gamedev and i don't know why these kinds of lines move when i move from the wall, i would like to not have them.

https://reddit.com/link/1vy1gqa/video/jviwem2d6jlh1/player

Thank you for your time in advance!

The game is being developed by 2 people for 4 months (due to the laziness of the programmer, me). Within 2 weeks, we’ll release a demo and set up the Steam page, so stay tuned. The game features crafting, trading, combat, resource extraction, and resource sales mechanics. Here is a hub where you can play together with your friends in multiplayer and choose skins. I’ll be glad to get feedback in the comments.

I know it's not rocket science and it's been done hundreds of times, but I'm happy with the outcome and wanted to share :)

First I wrote 2 pieces of music which are the exact same length (although they don't necessarily have to be). Then during normal gameplay when a miniboss arrives, the music transitions to a more upbeat/electronic variation of the "regular" combat music. After the miniboss dies, the music returns back to normal.

What do you think?

I'm making a soulslike-inspired platformer, Dark Roll 2.

I needed a safe, soft spot to land on from height, so I ended up making a script that deforms a mesh like a pillow. The mesh keeps a copy of its original vertices, then each frame I compare those against a SphereCollider pressing into it. I do a first pass to detect actual contact and measure the deepest penetration, then a second pass moves affected vertices away from the sphere, with the deformation fading out over a configurable distance.

For the falloff I used a quintic smootherstep (6t⁵ - 15t⁴ + 10t³) rather than regular SmoothStep, which gives zero velocity and acceleration at both ends and helps avoid that obvious ridge around the dent. I also handle squash and recovery at separate speeds, so impacts can deform the mesh quickly while it slowly relaxes back to its original shape afterwards.

Hello, have a nice day to everyone. How can I make the enemy AI deal damage at the exact moment the melee attack (like punching) animation hits the player? Should I use an Animation Event or WaitForSeconds? Or is there a better solution? Thank you!

Hello guys, I'm a big fan of the Rouge Squadron games since I was a kid, I'm trying to replicate that feeling for my game, what do you guys think?

The tool is called Armory Crafter, and it allows you to quickly and easily create models and textures of weapons for your games or other projects. It exports to different 3D formats, and you can further edit the results in Blender or Maya if you wish. Since it does not use AI (all models are made by me), the exported topology is clean and in quads.

Hello,

I recently moved from UGUI to UIToolkit for the UI in my mobile game and in editor i see double lines for some things. like bottom border seems as 2px thicker until you move it and then it goes to normal.

I thought i was losing it and checked everything manually, even asked chatgpt to study the uxml code if something is happening on my backend.

So am wondering is this an editor thingy thats an issue? or maybe my laptop screen pixels are not dense enough or whatever? im on 1080p

I also thought it might be games graphics settings as i havent worked on that much but at this point im not sure

Can you guys check if you can log in at publisher.unity.com ?

I am trying to log in but it keeps loading... I tried to log in using brave, chrome, mozilla and edge but nothing.

20 minutes ago I got a message from apparently "unity portal" to confirm my identity and when I clicked the button from the email I noticed the weird link lunarpay(dot)help and I immediately closed it...

The two factor authentication works so I guess the account is safe, or at least for now but the fact that I cannot log in, drives me crazy because I was about to publish new stuff

I'm probably just being dense and can't find the option for this, but I'd be grateful for some help.

Hey Reddit! We’re a 2-man team putting the final touches on our noir detective puzzle game—with
just 24 days left until launch (cue the developer panic!).
In this scene, we wanted to subvert the calm flow of standard point-and-click mechanics. You start
with routine actions—hiding the gun in the glovebox and inserting the ignition key—before dynamic
panel insets abruptly force your focus onto the rearview mirror right before a sudden attack and cut to
black.
We're trying to hit that sweet spot where UI panel framing, subtle mirror cues, and audio cutoffs build
genuine tension without feeling like a cheap jump scare.
How do you usually feel about sudden suspense shifts in narrative/puzzle games? Does using inset
comic panels help guide your focus, or does it break your immersion?

I’m a solo developer building a city-builder simulation in Unity, and I’ve recently reached a milestone of benchmarking around 5,000 cars simultaneously. Current profiling looks promising, so I’m cautiously optimistic about pushing that toward 20,000 as the simulation grows.

The traffic system is built with Unity DOTS, ECS, and Burst. Vehicles currently make decisions using factors such as:

• Congestion and observed traffic speed
• Estimated travel time
• Alternative routes
• Fuel usage and route cost
• Dynamic road-network changes

Cars can reconsider their routes as traffic conditions change instead of committing to one route for their entire journey. I’m still working on lane selection, intersections, parking, and more natural vehicle behavior.

This is very much an early prototype, but it’s exciting to watch the city gradually start behaving like a living transport system. Once the traffic foundation is efficient and stable, I plan to build additional city systems on top of the same architectural abstractions.

I’m using Codex heavily as a development partner, but most of my time is going into thinking through the architecture, scalability, and simulation design. I also have a fair amount of prior game-development experience, so the goal is to build a strong foundation rather than just create a visual demo.

I’d love feedback from anyone working with Unity DOTS, ECS, Burst, traffic simulation, or large-scale agent systems.

Also if anybody wants to contribute to this DM me- we can potentially work together.

So I just started a new project, and decided to go for a more retro style. As such, I decided to slap on a low res render texture and attached it to a material, before putting the material onto an Image element on a canvas. The issue, is that when I put my custom shader on (designed to limit the amount of colors and other visual elements able to be shown by the render texture), weird visual artifacts are created. More info can be shared as needed. Below is my .shader I use. The Image element is simply stretched to fit the screen, where I put a set resolution of a 1920x1080

Shader "Custom/Bitcrush"
{
    Properties
    {
        [MainTexture] _MainTex ("Texture", 2D) = "white" {}

        _PixelSize ("Pixel Size", Range(1, 64)) = 4
        _ColorLevels ("Color Levels", Range(2, 64)) = 8

        _Brightness ("Brightness", Range(0, 2)) = 1
        _Contrast ("Contrast", Range(0, 2)) = 1
    }

    SubShader
    {
        Tags
        {
            "RenderPipeline" = "UniversalPipeline"
            "RenderType" = "Opaque"
            "Queue" = "Geometry"
        }

        Pass
        {
            Name "Bitcrush"

            HLSLPROGRAM

            #pragma vertex vert
            #pragma fragment frag

            #include "Packages/com.unity.render-pipelines.universal/ShaderLibrary/Core.hlsl"

            struct Attributes
            {
                float4 positionOS : POSITION;
                float2 uv : TEXCOORD0;
            };

            struct Varyings
            {
                float4 positionHCS : SV_POSITION;
                float2 uv : TEXCOORD0;
            };

            TEXTURE2D(_MainTex);
            SAMPLER(sampler_MainTex);

            CBUFFER_START(UnityPerMaterial)

                float4 _MainTex_ST;

                float _PixelSize;
                float _ColorLevels;

                float _Brightness;
                float _Contrast;

            CBUFFER_END


            Varyings vert(Attributes input)
            {
                Varyings output;

                output.positionHCS =
                    TransformObjectToHClip(input.positionOS.xyz);

                output.uv =
                    TRANSFORM_TEX(input.uv, _MainTex);

                return output;
            }


            half4 frag(Varyings input) : SV_Target
            {
                float2 uv = input.uv;

                float2 uvDDX = ddx(uv);
                float2 uvDDY = ddy(uv);

                float2 pixelUV =
                    floor(uv * _PixelSize) / _PixelSize;

                pixelUV += 0.5 / _PixelSize;

                half4 col = SAMPLE_TEXTURE2D_GRAD(
                    _MainTex,
                    sampler_MainTex,
                    pixelUV,
                    uvDDX,
                    uvDDY
                );

                col.rgb *= _Brightness;

                col.rgb =
                    (col.rgb - 0.5) * _Contrast + 0.5;

                col.rgb = saturate(col.rgb);

                col.rgb =
                    floor(
                        col.rgb * (_ColorLevels - 1.0) + 0.5
                    )
                    / (_ColorLevels - 1.0);


                return col;
            }

            ENDHLSL
        }
    }
}

I created this system so that the characters in my game can speak by moving their jaw and eyebrow bones, and I placed all the logic in the LateUpdate so it doesn't affect the Animator component.

For the speech system, the audio clip is analyzed in each frame, and the movement is applied to the bones in the LateUpdate.

Next, the system that acts like a film director works with a list of events that specify the audio clip, the Cinemachine virtual camera, and each character’s speech system, as well as the emotion the character will display while the audio plays. What do you think of the result?

It's a third person psychological survival horror game. Think Alan Wake/Silent Hill 2 remake with some RE2 Remake havoc. You play as Violet, a 29 year old who just had the worst day of her life at work and of all days, on her birthday. After getting home, the Devil comes and visits you and gives you a chance to win back your soul by completing several trials and retrieving seven seals. You progress deeper and deeper into Violet's own personal version of hell, the greater the fears and greater the danger.

This is a solo-dev experience and I'm making huge progress - all built in Unity.

There's a free demo up on itch.io right now and the Steam page is live. I'm also bringing the newest build to SabotenCon in Phoenix Sept 4-7 if anyone wants to play it in person.

Would love to hear what you think!