跟讀練習: How I Learned Procedural Generation - 通過影片學習英語口語
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108 句
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So I finished learning how to make an FPS controller,
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but if I want to make a more polished looking game,
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I will need to work on my environment.
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And since I'm more of a coder than an artist,
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I think there's no better way than with procedural generation.
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So let's begin by starting a new project.
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Next it's time to go on my usual YouTube grind and figure out how to do mesh generation.
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Thankfully Bracchus has three videos on this topic.
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Three days later.
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After watching Brackey's videos, I'm now able to generate meshes of any size that I need,
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and all it took is the code you see on the left.
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Now to make this look like terrain,
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use something called Perlin Noise,
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which is an algorithm created by Ken Perlin to help make more natural looking textures and terrain on the movie Tron.
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What I'm using here is the 2D version which generates values between 0 and 1.
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To represent this, I map the numbers closer to 0 as black and numbers closer to 1 as white.
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The power of this algorithm comes when you multiply that Perlin value by a number.
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For instance, I can use Perlin noise multiplied by an amplitude to procedurally generate the height of my terrain.
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This is all fine and dandy,
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but I wanted a little bit more control over my environment.
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Thankfully I found this tutorial series by Sebastian Legg,
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and it covered everything I wanted to know and more.
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It seriously was so good that I gave it a watch a few times over.
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The problem is, it goes into so much depth that it is too comprehensive for my puny brain to handle.
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So I took two of the simpler concepts to add to my generator.
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One was the ability to finely tune the noise,
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and two was this concept of multiplying the the Perlin noise with the falloff map to create islands.
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I actually wrote my own version of Sebastian's falloff map so that I could set where the falloff begins and ends.
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Here's a preview of that code for those of you who are interested.
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I also fixed Sebastian's noise generator because I think he broke it around episode 6 and then never fixed it.
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When you change the scale you're supposed to be able to zoom in
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and out of the Perlin map but right now it almost seems like you're generating a new map.
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I narrowed down the problem to these lines here.
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Changing this also fixed the parallax effect Sebastian had when changing the offset.
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Now that we have more control over our environment,
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it's time to move on to my favorite topic from elementary school,
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and that is coloring.
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So for coloring, I spent about a week or two trying to recreate the style Sebastian had for his intro.
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He shows that he's generating a texture with these nicely rounded edges,
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but in the tutorials, he only teaches us how to make a pixelated texture.
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One solution I had was to increase the number of sample points we use in the texture,
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but if you zoom in,
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we still have the problem of seeing each individual pixel.
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Then I remembered watching a video by Sebastian where he used marching cubes,
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and I was almost certain this is the approach he used for generating his texture.
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So I watched this video by the coding train and converted his marching squares algorithm from JavaScript into C-sharp.
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I got pretty close to the results I wanted,
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but when you view this on the terrain,
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you could still see each individual pixel.
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So I gave up on using a texture approach.
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I really tried to avoid this as much as I could,
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but I was left with no other choice but to dive into shaders.
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After messing with shader graph for a few hours,
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I came up with this decent shader here.
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I surprisingly had a lot of fun making this and it turns out shaders aren't too hard after all.
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With my new love for shaders,
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I looked up a bunch of more tutorials on YouTube.
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I found this tutorial for creating a gradient skybox with stars,
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but I noticed there's a little bit of distortion near the edges.
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So I found this article that taught me how to do proper UV sphere projection,
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and yay, no more distortion.
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But I wasn't quite satisfied yet.
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I also found this awesome cloud shader that I needed to use as well.
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And now our skies are looking not too bad.
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Then to top it all off I used these two videos to make a stylized water.
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Alright let's finish off this last bit here.
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So to finish off this project let's add some vegetation.
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I hopped in the blender and made this very beginner friendly tree
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but I don't want to manually place hundreds of trees on the terrain because that would take forever.
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And we are going for a complete procedural generation.
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Thankfully, I remember watching this video from Jonas Tyroller a
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while back where he talked about creating random levels for his game Islander.
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Basically, if you shoot a raycast onto a random point on the island,
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you can check if it's a valid spawn point for a tree.
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If so, spawn the tree.
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Then you can do this for as many times as you want trees,
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or whatever object you want to randomly place.
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So I created this simple prefab spawner script where I can select a prefab to spawn.
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Then to determine if a spot is valid to place a prefab,
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I just check if the the hit location is above the sea level.
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I also have the script randomly change the scale
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and rotation of the prefab we are spawning so that we have a bit of variation.
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Lastly, let's add some grass.
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I found this video to create a quick grass texture,
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then I put together a bunch of planes in blender to display it.
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Back in Unity, I just reused my prefab spawner script to spawn my grass around the island.
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Although, to really bring this grass to life,
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I watched this video from Bracuse.
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And now, we have Sway in our grass.
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So I brought over my FPS controller from the last video so that we can explore the island.
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And after working on this for so long,
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it's super cool to see this from the first person view.
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With what we have here,
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it's really starting to feel like a really polished game.
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The sky, the water, with the FPS movements,
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everything ties nicely together to really bring that GAME FEW.
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To be honest, I could keep on going and continue to add things to my procedure generator,
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but then this video will never end.
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I definitely will be working on this tool in future videos
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and I am just so pleased with how much I was able to figure out.
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This is definitely going to help me out in any future game that I make,
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and even just this island already feels like a cool spot to do 1v1 deathmatches on.
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I can imagine doing some sick multiplayer battles on here,
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finding good angles to pick off people on the island.
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But anyways, if you stuck around this long,
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thank you so much for watching,
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and I hope to see you in the next one.
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Peace.
FOR YOU
推薦影片
為什麼要通過這個影片練習口語?
在學習一門語言時,實際運用是至關重要的。這個影片展示了製作程式生成環境的過程,涵蓋了編碼、演算法以及創造性解決問題的思維方式。通過模仿影片中的講解,學習者可以練習 英語口語練習,同時掌握如何在即時對話中有效表達技術概念。這種實踐不僅增強了口語流利度,還能提升自信心,讓學習者在談論類似話題時遊刃有餘。結合 shadow speak 方法,一邊觀看一邊跟讀,加倍提升你的語言能力。
語法與表達在上下文中的應用
在影片中,講者使用了一些關鍵的語法結構和表達方式。以下是幾個重要的例子:
- 動詞時態的運用: 講者使用過去式,如“我看了影片”來描述過去的學習經歷,這對時間表達非常重要。
- 條件句的構建: 如“如果我想做一個更精緻的遊戲,我將需要……”通過條件句,學習者可以理解如何在哦討論計劃和假設時使用英語。
- 並列句的使用: 講者使用了“並且”連線兩個獨立的思路,比如“我想控制我的環境,並且我需要……”,這增強了句子的流暢性。
熟練掌握這些結構有助於提高自己的表達能力,特別是在與他人交流技術性內容時。
常見發音陷阱
影片中的一些單詞可能給學習者帶來發音上的困難。例如,“Perlin Noise”這個術語,對學習者來說非常具有挑戰性,尤其是在重音和音節之分的情況下。此外,講者提到的“程式生成”以及“紋理”,在快速說話時可能會混淆發音。為了克服這些發音陷阱,學習者可以嘗試反覆跟讀影片中的關鍵句子,利用 看YouTube學英語 方法,增強對這些難詞的掌控。
通過持續的練習和 shadowspeaks 的技術,可以極大提升你的英語口語表達能力和發音準確度。
什麼是跟讀法?
跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧,最初開發用於專業口譯員的培訓,並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大:您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同,跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性,語調,節奏,連讀,聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。












